#european film market

[richardarmitagefanpage]

The Boy in the Woods Billboard at the European Film Market in Berlin, Germany.

📷: boyinthewoodsfilm

[haute-lifestyle-com]

From EIN Presswire - Janet Walker Presents Slate of Projects at EFM. #janetwalker #hautelifestylecom #theentertainmentzonecom #thesixsidesoftruth #thewednesdaykiller #theassassinsoffifthavenue #TheManhattanProject #project13thelastday #moviestowatch #movies #screenwriter #projects #producer #director #efm #efm2024

[ramirez-la-pelicula]

EFM European Film Market

is the largest film market in Europe and one of the most important in the world. The entire industry comes together at this gathering of producers, distributors, studios, artists, investors, sponsors, manufacturers, media and more.

"RAMIREZ Folk musical drama" came to Berlin at the hands of a production, communication and development team, to see possibilities and participate in all instances, talks, conversations, tables, business rounds, from February 16 to 26, then of the Opening Gala of the 73rd Berlinale.

Another milestone for theater and cinema from Entre Ríos!

The work by Daniel González Rebolledo, with original music by Eduardo Retamar filmed and produced by Lucio Stoppello, has so far four shorts in competition, 3 in OFFICIAL SELECTION, 2 in London, one of which will begin screening next Monday, November 20. February to March 6.

A short film specially produced to compete in the NIKON Photo Contest in Japan and a feature film in two versions in post production until October.

Present in Berlin to show our local production.

The entire EFM team wishes a successful market and we look forward to many fruitful meetings.

T his EFM constitutes a milestone for independent filmmakers from Entre Ríos, Santa Fe, and theater and film productions from the interior of the country, present in the 73rd Berlinale market.

EFM agenda:

Date: February 17:

Among many other relevant industry topics, The EFM Industry Sessions also addresses the most pressing questions about how to find, target and maintain the right audiences.

For the first time, the European Commission will release the results of a large multinational survey on audience behaviors and tastes in Europe, which was commissioned for the upcoming full market report, Media Outlook. Today we participate in the presentation and discussion to understand what the European audience wants to see.

Surfing the waves: audience building in a new period of change

A new wave of economic challenges and changing consumer trends are disrupting the post-COVID recovery for European cinema, testing business models and financial sustainability. This panel will explore new realities and the potential for innovative and collaborative approaches across the value chain.

Date: February 19

EFM STARTUPS: information and tools to rebuild the industry

Our industry is at an inflection point. The landscape has changed dramatically in recent years and there is no going back. It is time to take stock and rebuild, bringing to light new ideas and solutions. The founders behind EFM Startups are doing exactly that: designing new tools, technological innovations, proprietary software, and more to challenge and change the way the industry works. Join this year's 11 selected EFM Startups as they showcase their new solutions to help rebuild the industry.

Date: February 19

Changing business models with an A

What opportunities does ad-supported video-on-demand (AVOD) or ad-supported free-to-air television (FAST) open up for independent producers? Does this affect creative content? What parameters of the business models change? Let's connect dots between audiences, producers and distributors.

Date: February 19

CRESCINE – Promoting the Competitiveness of the Film Industry in Small European Countries

CRESCINE is one of the new EU HORIZON projects that aims to increase the competitiveness of the European film industry.

CRESCINE will start next month and during this presentation we will highlight the scope of the project, its objectives and main contributions. Do not miss it!

The X Factor: How to create buzz around your new movie

With an endless supply of "content" such as "RAMIREZ Drama Musical Folk" generating audience excitement around your film has never been more important, but breaking through the noise has never been more challenging. We look at how the world's leading independent distributors create the vital enthusiasm that makes the difference between success and failure.

Date: February 20

Plurality in Nonfiction: What's at Stake in the Mainstream Era

In the risk-averse, post-pandemic, algorithm-driven market, how can we secure a space for rich, varied and diverse artistic expression and nurture ambitious creative documentaries?

Date: February 21

4 European Film Market - EFM

PODCAST 🎙 New episode available now! 🎙

In this episode of Industry Insights, Linda Beath, Petri Kemppinen and Fredrik af Malmborg, all experts in film and television financing, share their ideas on strategies for financing a feature film or TV series.

This season has been produced in cooperation with the Goethe-Institut and is co-financed by Creative Europe MEDIA . This particular episode was developed in collaboration with the Göteborg Film Festival's Nostradamus Project organized by Johanna Koljonen.  ECCO Inc.  Gothenburg Film Festival.

Thanks to the European Film Market - EFM! Thank you to the Marché du Film - Festival de Cannes and Cinando team , for making room reservations, organizing conferences and maximizing our exposure in this edition.  We will be here to answer any questions you may have about the "RAMÍREZ, Drama Musical Folk" film, short films and more in this edition of Europe's largest film market.

[razistoricharka]

Very interesting + concise article, pertinent with how much I've seen the joke about that "sadness in his eyes you only see in east european gay porn". Warning for pretty much everything you can expect.

Describing the wave of Eastern European gay pornography that flooded the US market following the dissolution of the USSR, Jones said: “They were products of a crude imperialist enterprise: cheap and nasty looking, with an atmosphere of coercion and cultural misunderstanding pervading them. Customers adored these videos, and expressed their breathless admiration whenever given the chance”

It gets pretty rough from here onward.

