纪录片自媒体解说素材-新闻动态参考-欧洲纪录片呼吁更多合作，透明度刺激新兴的纪录片行业/European Docmakers Call for More Collaboration, Transparency to Spur Burgeoning Documentary Industry
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0501/46162f0k5blcm5t.jpg欧洲纪录片呼吁更多合作，透明度刺激新兴的纪录片行业
European Docmakers Call for More Collaboration, Transparency to Spur Burgeoning Documentary Industry
尽管通常被称为纪录片制作的黄金时代，但许多挑战仍面临欧洲的独立纪录片，他们在公共广播公司的预算减少到流媒体网络的不透明资金决策到与国际合作伙伴合作，以与国际合作的不透明资金决策。。根据该协会的Selin，DAE一直在探索欧洲独立纪录片制作的景观，以促进“国民协会思考其生产者的需求和挑战以及他们所生活和工作的生态系统”。穆拉特（Murat）主持了讨论。她补充说。 DAE于2020年举办的行业峰会的许多关键要点，包括“压倒性的”渴望对行业和国家机构之间的更多协作，需要建立最佳实践，以实施可以为欧洲纪录片，一个服务，一个政策，以服务于欧洲纪录片，推动越来越多地被挤出行业的纪录片制作公司的范式转变，并需要放大民族机构的工作，以帮助试图了解当地景观的外国生产者。也许最重要的是，她强调的是，她强调的重要性区域合作伙伴致力于建立欧洲纪录片制作的国际基准。 “除了石头没有规则她说：“您在自己的领土上受到管辖的人：电影基金的规则，广播公司的规则和他们拥有的合同。” “但是除此之外，没有规则 - 只是人们如何做事的传统。她补充说：“许多传统经常被复杂性，晦涩难懂，旧的网络以及几乎没有特权的俱乐部陷入困境。”她补充说：“有一个泛欧的想法，就最佳实践，公平的实践，公平的共同制作，这是一个，这是一个，这是其中之一意大利纪录片联合会Doc/IT的Lucia Pornaro的伟大想法。代表大约150名从事纪录片制作的行业专业人员，他强调需要在边界各地找到“共同点”。她说：“我们所有人都在国家一级努力工作，当然每个国家都有自己的需求和法规，但是[]互相交谈并查看我们可以在国际上做什么，”市场变化”在DI的提示下流媒体平台引起的s裂（这是由冠状病毒大流行加速的过程）引起的 - 并呼吁她的同伴制片人和机构共享数据，使他们能够推动从广播公司和流媒体服务中提高透明度。 “这确实是我们需要面对的事情，我们需要处理，我们需要共同理解。”位于索非亚的巴尔干纪录片中心的Martichka Bozhilova，其成员分散在东南部的十几个国家，并指出了如何如何指出。中心的合作工作有助于加强在努力实现可持续性的较小行业中电影制片人的声音。该中心支持NebojšaSlijepčević的“ Srbenka”（如图）等电影，该电影在2018年获得了Doc Alliance Award。我们认识电影制片人。我们知道那里的行业。这样我们才能真正参与我们的知识，“ 她说。 “我们一直在努力在欧洲机构面前倡导，而不是成为拐角处的二流，所谓的低容量的国家，这一直是一场斗争。我们需要这样做，我们需要继续这样做。非常动态，因为区域合作非常强大。”他说。 “如果您在丹麦拍摄电影，您会立即在挪威瑞典的芬兰（芬兰）找到与您合作的[合作伙伴。机构正在合作，不仅是电影制片人和制片人。加斯汀说，这种跨境合作已经开始在希腊与邻国（例如土耳其和北马其顿）的联合产生中结出成果。 “但是从制度上来说，没有同意塞尔维亚和马其顿北部，希腊和土耳其电影中心之间的进展。”他补充说。欧洲纪录片协会穆拉特（Murat）表示：“我们必须游说或为之奋斗。”“这确实是基于这个想法，即不同领土和国家如何能够更好地理解彼此，以期希望在国际上进行合作，共同制作，有时甚至了解，如果您成为电影制片人的地方，您就可以遇到他人，您可以认识别人，”她说。这个目标不仅仅是欧洲纪录片社区中的“实现透明度和公平性”，还可以使该社区更接近全球的同行。“这是欧洲和世界其他地方。欢迎大家。”
Though it’s often been lauded as a golden age for documentary filmmaking, a host of challenges still face independent docmakers in Europe, who struggle with everything from dwindling budgets at public broadcasters to opaque funding decisions at streaming networks to convoluted legal frameworks for collaborating with international partners.
