戛纳纪录片陪审团总裁埃兹拉·埃德曼（Ezra Edelman）关于社交媒体焦虑，合法性和足球种族主义
Cannes Documentary Jury President Ezra Edelman on Social Media Anxiety, Legitimacy, and Soccer Racism
当纪录片电影制片人埃兹拉·埃德曼（Ezra Edelman）是奥斯卡奖得主“ O.J。：在美国制造”时，上周的戛纳Doc Day坐在小组中，开始说他只是在谈论世界上法西斯主义的崛起并持久种族主义在体育中，这次会议会特别令人发指。这项活动是由戛纳Docs（MarchéDuFilm）组织的，与L' -il d'Or - 纪录片奖，CNC，Unifrance和Acid共同组织了Edelman，与电影制片人乔斯林·巴恩斯（Joslyn Barnes）进行了一个小时的对话，这是一个奥斯卡提名人，今天早上是“强岛”和“黑尔县”，在其中，他们涉足从社交媒体焦虑到身份和合法性作为一种问题，以此作为一种问题Filmmaker.Edelman以其运动为主题的纪录片而闻名，今年在戛纳电影节担任L'Il D'或纪录片奖陪审团主席，并在戛纳电影节上颁发了最佳纪录片。意大利在欧洲足球锦标赛决赛中以罚球击败英格兰后，在足球比赛中解决种族主义。在三名黑人英国球员错过了处罚之后，他们第二天面临着种族主义的在线虐待 - 这一景象既不是新的，也不令人惊讶。纪录片：ESPN于2014年发行的“反对派”，讲述了1973年智利军事政变的故事，当时美国支持的独裁者奥古斯托·皮诺切特（Augusto Pinochet）将圣地亚哥的国家体育场转变为政治反对派的酷刑监狱。纪录片制片人爱德曼几乎偶然地发现自己从事电影业。他在舞台上说：“戛纳在戛纳的每个人都可能想成为一名电影制片人，但我想成为一名棒球运动员。 ，m阿里安·赖特·埃德尔曼（Arian Wright Edelman）是美国著名儿童权利竞选者，仍然是儿童国防基金的创始人兼总统埃梅里塔（Emerita）。在激进主义者的背景下，这一点毫不奇怪，埃兹拉·埃德曼（Ezra Edelman）的工作也是由强大的政治良心所携带的，即使在棒球或足球等问题。然而，这位电影制片人发现很难将他的政治声音与当今的社交媒体世界调和，在那里，信息和出版物的流动可能会对许多人感到压力。“我们的世界目前由社交媒体主导；您应该不断地表达自己，但是可能会有空的信息，空白的chat不休……这会使我感到非常焦虑。他说，黑人电影制片人的负担是一个例子。他说：“我希望白人电影制片人承受着同样的身份和种族主题的负担。”这位电影制片人说，他试图通过他的工作尽可能多地做出贡献，并让它进行谈话，并且他更喜欢避免自我推广或成为某种发言人。您自己，您在做什么等……我想尽可能地躺在岩石下，只能在最后展示自己。”他对笑容的观众说。 “我有足够的焦虑来拍电影。”爱德曼说，他正在一个新的大项目中的作品，但此时不会分享任何细节。他只是说，他仍然意识到正在进行与他成长和学习如何成长和学习有关的项目。小组讨论随后涉及电影制片人的身份和合法性问题。 “世界是一个大地方，我对探索它非常感兴趣，”埃德尔曼说，尽管他补充说，这很重要，尤其是在纪录片制作中，以反思谁可以讲某些故事以及为什么。“世界是否需要我讲故事在一个遥远的地方，那里的人可以讲自己的故事？”这位电影制片人说。听众的闭幕问题来自巴黎的俄罗斯纪录片制片人，他在菲律宾花了很多时间，想在那里拍电影。她问埃德尔曼（Edelman）对她遇到的许多人的看法，他们告诉她她必须与当地的制片人合作，要尊重并不代表当地社区。如果您不知道自己所处的力量结构，那是什么重点？埃德尔曼说：“作为艺术家，您可以做任何您想做的事，但要知道您在世界上的地方，很多过去的人数不足。”他警告不要为了这个目的而让一个象征性的人讲这个故事，但表示重要的是要反思这部电影是否可以从W的当地角度受益奥尔德她正在记录。最后，他说：“这全都与工作的质量有关。”
When documentary filmmaker Ezra Edelman, an Oscar winner with "O.J.: Made in America," sat down at a panel during the Cannes Doc Day last week and started off by saying he was just talking about the rise of fascism in the world and enduring racism in sports, there was a feeling this session would be an especially poignant one.