The Fall… opens with a short clip of a young man in profile, undressing. He looks uncomfortable, alternating between staring forward and glancing in the direction of the camera, his eyes showing a mix of discomfort and contempt. Jones’ voiceover states: “even in an unlikely place, it is possible to find traces of recent history” followed by b-roll taken from the aforementioned porn films including maps of the former USSR, market scenes, beggars and street footage. Their purpose in the aforementioned films appears to be part exoticism and part poverty fetishism, attempting to show the former glory of the Eastern nations as an emphasis on their subsequent fall. They’re an essential part of the set-up, speaking directly to what made this genre of pornography appealing to a western, primarily American, market. It’s easy to comprehend the mixture of exploitation and exoticism that made these videos popular in the US, but Jones goes further, aiming to establish a firm link between the booming Western economy and a more global, less visible form of exploitation.

The latter half of the film compounds the atmosphere of coercion, focusing specifically on the casting and screen tests of performers. The voice from behind the camera probes the subject on their sexual preferences, their motivations for being filmed: “I’m doing it for the money” “That’s a very good reason” Western audiences were turned on by the idea that the performers were under some form of duress—the ostensibly straight man either consuming their sexuality through the guise of pornography, or in the case of several scenes, the performer showing visible discomfort at either the sex or the presence of the camera. The films are low budget, low production value and low brow—by intention, rather than necessity. Jones speculates that the developing Eastern European sex industry, with the influx of Western producers and a Western market in mind, could be seen as an indicator of fertile ground for fascist ideologies—an aspersion confirmed by the global rise of far-right ideologies in tandem with the economic pressure of late-stage capitalism, a point at which more contemporary comparisons can be made.

The brief conclusion on the contemporary form of this exploitation aesthetic is also noteworthy:

In the same way that the fall of communism was exploited by the West, the financial and social insecurity of a generation living in recession, under permanent austerity, is exploited now. The aesthetics utilised in Jones’ film are still broadly present, albeit perhaps in a slightly altered form, now accompanied by a new visual language born from a culture numb to being told to “like, comment, share and subscribe”.

[doyoulikethissong-poll]

Tarkan - Şıkıdım (Hepsi Senin Mi?) 1999

"Şıkıdım" (Shake) is a song by Turkish singer Tarkan. It was originally released on his 1994 album lending its title to the album's name, Aacayipsin (Hepsi Senin Mi?). It is written by Sezen Aksu, reproduced by Laurent Marimbert and re-mixed by Yves Jaget for the European music market and included in Tarkan's self-titled compilation album in 1998. It was released as a single after the success of his previous single "Şımarık" (poll #94) in 1999.

This song was later released in English as "Shikidim" on Tarkan's 2006 English-language debut, Come Closer. This song has been covered in Persian by a girl group called Silhouettt, with the song re-named "Paeez". It was also covered by British grime artist Skepta, Russian pop singer Philipp Kirkorov, the Israeli duo Datz, Ukrainian singer Viktor Pavlik and Bulgarian singer Georgi Hristov. For the 2004 Indian film Dhoom it was covered in Hindi as "Shikdum", with lyrics penned by Sameer.

"Şıkıdım (Hepsi Senin Mi?)" received a total of 66% yes votes! Previous Tarkan polls: #94 "Şımarık".

[forsoobado137]

🍨dolly_as_prez Follow

🍨dolly_as_prez Follow

It's been five years since I made this meme and nothing has changed lol

156,932 notes

🧻Dorpblorpw93 Follow

Watching Alfred's short films on youtube are always fucking hilarious because I never know if he's being ironic or not. They all look like they were written produced by an over-caffeinated film student but if they had an actual budget. Like they are legit the funniest pieces of media out there and I have no idea if the comedy is intentional or not.

🏞fromthevalley89 Follow

Where do I begin here? The fact that he basically plays everyone? The fact that he included Arthur but didn't let him play as himself and cast him as bad guys? The fact that he was able to get Roderich and Francois on board with this? The fact that he doesn't even name himself and just puts ME? The fact that the end credits are three times longer than the movie? AND HE LITERALLY CAST HIMSELF AS GOD?! This is peak cinema.

🧭justintime12oclock Follow

Also what is up with Tony? Did Alfred just rotoscope his roommate and make him an alien? is it CGI (Really badly done)?

47,459 notes

🌌galaxylesbian Follow

AGAIN?!

🐝beemybestie Follow

Translation: wahhh wahhh my president won't give me money for Louis Vuitton and my seventh mansion so I'm gonna sit on my ass while the stocks plummet and the trains malfunction 🥺

🌟bugdrinkbugrink Follow

Actual translation: I've literally fought in dozens of wars and bent over backwards for this government and all I get in return is a minimum wage paycheck, demeaning insults from my own politicians, and disrespect from tourists that I'm forced to put up with. I deserve better, and by not working, I'm going to demonstrate how fucked you all would be without me. I hope this opens people's eyes to the lack of rights me and my fellow nations have, and that it will force governments everywhere to actually give a shit.

🌷Azaleyaaaaah02 Follow

Also that mansion thing is such bullshit. The reason nations have so many houses is because they have been ALIVE FOR CENTURIES and they can't just stay in one place forever. Also they have had more than enough time to buy houses when they were cheap and pay off multiple properties. Nations aren't just secretly a bunch of out of touch millionaires. They have been homeless, in debt, and have lived in far worse conditions than you could ever imagine.

🌟bugdrinkbugrink Follow

For everyone trying to call nations "selfish" for going on strike because it has negative effects on their countries, that is literally THE ENTIRE POINT OF STRIKES. World leaders think that all nations do is look pretty and die over and over in petty wars. In the THREE DAYS that France (and other European countries) went on strike back in 1976, the stock market plummeted, trade slowed, transportation stopped working, and other citizens stopped going to work. The leaders realized pretty quickly that they fucked up. After they got better wages, the nations returned, and everything was up and running again.