The question of how the continent’s documentary community can come together to advocate for change was the subject of “Mapping the European Documentary: Toward a Pan-European Lobby,” a conversation hosted by the Thessaloniki Documentary Festival on March 14 in collaboration with the Documentary Association of Europe.
Since 2020, DAE has been exploring the landscape of independent documentary filmmaking in Europe to facilitate “national associations thinking about the needs and the challenges of their producers and the ecosystems that they live and work in,” according to the association’s Selin Murat, who moderated the discussion.
The effort has focused on how various European countries and associations “can come together to lobby at a pan-European, and maybe even a world, level on the common challenges and the common wants and needs” of their industries, she added.
Murat cited a number of key takeaways from an industry summit hosted by DAE in 2020, including an “overwhelming” desire for more collaboration between industries and national bodies, a need to establish best practices for the implementation of policies that could serve the European documentary community, a push to spur a paradigm shift for documentary production companies that are increasingly being squeezed out of the industry, and a need to amplify the work of national bodies to assist foreign producers trying to understand the local landscape.
Perhaps most importantly, she stressed the importance of regional partners working to establish an international benchmark for documentary film production in Europe. “There are no rules set in stone except the ones by which you are governed in your own territories: the rules of your film fund, the rules of your broadcaster and the contracts that they have,” she said. “But outside of that, there are no rules – there are just traditions of how people do things. And a lot of those traditions are often mired in complexity and obscurity and old networks and little privileged clubs.”
She added: “The idea of having a pan-European, open conversation about the best practices, fair co-production, that’s one of the great ideas of getting together.”
Lucia Pornaro of Doc/It, an Italian documentary federation that represents some 150 industry professionals working in documentary filmmaking, stressed the need to find “common ground” across borders. “We all work hard at a national level, and of course each country has its own needs and regulations, it’s really important to talk to each other and see what we can do internationally,” she said.
Pornaro cited a “huge market change” prompted by the disruption caused by streaming platforms – a process that has been accelerated by the coronavirus pandemic – and called on her fellow producers and institutions to share data that would allow them to push for more transparency from broadcasters and streaming services. “This is really something we need to face and we need to deal with and we need to understand together.”
Martichka Bozhilova, of the Sofia-based Balkan Documentary Center, whose members are scattered across a dozen countries in Southeast Europe, noted how the center’s collaborative work has helped to strengthen the voice of filmmakers in smaller industries that struggle to achieve sustainability. The center has supported films such as Nebojša Slijepčević's "Srbenka" (pictured), which won the Doc Alliance Award in Cannes in 2018.
“We have really, throughout the years, a lot of know-how in the region. We know the filmmakers. We know the industry there. So we can really participate with our knowledge,” she said. “We’ve been always trying to advocate in front of European institutions, not to be this second-rate, so-called low-capacity country in the corner, which has always been a struggle. We need to do that, and we need to continue doing that.”
It’s a model that has worked before, said Marco Gastine, of the Hellas Doc Association in Greece, pointing to the success of the Nordic documentary film industries.
“They’re very dynamic because the regional collaboration is very strong,” he said. “If you make a film in Denmark, you immediately find Finland, Sweden, Norway to collaborate with you. And the institutions are collaborating, not only the filmmakers and the producers. It’s very important collaboration in the Balkans and the southeast of Europe.”
Gastine said such cross-border collaboration has begun to bear fruit in co-productions between Greece and neighboring countries, such as Turkey and North Macedonia. “But institutionally, there is no agreement between Serbia and North Macedonia, or the Greek and Turkish film centers,” he added. “Such a thing we have to lobby, or to fight, for.”
Since launching at the Berlin Film Festival in 2020, said Murat, the Documentary Association of Europe has worked to build those bridges. “It’s really building on this idea of how the different territories and countries can understand each other better in hopes of internationally collaborating, co-producing, and just understand sometimes that if you land in a place as a filmmaker, you can meet others,” she said.
The goal isn’t simply “bringing about transparency and equity” in the European documentary community, but to bring that community closer to its counterparts across the globe. “It’s Europe and the rest of the world. Everyone’s welcome.”
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