The event, organized by Cannes Docs - Marché du Film, in association with L’Œil d’or - Documentary Award, the CNC, UniFrance and ACID, saw Edelman sit down for an hour-long conversation with film producer Joslyn Barnes, an Oscar nominee with "Strong Island" and "Hale County This Morning, This Evening," in which they delved into issues ranging from social media anxiety to identity and legitimacy as a filmmaker.
Edelman, who is known for his sports-themed documentaries, was in Cannes this year as jury president of the L’Œil d’Or Documentary Awards, awarding the best documentary at the Cannes Film Festival.
The filmmaker started off the panel addressing racism in soccer after Italy defeated England on penalties at the Euro soccer championship final. After three Black English players missed their penalties, they faced a torrent of racist online abuse the next day – a sight that was neither new nor surprising to Edelman.
With this spark of events intersecting sports with politics, Edelman was reminded of one of his own documentaries: “The Opposition,” released in 2014 by ESPN, which told the story of the 1973 military coup in Chile, when American-backed dictator Augusto Pinochet transformed Santiago’s National Stadium into a torture jail for political opponents.
Despite his numerous accolades as a documentary filmmaker, Edelman found himself in the film industry almost by accident. “Everyone who’s in Cannes probably wanted to be a filmmaker when they were younger, but I wanted to be a baseball player,” he said on stage.
His parents, Barnes reminded us, were huge figures in the civil rights movement, particularly his mother, Marian Wright Edelman, who was a famous campaigner for children’s rights in the U.S. and remains the founder and president emerita of the Children's Defense Fund.
With this activist background, it’s little wonder Ezra Edelman’s work is thus carried by a strong political conscience, even on issues like baseball or soccer. Yet the filmmaker has found it difficult to reconcile his political voice with today’s world of social media, where the flow of information and publications can feel pressuring to many.
“Our world is currently dominated by social media; you’re supposed to express yourself constantly, but there can be empty messages, empty chatter... It causes me a lot of anxiety.”
Edelman shared that social media has often made him question whether he does enough, especially in terms of activism. He said that there’s a sense of burden on Black filmmakers to be examples. “I would love white filmmakers to be burdened with the same subjects of identity and race,” he said.
Ultimately, the filmmaker said that he tries to contribute as much as he can through his work and let it do the talking, and that he prefers staying clear of self-promotion or becoming some sort of spokesperson.
“The idea of social media and promoting yourself, what you’re doing etc… I want to lay under a rock as long as I can and only show myself at the end,” he said to a laughing audience. “I have enough anxiety to make a film.”
Edelman said that he’s in the works on a new big project, but wouldn’t share any details at this point. He simply said that he remains aware of taking on projects that are linked to how he’s growing and learning as a person.
The panel discussion then delved into issues of identity and legitimacy as a filmmaker. “The world’s a big place, I’m very interested in exploring it,” Edelman said, although he added that it’s important – especially in documentary filmmaking – to reflect upon who gets to tell certain stories, and why.
“Does the world need me to tell stories of a far-off place when there can be people over there who have their own stories to tell?” the filmmaker said.
A closing question by an audience member came from a Russian documentary filmmaker based in Paris who had spent much time in the Philippines and wanted to make a film there. She asked Edelman what he thought of the many people she met who told her that she had to collaborate with producers on the ground, to be respectful and not speak for the local community.
Barnes said that credibility is a crucial question in any documentary, and that if you’re not aware of the power structures that you’re in, then what’s the point?
Edelman said that “as an artist you can do whatever you want, but be aware of the place where you are in the world, lots of people have been underrepresented in the past.” He cautioned against getting a token person to tell the story just for the sake of it, but said that it was important to reflect if the film could benefit from the local perspective of the world she was documenting. At the end, he said, “it’s all about the quality of the work.”
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发表于 2022-7-5 06:37:12
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