Moral of the story: PAY YOUR NPS A LIVING WAGE! These people have literally sacrificed everything for their nations. So what if France wants to be able to afford iconic French fashion brands? If I was an immortal being who died thousands of times in mankind's worst wars, you better BELIEVE I would demand that I can afford to treat myself.

41,246 notes

[naryrising]

So you like imaginary fandoms...

With the recent success of Goncharov, I thought I'd make a post to mention some of the previous times this has happened in fandom, and a brief explanation and some links on how you can find works for them. I don't claim that this is a comprehensive list, it's just ones that came to me off the top of my head based on several decades of fandom involvement.

Ghost Soup Infidel Blue. Originates from the annual Yuletide exchange, specifically a post by liviapenn in 2007 that used it as a default fandom to help explain how to write 'dear author' letters. The relevant quote (meant to illustrate the kind of letter that would be too specific) was "'Bad: "I would like a Ghost Soup story where Luke makes out with Angela's clone and Angela gets mad and seduces Moira just to make Luke mad, and then Ryan and Luke duel to the death with their lightsabers and it ends up in an Angela/Angela's clone/Moira threesome. And Ryan feels really bad and flies off to Mars forever."" Consensus is that it is a sprawling space opera anime series, something like Gundam or Macross, with many sub-parts and spin-offs. Part of the dynamic of Ghost Soup 'fandom' is people arguing in the notes and comments about the continuity or quality of these various spinoffs (e.g. Purple is reputed to be bad, but some people will staunchly defend it just to be contrary.) Deliberate wank and badfic is part of the humour. You can read the Fanlore post about Ghost Soup here and find works for it and its related fandoms here

Winterblumensaat. Again, this comes out of Yuletide, specifically a nomination in 2021 for what was strongly suspected to be a nonexistent German book. The nominator's sister found it in a flea market! It very definitely was real! They couldn't provide any evidence or a photo of the book, but they promise it was definitely a real book! Despite being rejected from Yuletide nominations as not having any basis in reality, it has nevertheless had some fics written for it. The AO3 tag is merged into Original Work, so you can find them by searching in Original Work for Winterblumensaat (results here). It seems to be a moody, dark mid-century European novel, with characters named Florientina, Mailia, Schnail, and Markus. A related non-existent fandom with the same origin story is Nur die Sonne - Maria Moßer, but this has only attracted one work so far (a crossover with Winterblumensaat).

Cordelia (Movie Poster). In 2020 a movie poster for the movie Cordelia came out that inspired fandom in ways probably not intended by the movie's creators. While the actual movie Cordelia is a contemporary horror/thriller, the poster gave people the impression that it might be about Victorian femdom with pegging. Needless to say, they were disappointed by whatever was in the actual film, and made up fic based on what they thought the poster was about instead. Currently ALL works in the Cordelia (2020) tag on AO3 are actually about the poster and not the movie.

Invisible Ficathon. In 2014 an exchange called Invisible Ficathon ran, which was based around "stories that never were". Nominated "canons" had to be nonexistent fictional works referenced in another work. Examples given included "The Casebook of Sherlock Holmes - Joan Watson" (from Elementary), "The Itchy and Scratchy Show" (from The Simpsons), the books in Lucien's library in The Sandman that only exist in dreams, and so on. The collections on AO3 contain 71 works for nonexistent fandoms. Alas that this exchange only ran once, because it was a fun concept. I think with the renewed interest in Goncharov, it would be ripe for revival.

[theplantbish]

Helsingin Sanomat Käärijä article (11.10.) translated

Käärijä licks a carrot and makes OF content - It’s not just about clowning, the artist says

Käärijä’s CCC era comes to an end, when he releases a new album in November. On the album he sings about sex, among other things.

At the moment Käärijä is on an European tour. Between summer’s festival gigs and his fall tour he had time to take three weeks off.

Summary box:

Käärijä, Jere Pöyhönen, released a new song called Sex = Money, and makes OF content

OF-account has a couple of hundred of followers, subscription costs 40e per month

Pöyhönen is on an European tour, in Germany his gigs have been nearly sold out

New album People’s Champion comes out on Nov. 1st. It includes a personal song

“I started to sell sex because sex sells.”

Sings Käärijä, Jere Pöyhönen, on his new song Sex = Money. In the song’s promo video Pöyhönen licks a dirty carrot on a balcony. Fans know what the carrot is a reference to. On a video (plant note: it’s a pic HS get your facts right) posted on Käärijä’s OF account, a carrot sticks up from between Pöyhönen’s buttcheeks.

Yes, Käärijä makes OF content.

On the paid adult content site he has a couple of hundred followers. Subscription costs 40e per month.

When asked about his adult content career, he laughs.

“It’s more just a little fun for the fans,” he tells HS on the phone.

Pöyhönen is currently on an European tour. On the four gigs held in Germany the tickets have been nearly sold out, he says. The venues have been theaters and clubs that fit from 700 to 1,500 people.

On the stage Pöyhönen has been speaking rally-English and has been on his element. The audience has been a bit more grown up compared to Finland, he says.

Käärijä gathered a big audience in Hamburg on Oct. 8th

In Finland Käärijä is an Eurovision hero that also kids admire. At all ages gigs he can’t curse and make dirty jokes the same way he does at club gigs.

Pöyhönen hopes that kids won’t find his OF account. That’s why he hasn’t posted about it much on his social media.

The new song that tells about selling sex won’t be left out of all ages gigs. The lyrics of the song will be changed, though, Pöyhönen says.

“Maybe we’ll sing about selling Lego.”

Whether parents play the new song to their kids or not is out of his hands, according to him. As a child he listened to Petri Nygård’s songs.

