Three film-makers, An van Dienderen, Rosine Mbakam and Eléonore Yaméogo, examine how the lens cannot be neutral in issues of marginalisation
A collaborative project between film-makers Rosine Mbakam, An van Dienderen and Eléonore Yaméogo, Prism interrogates the supposed neutrality of the photographic lens, principally in regards to representations of race. Moving through the corridors of a film school before alighting on a sparse set where a lighting test is taking place, Dienderen’s section unfolds as a continuation of her short film Lili, which grapples with a cinema practice called “china girl”. Used for calibration purposes, these test images usually feature a white model and a colour chart; in other words, colour films were made with only white skin in mind.
While Dienderen’s work grapples with camera bias on a technical level, Mbakam and Yaméogo expand the argument by pointing to larger ideological frameworks. In her segment, Mbakam draws...
A collaborative project between film-makers Rosine Mbakam, An van Dienderen and Eléonore Yaméogo, Prism interrogates the supposed neutrality of the photographic lens, principally in regards to representations of race. Moving through the corridors of a film school before alighting on a sparse set where a lighting test is taking place, Dienderen’s section unfolds as a continuation of her short film Lili, which grapples with a cinema practice called “china girl”. Used for calibration purposes, these test images usually feature a white model and a colour chart; in other words, colour films were made with only white skin in mind.
While Dienderen’s work grapples with camera bias on a technical level, Mbakam and Yaméogo expand the argument by pointing to larger ideological frameworks. In her segment, Mbakam draws...
- 2/13/2024
- by Phuong Le
- The Guardian - Film News
The Museum of Modern Art announced the lineup for the 14th annual edition of The Contenders on Friday. The film series will run from Nov. 4 through Jan. 22, 2022, primarily in person with a select number of virtual screenings.
The Contenders will open with Pablo Larraîn’s “Spencer,” the Princess Diana biopic starring Kristen Stewart. Larraîn and Stewart will appear for a conversation after the screening. The closing night film will be Sebastian Meise’s “Grosse Freiheit” which, translating to “Great Freedom,” is set in postwar Germany and follows the relationship between Hans, a man imprisoned for being homosexual, and his cellmate Viktor, a convicted murderer.
“This year’s Contenders lineup includes highly anticipated genre pics, new works by the most followed auteurs such as Jane Campion (‘The Power of the Dog’) and Apichatpong Weerasethakul (‘Memoria’) and independent films that introduce emerging cinematic voices like Amalia Ulman (‘El Planeta’) and Ahmir ‘Questlove...
The Contenders will open with Pablo Larraîn’s “Spencer,” the Princess Diana biopic starring Kristen Stewart. Larraîn and Stewart will appear for a conversation after the screening. The closing night film will be Sebastian Meise’s “Grosse Freiheit” which, translating to “Great Freedom,” is set in postwar Germany and follows the relationship between Hans, a man imprisoned for being homosexual, and his cellmate Viktor, a convicted murderer.
“This year’s Contenders lineup includes highly anticipated genre pics, new works by the most followed auteurs such as Jane Campion (‘The Power of the Dog’) and Apichatpong Weerasethakul (‘Memoria’) and independent films that introduce emerging cinematic voices like Amalia Ulman (‘El Planeta’) and Ahmir ‘Questlove...
- 10/22/2021
- by Selome Hailu
- Variety Film + TV
Back in 2017, quite a bit of media coverage was dedicated to the cinematography on the popular HBO dramedy “Insecure.” Issa Rae’s critically acclaimed series was heralded as an innovator for its ability to consistently capture the richness of Black skin on camera. And it’s true — “Insecure” lights and frames Black faces with warmth and beauty.
But the truth is, Black directors and cinematographers have always found ways to shoot Black skin glamorously. Barry Jenkins’ Best Picture winner “Moonlight,” shot by his frequent collaborator James Paxton, was released just the year before, with its purple and blue hues making every Black face look like a rich oil painting. From the work of Julie Dash and Spike Lee to the more contemporary Dee Rees and Ryan Coogler, we can pull a plethora of images capturing all the nuances of dark skin.
The difference now is that white filmmakers have been...
But the truth is, Black directors and cinematographers have always found ways to shoot Black skin glamorously. Barry Jenkins’ Best Picture winner “Moonlight,” shot by his frequent collaborator James Paxton, was released just the year before, with its purple and blue hues making every Black face look like a rich oil painting. From the work of Julie Dash and Spike Lee to the more contemporary Dee Rees and Ryan Coogler, we can pull a plethora of images capturing all the nuances of dark skin.
The difference now is that white filmmakers have been...
- 9/27/2021
- by Jourdain Searles
- Indiewire
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