纪录片节报告大流行期间选定电影的下降22％
Documentary Festivals Report 22% Drop in Selected Films During Pandemic
根据戛纳电影节中提出的研究，欧洲纪录片节在大流行期间选出的电影下降了22％，来自代表性不足的地区和非洲（例如非洲）的电影继续受到挑选的几乎没有爱的爱。Ji.hlava Intl的节日主任。纪录片电影节介绍了其年度报告“东西方指数”，该报告比较了2019年的面对面纪录片活动，并在2020年的大流行期间进行了节日。该调查涵盖了14个节日；西欧八个，东欧六个。其中包括CPH：Dox，VisionsduRéel，Idfa，CinémaDuRéel，Fidmarseille和Ji.hlava。该报告发现，这些活动在2019年被2,701张电影选择，而2020年的电影中有2,106部电影 - 五分之一的衰落。十一节的节日的电影有所下降，其中三部电影中的电影中有更多的电影。西欧的节日下降了25％，东欧的节日下降了18％。在以前的版本中，调查研究了所选电影的国籍。来自西欧的电影继续占主导地位，而来自非洲，亚洲和南美的电影是最糟糕的代表。在2019年，西欧音乐节从西欧选出了56％的电影，10％来自东欧，北美11％。来自南美的10％，亚洲8％，非洲5％。在2020年，这些数字是来自西欧的电影58％。东欧11％；北美8％；南美8％；亚洲9％；和非洲6％。2019年，东欧节日从西欧选出了36％的电影。来自东欧的39％；来自北美的12％；来自南美的3％；来自亚洲的5％；来自非洲的4％。在2020年，这些数字是西欧电影38％。东欧电影39％；北美电影10％；南美电影2％；亚洲电影9％；在区域平衡方面，我们可以看到计划结构并没有太大变化，但是，如果我们专注于细节，我们会发现这种削减节日节目的趋势有多危险：代表性不足的地区在共同的一年中的代表性甚至不那么好，” Hovorka说：“当然，电影的数量不是分析电影节的影响时，唯一的关键标准，但是失去如此大的电影制片人可能会影响介绍的电影的多样性并改变欧洲电影基础设施。年。在2019年在IDFA举行的全球首映后，Maia Lekow和Christopher King的电影在全球的节日中放映，包括AFI Docs和Barcelona，在那里赢得了特别陪审团的提及。
There was a 22% decline in films selected by European documentary festivals during the pandemic, according to research presented in Cannes, and films from underrepresented regions and continents, such as Africa, continued to receive little love from selectors.
On Monday, Marek Hovorka, festival director of Ji.hlava Intl. Documentary Film Festival, presented its annual report “East West Index,” which compared in-person documentary events in 2019, and festivals during the pandemic in 2020.
The survey covered 14 festivals; eight in Western Europe and six in Eastern Europe. These included CPH:DOX, Visions du Réel, IDFA, Cinéma du Réel, FIDMarseille and Ji.hlava.
The report found that 2,701 films were selected by these events in 2019, and 2,106 in 2020 - a one in five decline. Eleven festivals saw a decline in films selected and three had more films in their programs. The festivals in Western Europe saw a 25% decrease and those in Eastern Europe saw an 18% decrease.
As in previous editions, the survey looked at the nationality of the films selected. Films from Western Europe continued to dominate, while films from Africa, Asia and South America had the worst representation.
In 2019, the Western European festivals selected 56% of their films from Western Europe, 10% from Eastern Europe, 11% from North America, 10% from South America, 8% from Asia, and 5% from Africa. In 2020, the figures were films from Western Europe 58%; Eastern Europe 11%; North America 8%; South America 8%; Asia 9%; and Africa 6%.
In 2019, the Eastern European festivals selected 36% of their films from Western Europe; 39% from Eastern Europe; 12% from North America; 3% from South America; 5% from Asia; and 4% from Africa. In 2020, the figures were Western European films 38%; Eastern European films 39%; North American films 10%; South American films 2%; Asian films 9%; and African films 2%.
”In terms of regional balance, we can see that the program structure has not changed much, but if we focus on the details, we see how dangerous this trend of cutting down the festival program can be: The underrepresented regions were even less well represented during the COVID year," Hovorka said.
"Of course, the number of films is not the only key criterion when analyzing the impact of film festivals, but losing such a big space for filmmakers might affect the diversity of presented films and change the European film infrastructure."
Pictured: "The Letter" was Kenya's submission for the International Oscar Race this year. Following its world premiere at IDFA in 2019, Maia Lekow and Christopher King’s film was screened at festivals around the world, including AFI Docs and Docs Barcelona, where it won a Special Jury mention.
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发表于 2022-7-5 06:48:44
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