“And I’m still sane.” x

Pöyhönen talks about OF as a branding tool, that mostly gives him just a bit of extra money.

He created the account with Häärijä last December. At first it worked as a paid advent calendar for the fans. Pöyhönen told in the Urheilucast podcast that they made 40K euros on the first month.

Pöyhönen won’t reveal what he makes with the OF account these days, but evidently he has made more during the year.

“If someone wants to pay for it, that’s nice. But I have completely different sources of income,” Pöyhönen says.

In the videos Käärijä and Häärijä do mildly naughty things to each other. It’s like a dirty Kummeli show. More like soft porn than actual porn, Pöyhönen describes. 

“We’ve filmed stuff for the account that has made us laugh.”

(there was a pic of the crowd but I don't feel comfortable posting it here. The text under the pic: According to Pöyhönen, the audience at his European gigs is mostly just adults.)

It’s not all just about clowning. OF account and Sex = Money song are an ironic statement on how the world runs around sex too much. As if it was easier to sell sex than music.

Even though Pöyhönen himself says that he objects to marketing music with sex, Käärijä the character does it blindly with everyone else.

“In a way I’m taking a stand without taking a stand.”

Käärijä’s CCC era comes to an official end, when his new album People’s Champion comes out on Nov. 1st.

On the new album we’ll hear the first song fully sung by Käärijä. The topic is personal, Pöyhönen reveals, but won’t comment on the new music more than that.

“There probably won’t be any radical changes,” Pöyhönen says.

Pöyhönen wants to hold onto his underage fans. He sees the all ages gigs as great opportunities to talk about bullying, for example.

“Even before ESC Käärijä character was obscene. I don’t want to change my musical style too much. I make art that looks like me, my own thing.”

[determinate-negation]

Hollywood has made a lot of movies about the Holocaust, but not a single one has shown a romani perspective, even though half of Europe's roma population was exterminated by the nazis. I can't really think of anything coherent to say about this, do you?

because it is not of interest to western audiences and doesnt fit the pre-established popular narrative structures of mass culture relating to ww2. whats going to be a popular movie has nothing to do with the real magnitude or importance of something. the big space that ww2 and nazi movies occupy in mass culture also has little to do with the real history of the holocaust for any of its victims. in fact the holocaust was pretty absent from american consciousness post war, it wasnt seen as part of why the us was fighting ww2, survivors didnt talk about it, and it first started to enter popular american consciousness in a big way because of a nbc tv series in 1978 called holocaust about a fictional jewish family. and although this series was the first time many americans had even seen or heard of many aspects of the holocaust, it was still criticized for sanitizing the true extent of nazi war crimes and how horrific conditions were. all this is to say that very few of these popular culture representations really have to do with showing the full reality of something, there are calculations in terms of everything relating to the mass market for film and tv. theres on one hand a western fascination with the third reich (just go to any book store and see how many books there are about hitler) that i think motivates a lot of these representations and on the other hand the transformation of memory of the shoah into a political tool for us interests and the rise of the israel lobby in the us, thus american films are more likely to feature jewish narratives. jewish protagonists in world war 2 movies will likely be more relatable to an american viewer than roma people, straight up, because most mainstream holocaust films with jewish main characters are about middle class ashkenazi jews who lives are much like middle class americans. even though most of the jewish victims of nazism were poor religious eastern european jews. its the fear that it could happen to you, and thats less apparent if the story is about victims you cant relate to. also, theres a lot of jewish directors in america and not a lot of roma directors 🤷🏻

further reading:

The Culture Industry

[chaos0pikachu]

Is BL Being Overly Influenced by Modern Western Romance Tropes?

Short answer: No. anyways, in the following essay I will explain that James Cameron is a weeb...

(okay fine~~ lets actually do this)

TLDR: discussing what media globalization is, how fandom can distill it down to only American/European cinema, showcasing how a lot of current BL is influenced by countries within it's own proximity and NOT "the west" but each other, also James Cameron is still a weeb

I had seen a post that basically proposited that BL was being influenced by modern western romance tropes and had used things like omegaverse and mafia settings as an example. I found this, in a word, fucking annoying (oh, two words I guess) because it's micro-xenophobic to me.

It positions western - and really what we mean by this is American/European countries, we're not talking about South American countries are we? - cinema as the central breadbasket of all cinema in and of itself. Inherently, all following cinema must be in some way, shape, or form, influenced by American/European standards, and as such America/European countries are directly responsible for cinema everywhere else, and these places - namely non-white countries - do not influence each other, nor have their own histories in regards to storytelling or cinema and do not, in turn, also influence American/European film making either.

Now like, do I think all of that~~ is intentionally malicious thinking on behalf of folks in fandom? No, so chill out.

I do, however, think a lot of it is birthed from simple ignorance and growing up in an environment where ~The West~ is propagated to be central, individual, and exceptional as opposed to the monolith of "Asia" - by which we mean China, Korea, Japan don't we? How often in discussions of Asian countries is Iran, India, or Saudi Arabia brought up even tho they are all Asian countries? - or the monolith that is South America - in which some folks might believe regions like the Caribbean and/or Central America belong to, but nope there both North America.

Anyway, what we're talking about here is the concept of "media globalization":

"The production, distribution, and consumption of media products on a global scale, facilitating the exchange and diffusion of ideas cross-culturally." (source)

"The media industry is, in many ways, perfect for globalization, or the spread of global trade without regard for traditional political borders. [...] the low marginal costs of media mean that reaching a wider market creates much larger profit margins for media companies. [...] Media is largely a cultural product, and the transfer of such a product is likely to have an influence on the recipient’s culture." (source)

Typically when I see fandom discussing what falls under MG the topic is usually focused on how "the west" is influencing Thai/Korean/Chinese/Japanese media.

