Claire Stewart (Watershed), Suhail Khan (Process/Breaking Cycles) plus Kevin Da Costa & Duncan Isaac (not pictured) discuss the days programme and panels...
Something that come up was a discussion contrasting Asian cinema in the UK to Black cinema (meaning Afrcan/Afro-Caribbean Diaspora).
It was generally felt that Asian cinema both world wide and in the UK has been much more successful in establishing itself, creating and sustaining an infrastructure, building an audience anddoing this, largely without compromise to the product.
Why is this?
As touched on in the day, this might have something to do with the success and customer loyalty of Bollywood and the innovative cinematic achievements of say Chinese cinema; but perhaps also something to do with being better organised, stronger relationships with distributions networks in addition to their own distribution networks and generally more critical peer review in the media and favourable responses from the mainstream industry to exciting Asian directing talent? - If this is the case, then what can we learn from it?
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1 comment:
Think the comparison to Bollywood and other Asian cinemas is really interesting - Bollywood has kept itself totally separate from the rest of the UK film industry, with different distributors, press, and cinemas and pretty much a separate audience too; Asian cinema has marketed itself through genre, eg Asian horror, martial arts. Would either of these approaches work for Black film? I'd hope that we'd gone beyond an idea of black film for black audiences as a totally separate thing (think this is a shame with Bollywood, too). I've got political problems with the genre approach when it means that Black film is only about Adulthood - gangs and violence - what do others thinK
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