纪录片自媒体解说素材-新闻动态参考-IDFA行业计划支持“勇敢，电影，创意纪录片”/IDFA Industry Program Chief on Supporting ‘Brave, Cinematic, Creative Documentaries’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0503/2402kfc0ngtp5jh.jpgIDFA行业计划支持“勇敢，电影，创意纪录片”
IDFA Industry Program Chief on Supporting ‘Brave, Cinematic, Creative Documentaries’
纪录节IDFA的行业计划周五作为面对面的活动启动，同时还为无法到达阿姆斯特丹的人提供远程访问。行业负责人Adriek van Nieuwenhuijzen和市场经理Selin Murat向Variety谈到了参与者可以期望的。杂交种。她说：“我们知道，对于整个行业，这些个人遭遇，面对面的会议至关重要。”“但是我们还了解到，对于许多人（通过远程访问），我们更容易获得。因此，这就是为什么我很高兴我们仍然有机会为不能来阿姆斯特丹的[生产]团队提供一些知名度。”她说。他的行业计划对2019年的面对面活动进行了一些更改，现在已经恢复过来。“我们为球场团队和制片人和电影制片人以及观众以及决策者和行业专业人士提供了整个投球体验，更加亲密。因此，少了联合国会议或董事会会议的感觉。这是一个更加亲密的空间，它更多地是关于思想的交流和您的电影方法。选择，但它是从2019年所谓的生产者计划中发展出来的。这个想法是鼓励生产者更广泛地合作，而不是一次性的项目，并鼓励他们通过共同制作，而不是取决于平台，广播公司和区域的支持Ributors。“这实际上是关于生产者之间的合作和鼓励他们的创造性意见。并不是说这些项目被提交给潜在的金融家，例如平台，广播公司或分销商。”范·尼古温森（Van Nieuwenhuijzen）说，一个目标是鼓励开发“勇敢，电影，创意的纪录片，这些纪录片具有挑战性，有点具有挑战性，有些挑战她说。 “这些彩带中的大多数都是非常商业化的，他们正在为[观众]绝大多数的电影制作电影。因此，他们很难尝试其他样式的电影制作，不同类型的叙述，”范·尼古温森（Van Nieuwenhuijzen）说。广播公司，彩带和独立电影院。我们去了一个选择我们在创造性叙述方面强烈感受到的项目。“您会看到许多项目，有些项目对于彩带来说可能会令人兴奋。我们想向他们展示的是可以制作的内容的广度，因此也许他们会感到有启发的机会。同时，戏剧分销商在过去一年半的时间里很艰难。范·尼乌温森（Van Nieuwenhuijzen）说：“坦率地说，这不是他们的最佳时机。” “真的很难从中回来。”在IDFA行业部分项目中探索的流行主题中，是性别认同，例如Kani Lapuerta的“Niñxs”，Nada Riyadh和Ayman El Amir的“妇女之地”，Paul Paul，Paul B. Preciado的“奥兰多：我的政治传记”和Viv Li的“两座山脉在我的胸口处重”。另一个热门话题是移民，而是跟随旅程移民制作的电影，当他们定居在新家和接待社区的反应中时，这些电影往往会看着移民的经历。在某些电影，电影制片人或纪录片的主题中，“反思了他们感到流离失所的事实，或者他们正在寻找自己的文化身份，”范·尼古温森（Van Nieuwenhuijzen）说。法国媒体推动了对那些与大多数背景不同的公民的态度，使他们变成了“另一个”。汉卡·诺比斯（Hanka Nobis）的“兄弟情谊”（Brotherhood）看着一个对移民有反对感的年轻波兰男子，但随后经历了一次性激进化的过程。智能手机与摄像机的广泛用途为一些电影制片人提供了丰富的材料，从编织他们的故事。一个例子是维多利亚·马普贝克（Victoria Mapplebeck）的“主板”在各个设备上拍摄。在世界某些地区的制作是一项危险的活动，因此有些项目被保留在包裹中，而范·尼古文（van Nieuwenhuijzen）表示，在IDFA Bertha基金会的支持下，IDFA的角色之一就是倡导这样的人。项目，尤其是当他们很难吸引本国的支持或受到政治镇压时。
The Industry Program of documentary festival IDFA launches Friday as an in-person event, while also offering remote access for those who are unable to get to Amsterdam. Head of industry Adriek van Nieuwenhuijzen and market manager Selin Murat speak to Variety about what participants can expect.