Enter, Pit Babe.

Surely Pit Babe was influenced by Supernatural right? Omegaverse is huge in the west - love it, hate it, meh it - it originated in the west - specifically via Supernatural after all.

Nah.

Omegaverse has been popular in Japan and China for almost a decade, if not longer. The earliest omegaverse manga I can think of is Pendulum: Juujin Omegaverse by Hana Hasumi which was released in 2015, almost a decade ago.

(what if you added furries into omegaverse? WHAT IF?? - Japan)

There's countless popular omegaverse manga too, and the dynamics only moderately resemble the ones we're familiar with in the west. Juujin is part omegaverse and part furry/beastmen - the alphas are all beastmen the omegas are humans - while something like Ookami-kun Is Not Scary only slightly resembles omegaverse dynamics as a hybrid series - beastmen are really popular in Japan in part b/c of historical mythology (you see the combination of romantic Beastmen and Japanese culture & folklore in Mamoru Hosoda's work The Boy and the Beast and Wolf Children).

Megumi & Tsugumi (2018) is so popular they're an official English edition published by VIZ's imprint SuBlime and that's a straight up omegaverse story.

(look at the omega symbol on the cover loud and proud baby)

So if Pit Babe was influenced by anything, it certainly wasn't "the west" it was Japan, Korea and China. Because those countries have a thriving omegaverse sub-genre going and have had such for 10 plus years now. Supernatural is popular in Japan, yes, and that may be where Japan and Japanese fans originally found omegaverse as a fictional sub-genre.

HOWEVER

Japanese fans took the sub-genre, bent it, played with it, and evolved it into their own thing. As such, other countries in their proximity, like Thailand, China, and Korea who read BL and GL manga, found it and were like "hey, we wanna play too!"

(is that an omegaverse yuri novel I spy?? yes, yes it is)

When I watched the Red Peafowl trailer, it had more in common with Kinnporsche, History: Trapped, along with films and shows like: Jet Li's The Enforcer, and Fist of Legend, Donnie Yen's Flash Point, Raging Fire, and Kung Fu Jungle, Han Dong-wook's The Worst of Evil, Kim Jin-Min's My Name, Lee Chung-hyeon's The Ballerina, Baik's Believer & Believer 2, Yoshie Kaoruhara's KeixYaku, popular Don Lee films The Gangster, the Cop and the Devil and Unstoppable alongside BL manga like Honto Yajuu and Bi No Isu (probably one of the most well known yazuka manga to date).

Like, we're seeing a rise in mafia based BLs and people think that's because of "western influence" and not the absolute insane success of kinnporsche??? Especially in countries like China, Korea, Taiwan, Philippines and other Asian countries???

Mafia films and gang shows aren't even that popular here in America/Europe; don't get me wrong, they still get made and exist, but the last full length film was The Irishman which did not make it's budget back, and while Power is still on-going it's not a smash hit either. The heyday of Breaking Bad, The Sopranos, The Wire, Goodfellas, and Scarface are long gone. And if you've watched any those shows or films they have very little in common with Kei x Yaku, Kinnporsche, or Red Peafowl in tone, or style.

(who knew martin just wanted to make his al pacino/robert de niro fanfic come to life all these years?)

Another example, The Sign, which is clearly taking inspiration from Chinese costume dramas: Ashes of Love, Fairy and Devil, White Snake (and it's many adaptions), Guardian, & Ying Yang Master Dream of Eternity. Alongside Hong Kong and Korean cop and romance shows like Tale of the Nine-Tailed, Hotel Del Luna, Director Who Buys Me Dinner, First Love, Again, and previously mentioned cop dramas.

Like, I know y'all don't think Twins is influenced by, what, American sports classic Angels in the Outfield?? Gridiron Gang?? Rocky?? Nah that shit is inspired by the popularity of sports manga like Haikyuu!!, Slam Dunk, Prince of Tennis (which even has a Chinese drama adaption), and the like. And also probably History 2, & Not Me but I'm like 87% sure Twins is just Haikyuu fanfic.

So like, does this mean that there's NO history in which American and European cinema influenced these countries? What, no, obviously that's not true, American/European totally have had media influence on countries like Korea, Japan, etc.

Astro Boy by Osamu Tezuka considered "the father of manga" was inspired by Walt Disney's work on Bambi. Another more recent and prominent example is director Yeon Sang-ho and his film Train to Busan.

"And it was Snyder’s movie [Dawn of the Dead, 2004], not the 1978 original, that filmmaker Yeon Sang-ho recalled as his first encounter with the undead. “That was when I started my interest in zombies,” Yeon said, in an email interview through a translator from South Korea. Even today, he added, “it’s the most memorable and intense zombie movie I’ve ever seen.”" (source)

HOWEVER, the global influence doesn't stop there. It's not a one-way street. Yeon Sang-Ho was inspired by Zack Synder's Dawn of the Dead, a remake of George Romero's own work, but Yeon Sang-Ho's work has inspired countless Korean film makers to make their own zombie media; following Train to Busan there's been: Kingdom (2019 - current), All of Us Are Dead (2022), Zombie Detective (2020), Zombieverse (2023), Alive (2020), Rampant (2018).

And hey, wouldn't you know it now we're starting to see more zombie media coming out of places like Japan (Zom 100 the manga, movie, and anime) and High School of the Dead.

