Influence of cinema on society

Julián Hernández

As it is, it does not seem far-fetched that the phenomenon will make it the first film from a streaming platform to win an Oscar for Best Picture. But it will be one that in this country will have been seen in very few theaters. Most viewers will discover it at home or on their mobile devices. Because Roma is a child of the sign of its times, much more than Green Book, A Star is Born, The Vice of Power and so many other films well positioned in this awards season that we are now starting.

The prestige that the streaming platform gains with a film that triumphs in all festivals, except Cannes, is not random, far from it. Although it is difficult to quantify. In the same way that it is complex to measure what the VOD giant earns by producing and releasing films that were thought to be lost, such as Orson Welles' The Other Side of the Wind. But it is perceived, however, that it is investing in terms of brand prestige: now it can also be seen as the company that recovers classic films and lost Hollywood projects.

Official master's degree in cinema

Algerian cinema made its debut at the height of the "war of liberation". Despite the faint echoes, which are reflected in Western programming,[1] Algerian cinema conceals quality works: Mohammed Lakhdar-Hamina's film, Chronique des années de braise (Palme d'Or 1975 at the Cannes Film Festival), as well as Mohamed Zinet, Algiers insólito (Tahyia ya Didou), Omar Gatlato by Merzak Allouache.

Professor Ahmed Bejaoui highlighted the glorious past of the Algerian film industry, where citizens were truly passionate about movies. He laments the dilapidation and disappearance of cinemas, knowing that the capital, Algiers, was full of cinemas in the 1970s.[3] The advent of cinema in Algeria in the 1970s was a great success.

The advent of cinema in Algeria was under French domination. Cinema was mainly used for propaganda purposes among the Algerian population. Colonial cinema served to justify established policies and to gain the sympathy of Algerians.

These films generally drew a caricatured portrait of Algerians and Arabs. The Arab characters were depthless, interchangeable and timeless, and always played by French actors.[5] Albert Durec's film The Desire (1928), which deals with the theme of polygamy, is an example of the superficial approach of colonial cinema. The decorations are just as caricatured: palm trees, camels, lascivious women ...[3]

Tim Squyres, ACE reflects on the motives for making

HELLO, I am Josephine, film director, screenwriter, tutor, author, mother of two daughters, passionate about life, human rights, gender equality and diversity dedicated to do my bit for this society: creating thought-provoking films, contributing to gender equality and diversity in front of and behind the screen, connecting with my vitality and feminine energy. Portfolio

What we see on screen has a direct impact on our lives and as a creator I have the power to change what we see on screen and make it more diverse and representative through my films. What we see on screen has a direct impact on our lives and as a creator I have the power to change what we see in cinema and make it more diverse and representative through my films. That is my mission.Josephine Landertinger Forero

Online film academy dedicated to empowering women filmmakers, strengthening their skills. Current free courses: I am Unstoppable (improve self-esteem, sales techniques, pitching strategies) and Hello Metaverse (introduction to blockchain, metaverse, NFTs and web3 for filmmakers).

TAPE: Unveil the Memories #2

6We know that memory is a present-past relationship that is in permanent [re]construction, at the individual and social level, and that a society's memories are negotiated and defined in a context of debate ( Halbwachs, 1992; Fentress and Wickham, 1992). Each generation, each historical context, and each political juncture generate new perspectives through which we look at the past. The relevance that memories of the dictatorship have in society influences cultural production about it. Depending on the moment of production and the filmmaker's point of view, films about the dictatorship present different memories of the same history.

7We cannot remember everything. Let's think of the nightmare of the memorious Funes in Borges' short story, condemned to remember permanently and in detail everything. That is why the process of memory construction works as an editing machine that selects what to forget and what to remember. Films also edit the past, highlighting certain aspects and minimizing or ignoring others. They thus contribute to the transmission and construction of different, and often contradictory, versions of the same events. In this process, what is said is as important as what is silenced, what is remembered as well as what is forgotten. Rather than being the opposite of remembering, amnesia is a form of memory (Huyssen, 1995). Or as Todorov (1995: 14) suggests, memory is precisely the interaction between what is remembered and what is forgotten.