What was learned from the digital experimentation put in place last year has not been lost, van Nieuwenhuijzen says, and what has been delivered this year is a hybrid. “We know that, for the whole industry, these personal encounters, in-person meetings, are crucial,” she says. “But we also learned that we are far more accessible for many people . So that's why I'm happy that we still have the opportunity to offer some visibility for teams who cannot come to Amsterdam.” The online passes that IDFA is offering are “a great opportunity for people around the world to see what's happening and to stay up to date,” she says.
The team behind the Industry Program had made some changes to its in-person activities in 2019, which have now been revived. “We made the whole pitching experience for the pitch team - so for the producers and filmmakers - as well as for the audience, and the decision makers and industry professionals, far more intimate. So less the feeling of a UN type of meeting or board meeting. It became more an intimate space where it's far more about an exchange of ideas and your cinematic approach.”
The Producers Connection, part of IDFA Forum, is a new strand, with 15 projects selected, but it grew out of what was called the Producers Program in 2019. The idea was to encourage producers to work together more broadly, rather than on one-off projects, and to encourage them to finance projects through co-production, without being dependent on the backing of platforms, broadcasters and distributors.
“It's really about collaboration between producers and encouraging their creative input. It's not that these projects are being presented to a potential financier, such as platforms or broadcasters or distributors,” Van Nieuwenhuijzen says.
One objective is to encourage the development of “brave, cinematic, creative documentaries, which are challenging, a little bit out of the box,” she says.
This acts as a counter-balance to the preference among many broadcasters for more conventional approaches to documentary filmmaking, which is also true of most streamers. “Most of these streamers are very commercial, and they are making films for the vast majority . So it's hard for them to experiment with other styles of filmmaking, different types of narrative,” Van Nieuwenhuijzen says.
Murat adds: “We made a selection of all kinds of feature-length projects that could be interesting for broadcasters, streamers and independent cinemas. We went with a selection of projects that we feel strongly about in terms of their creative narratives.
“You'll see many kinds of projects, and some could be exciting for streamers. What we want to show them is the breadth of what can be made, so maybe they’ll feel inspired to take some chances.”
Streamers are “always evolving,” Murat says, and IDFA is “hoping to attract different kinds of platforms.”
Meanwhile, theatrical distributors are emerging from a very tough time over the past year and a half. “To put it mildly, it's not the best time for them,” Van Nieuwenhuijzen says. "It is really difficult to come back from that."
Among the popular topics that are explored in projects in IDFA’s industry section is gender identity, such as Kani Lapuerta’s “Niñxs,” Nada Riyadh and Ayman El Amir's "Land of Women," Paul B. Preciado's "Orlando: My Political Biography," and Viv Li’s “The Two Mountains Weighing Down My Chest.”
Another hot topic is migration, but rather than following the journeys the migrants make, the films tend to look at the experience of the migrants when they settle in their new homes and the response of the host communities. In some films, filmmakers or the subjects of the documentaries “reflect on the fact that they feel displaced, or they are looking for their own cultural identity,” Van Nieuwenhuijzen says.
In Joseph Paris’ “The Flag,” the director looks at how the French media has driven a hardening of attitudes toward those citizens who have a different background from the majority, turning them into “the Other.” Hanka Nobis’ “Brotherhood” looks at a young Polish man who has antagonistic feelings about immigration, but then goes through a process of de-radicalization.
The widespread uses of smartphones with video cameras has provided some filmmakers with a wealth of material from which to weave their stories. One example is Victoria Mapplebeck’s “Motherboard,” for which the BAFTA awarded director documents her life as a single mother over 17 years, shooting on various devices.
Filmmaking in some parts of the world is a dangerous activity and some projects are being kept under wraps for that reason, and Van Nieuwenhuijzen says one of IDFA’s roles, with the support of the IDFA Bertha Fund, is to champion such projects, especially when it is difficult for them to attract backing in their home countries or they are subject to political repression.
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资源真不错，感谢分享！ 感谢论坛提供了这么多好资源啊 感谢分享，下载收藏了。最喜欢高清纪录片了。
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