Do you know what Domundi's series Zombivor (2023, pilot trailer only) reminds me of? It's NOT The Walking Dead (which is the only relevant zombie media America has created in the last decade) it's Korea's All of Us Are Dead (2022). Comparing the trailers, the settings, the tone, it's clear where Zombivor is pulling inspiration from: Korean zombie cinema. NOT American zombie cinema.

In fact a lot of Domundi's shows - Cutie Pie, Middleman's Love, Naughty Babe, Bed Friend - are all very clearly inspired by Korean filmmaking, specifically that of romantic kdramas from the 2016 - 2020 era. Not always in story, but rather in technique.

This is media globalization. It's not simply ~The West~ influencing non-American/European countries but countries who are often more close in terms of: proximity, culture, and trade are going to have more influence on each other.

It is far more likely that Aoftion (Naughty Babe, Cutie Pie, Zombivor) was influenced by watching Train to Busan, All of Us Are Dead, and other Korean zombie shows and films than a single episode of Walking Dead.

My point isn't that this goes one way only, but rather it is very literally a global thing. This includes American and European film makers being influenced by non-American and European cinema.

Martin Scorsese, Steven Spielberg, Darren Aronofsky, Christopher Nolan, the Wachowski sisters, George Lucas and James Cameron have all been influenced by Japanese film making, especially the works of Akira Kurosawa, Satoshi Kon, and Mamoru Oshii.

John Wick's entire gun-fu sub-genre is heavily influenced by classic Hong Kong action films, specifically John Woo films. Legend of Korra, The Boondocks, Voltron, Young Justice, My Adventures with Superman are all obviously inspired by Japanese anime but animated by a Korean animation studio (Studio Mir). Beyond that, the rise in adult animated dramas like Castlevania, Critical Role Vox Machina, and Invincible to name a few are very clearly taking inspiration from anime in terms of style. The weebs that were watching Adult Swim's Inuyasha, Bleach, and Dragon Ball Z have grown up and are now working in Hollywood.

Okay so like, what's the point of all this? What's the issue? Since American/European cinema does influence et all cinema does any of this really matter?

YES.

I take contention with this line of thinking because it centers "the west" and our supposed individual importance way to much. Declaring definitively that "BL is being influenced by western tropes" and then including tropes, narratives, and film making styles that aren't inherently western and actually have major roots in the cinema of various Asian countries, removes the existence of individual history these countries have which are rich, varied, and nuanced. It removes the "global" part of globalization by declaring "the globe" is really just America and Europe.

It distills these countries down to static places that only exist when American/European audiences discover them.

BL doesn't exist in a vacuum you can trace the development of Korean BL to the development of Korean het dramas almost to a T. You can also trace their development to the queer history of each country and how Thailand interacts culturally with China, Japan, Korea, etc and vice versa. It also ignores the history of these countries influencing American cinema as well. Don't mistake "the globe" for only your sphere of experience.

Anyway James Cameron is a damn weeb y'all have a good night.

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]

[kdrtsz]

Travel the World of Imagination: Journeys Beyond Border

Kieth Denmark M. Retes | BSIT1A OVERVIEW:

Switzerland originates from the Old Swiss Confederacy established in the Late Middle Ages, following a series of military successes against Austria and Burgundy; the Federal Charter of 1291 is considered the country's founding document. Swiss independence from the Holy Roman Empire was formally recognized in the Peace of Westphalia in 1648. Switzerland has maintained a policy of armed neutrality since the 16th century and has not fought an international war since 1815. It joined the United Nations only in 2002 but pursues an active foreign policy that includes frequent involvement in peace building.

Switzerland is the birthplace of the Red Cross and hosts the headquarters or offices of most major international institutions including the WTO, the WHO, the ILO, FIFA, the WEF, and the UN. It is a founding member of the European Free Trade Association (EFTA), but not part of the European Union (EU), the European Economic Area, or the eurozone; however, it participates in the European single market and the Schengen Area. Switzerland is a federal republic composed of 26 cantons, with federal authorities based in Bern. references: Switzerland - Wikipedia

Switzerland, a small yet influential country nestled in the heart of Europe, stands out in many ways. From its awe-inspiring landscapes to its unique political system, Switzerland offers a blend of natural beauty, cultural diversity, and global diplomacy that few other nations can match. Its distinct character is a product of centuries of neutrality, innovation, and a deep respect for its heritage, all of which contribute to the nation’s unparalleled reputation on the world stage.

One of the first things that captivates visitors to Switzerland is its breathtaking scenery. The country is dominated by the majestic Alps, with towering snow-capped peaks that attract adventurers and nature lovers from around the globe. Whether it’s skiing in world-class resorts like Zermatt and St. Moritz or hiking through verdant valleys and along crystal-clear lakes, Switzerland offers outdoor experiences that are hard to rival. Beyond the Alps, the country is dotted with picturesque towns, lush meadows, and sparkling lakes, such as Lake Geneva and Lake Lucerne, each offering their own unique charm. The country's commitment to environmental preservation further enhances the beauty of these landscapes, ensuring that they remain pristine for future generations.

Swiss culture is characterized by diversity, which is reflected in diverse traditional customs. A region may be in some ways culturally connected to the neighbouring country that shares its language, all rooted in western European culture. The linguistically isolated Romansh culture in Graubünden in eastern Switzerland constitutes an exception. It survives only in the upper valleys of the Rhine and the Inn and strives to maintain its rare linguistic tradition.

Switzerland is home to notable contributors to literature, art, architecture, music and sciences. In addition, the country attracted creatives during times of unrest or war. Some 1000 museums are found in the country.

Among the most important cultural performances held annually are the Paléo Festival, Lucerne Festival, the Montreux Jazz Festival, the Locarno International Film Festival and Art Basel.

Alpine symbolism played an essential role in shaping Swiss history and the Swiss national identity. Many alpine areas and ski resorts attract visitors for winter sports as well as hiking and mountain biking in summer. The quieter seasons are spring and autumn. A traditional pastoral culture predominates in many areas, and small farms are omnipresent in rural areas. Folk art is nurtured in organisations across the country. Switzerland most directly in appears in music, dance, poetry, wood carving, and embroidery. The alphorn, a trumpet-like musical instrument made of wood has joined yodeling and the accordion as epitomes of traditional Swiss music.

references: Switzerland - Wikipedia

[richardarmitagefanpage]

The Boy in the Woods will be part of the European Film Market.

[haute-lifestyle-com]

The European Film Market (EFM) the largest gathering of film buyers, sellers, producers, Independents, Studios, all in one place. This year, I was fortunate to receive Credentials! Granted it's online, and I won't be heading to Germany (this year) still, it is the perfect introduction for me, and my filmography as I look for interest. So, I think it's awesome!😎🥳

[ramirez-la-pelicula]

Der EFM European Film Market

ist der größte Filmmarkt in Europa und einer der wichtigsten weltweit. Die gesamte Branche kommt bei diesem Treffen von Produzenten, Distributoren, Studios, Künstlern, Investoren, Sponsoren, Herstellern, Medien und mehr zusammen.

"RAMIREZ Volksmusikdrama" kam durch die Hand eines Produktions-, Kommunikations- und Entwicklungsteams nach Berlin, um Möglichkeiten zu sehen und an allen Instanzen, Vorträgen, Gesprächen, Tischen, Geschäftsrunden, vom 16. bis 26. Februar, dann der Eröffnungsgala teilzunehmen der 73. Berlinale.

Ein weiterer Meilenstein für Theater und Kino von Entre Ríos!

Das Werk von Daniel González Rebolledo, mit Originalmusik von Eduardo Retamar, gefilmt und produziert von Lucio Stoppello, hat bisher vier Kurzfilme im Wettbewerb, 3 in der OFFIZIELLEN AUSWAHL, 2 in London, von denen einer am kommenden Montag, dem 20. November, gezeigt wird bis 6. März.

Ein Kurzfilm, der speziell für die Teilnahme am NIKON-Fotowettbewerb in Japan produziert wurde, und ein Spielfilm in zwei Versionen, der sich bis Oktober in der Postproduktion befindet.

In Berlin anwesend, um unsere lokale Produktion zu zeigen.

 Das gesamte EFM-Team wünscht einen erfolgreichen Markt und wir freuen uns auf viele fruchtbare Treffen.

Dieser EFM ist ein Meilenstein für unabhängige Filmemacher aus Entre Ríos, Santa Fe und Theater- und Filmproduktionen aus dem Landesinneren, die auf der 73. Berlinale vertreten sind.

EFM-Agenda:

Datum: 17. Februar:

Neben vielen anderen relevanten Branchenthemen sprechen die EFM Industry Sessions auch die dringendsten Fragen dazu an, wie man das richtige Publikum findet, anspricht und hält.

Zum ersten Mal wird die Europäische Kommission die Ergebnisse einer großen multinationalen Umfrage zum Publikumsverhalten und -geschmack in Europa veröffentlichen, die für den bevorstehenden vollständigen Marktbericht Media Outlook in Auftrag gegeben wurde. Heute nehmen wir an der Präsentation und Diskussion teil, um zu verstehen, was das europäische Publikum sehen möchte.

Auf den Wellen surfen: Audience Building in einer neuen Zeit des Wandels

Eine neue Welle wirtschaftlicher Herausforderungen und sich ändernde Verbrauchertrends stören die Erholung nach COVID für das europäische Kino und stellen Geschäftsmodelle und finanzielle Nachhaltigkeit auf die Probe. Dieses Panel wird neue Realitäten und das Potenzial für innovative und kooperative Ansätze in der gesamten Wertschöpfungskette untersuchen.

Datum: 19. Februar

EFM STARTUPS: Informationen und Tools zum Wiederaufbau der Branche

Unsere Branche steht an einem Wendepunkt. Die Landschaft hat sich in den letzten Jahren dramatisch verändert und es gibt kein Zurück mehr. Es ist an der Zeit, Bilanz zu ziehen und neu aufzubauen, um neue Ideen und Lösungen ans Licht zu bringen. Die Gründer von EFM Startups tun genau das: Sie entwickeln neue Tools, technologische Innovationen, proprietäre Software und mehr, um die Arbeitsweise der Branche herauszufordern und zu verändern. Schließen Sie sich den diesjährigen 11 ausgewählten EFM-Startups an, wenn sie ihre neuen Lösungen präsentieren, um zum Wiederaufbau der Branche beizutragen.

Datum: 19. Februar

Geschäftsmodelle verändern mit einem A

Welche Chancen eröffnet werbefinanziertes Video-on-Demand (AVOD) oder werbefinanziertes Free-to-Air-Fernsehen (FAST) für unabhängige Produzenten? Hat dies Auswirkungen auf kreative Inhalte? Welche Parameter der Geschäftsmodelle ändern sich? Lassen Sie uns Punkte zwischen Publikum, Produzenten und Verleihern verbinden.

Datum: 19. Februar

CRESCINE – Förderung der Wettbewerbsfähigkeit der Filmindustrie in kleinen europäischen Ländern

CRESCINE ist eines der neuen EU HORIZON-Projekte, das darauf abzielt, die Wettbewerbsfähigkeit der europäischen Filmindustrie zu steigern.

CRESCINE startet nächsten Monat und während dieser Präsentation werden wir den Umfang des Projekts, seine Ziele und Hauptbeiträge hervorheben. Nicht verpassen!

The X Factor: Wie Sie Begeisterung für Ihren neuen Film wecken

Mit einem endlosen Angebot an "Inhalten" wie "RAMIREZ Drama Musical Folk" war es noch nie so wichtig, das Publikum für Ihren Film zu begeistern, aber es war noch nie so schwierig, den Lärm zu durchbrechen. Wir sehen uns an, wie die weltweit führenden unabhängigen Distributoren den entscheidenden Enthusiasmus erzeugen, der den Unterschied zwischen Erfolg und Misserfolg ausmacht.

Datum: 20. Februar

Pluralität in Sachbüchern: Was in der Mainstream-Ära auf dem Spiel steht

Wie können wir auf dem risikoaversen, algorithmengesteuerten Markt nach der Pandemie einen Raum für reichhaltigen, vielfältigen und vielfältigen künstlerischen Ausdruck sichern und ambitionierte kreative Dokumentarfilme fördern?

Datum: 21. Februar

4 Europäischer Filmmarkt - EFM

PODCAST 🎙 Neue Folge jetzt verfügbar! 🎙

In dieser Folge von Industry Insights teilen Linda Beath, Petri Kemppinen und Fredrik af Malmborg, allesamt Experten für Film- und Fernsehfinanzierung, ihre Ideen zu Strategien zur Finanzierung eines Spielfilms oder einer Fernsehserie.

Diese Staffel wurde in Kooperation mit dem Goethe-Institut produziert und von Creative Europe MEDIA kofinanziert . Diese besondere Folge wurde in Zusammenarbeit mit dem von Johanna Koljonen organisierten Nostradamus-Projekt des Göteborg Film Festivals entwickelt .  ECCO Inc.  Filmfestival Göteborg.

Danke an den European Film Market - EFM! Vielen Dank an das Team von Marché du Film - Festival de Cannes und Cinando für die Zimmerreservierung, die Organisation von Konferenzen und die Maximierung unserer Präsenz in dieser Ausgabe.  Wir werden hier sein, um alle Fragen zu beantworten, die Sie in dieser Ausgabe von Europas größtem Filmmarkt zum Film "RAMÍREZ, Drama Musical Folk", zu Kurzfilmen und mehr haben.

[hotvintagepoll]

Propaganda

Colleen Moore (Flaming Youth, Ella Cinders)— One of the highest paid, most in-demand actresses of the silent film era, Colleen Moore defied genre and kept herself one step ahead of the competition (and although Moore was the OG flapper, her longtime rival Clara Bow would become more famous for the image) as well as invested her earnings to ensure her financial security after she retired. She even wrote a book all about investing in the stock market! Moore also nurtured a passion for dollhouses throughout her life and helped design and curate The Colleen Moore Dollhouse, which has been a featured exhibit at the Museum of Science and Industry in Chicago since the early 1950s.

Lilian Harvey (Die Drei von der Tankstelle, Der Kongreß Tanzt, Glückskinder)— Lilian Harvey was one of the most popular German film stars of her time, appearing alongside frequent co-star Willy Fritsch like a European version of Ginger Rogers and Fred Astaire. She had it all: she could act, she could dance, she could sing, she was hot, and she wasn't afraid to stick it to the Nazis. During the 1930s, she remained in contact with her Jewish friends and colleagues, which earned her the scrutiny of the Gestapo. When choreographer Jens Keith was arrested for having a sexual relationship with another man, Lilian posted his bail, allowing him to escape to France. She was eventually forced to flee Germany herself, and her film career never recovered. She is perhaps best known to American filmgoers from her brief mention in "Inglourious Basterds," when Joseph Goebbels insists that her name not be mentioned in his presence.

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut]

Lilian Harvey:

Colleen Moore:

Colleen is charming and funny, she was one of the starlets to popularize the iconic 1920s bob!

She's like the deep cut version of Louise Brooks, with majority silent films, and a large percentage of them lost-- BUT 'Why Be Good?' is such a fun movie and she wears really cute dresses and has all the best parts of Pre-Code leading lady fun!

[doyoulikethissong-poll]

Janet Jackson featuring Q-Tip and Joni Mitchell - Got 'til It's Gone 1997

"Got 'til It's Gone" is a song by American singer Janet Jackson, featuring American rapper Q-Tip and Canadian singer Joni Mitchell, from her sixth studio album, The Velvet Rope (1997). It was released as the lead single from The Velvet Rope, and Jackson opted for a less polished sound for it which resulted in an authentic blend of R&B, pop, and hip hop with traces of reggae influences. It contains a sample from Joni Mitchell's 1970 song "Big Yellow Taxi".

"Got 'til It's Gone" was met with mostly positive reviews from music critics, with most praising its fusion of Jackson's pop style with hip hop, and for its revealing theme. The song peaked at number 36 on the Hot 100 Airplay chart and reached number three on the R&B/Hip-Hop Airplay chart. Internationally, "Got 'til It's Gone" reached the top 20 in several European markets, including France, Germany, Ireland, Italy, Switzerland, and the UK.

The accompanying music video for "Got 'til It's Gone" was directed by Mark Romanek and filmed at the Hollywood Palladium in Los Angeles, and was premiered right before the 1997 MTV Video Music Awards. Jackson portrays a lounge singer in the video, which takes place during the time of apartheid in South Africa. It was called a masterpiece by critics, winning a Grammy Award for Best Short Form Music Video. It also received the most nominations at the seventh annual MVPA Awards, winning "Pop Video of the Year" and "Best Art Direction".

"Got 'til It's Gone" received a total of 55,4% yes votes.