Rokhaya Diallo @iamhist2017 with her documentary “Not your Mama’s Movement”

 



"Not your Mama’s Movement" 

(in French: "De Paris a Ferguson : coupables d'être noirs"), 2015 

My name is Rokhaya Diallo, and I am a French Activist and Journalist 
who hasbeen fighting for racial, gender and religious equality. 
In 2005, the deaths of two innocent French young men of color, Zyed 
Benna and Bouna Traoré, inspired my stand against the racial 
oppression plaguing French society. 
Dissimilar to the United States, the victims of French police 
brutality are sorely neglected by the media and unnoticed on a 
global scale. I am committed to changing this. In the U.S, 
the acquittal of Trayvon Martin's murderer, and the failure to hold
white policemen responsible for the deaths of Michael Brown and
Eric Garner triggered indignation across America. 
The ensuing demonstrations ushered in a new generation of Black 
activists. Mobilizing behind the #BlackLivesMatter campaign, 
social networks have become the battleground for challenging power
structures, policies, prejudices and attitudes. 
Viewing America's racial turmoil from a foreign lens, I wanted to 
meet these new emblematic leaders of the African American community. 
Traveling to Ferguson for the anniversary of Mike Brown's death, 
I was introduced by American activist Rahiel Tesfamariam, founder 
of Urban Cusp, to the leaders of Hands Up United and other
torchbearers for the #BlackLivesMatter movement. Together we drew 
parallels between the racial struggles in the U.S. and France and 
devised visionary solutions to ameliorate the global Black 
condition.

e.SidneyPaul

Rokhaya Diallo, French journalist, writer and filmmaker, is widely recognized for her work in favor of racial, gender and religious equality. She is a BET-France host and has produced and/or directed documentaries, TV and radio programs. She published: Racism: a guide, France Belongs to Us; France: One and Multicultural and How to talk to kids about racism. She recently published a graphic novel “Pari(s) d’Amies” and released Afro! featuring Afro-Parisians who choose natural hairstyles. Rokhaya launched her global bilingual blog RokMyWorld Today, she lives between Paris and New York and continues her social activism while being a speaker around the world.

Registration open: Second International Conference, Colour in Film, 27-29 March, 2017, London

Dear colleagues and friends,

registration for our Second International Conference, Colour in Film, is now open via

http://www.colour.org.uk/meetingMarch17.php, where you can also find the conference schedule and program.

Please help spread the word, such as by sharing Silent London’s recent and enthusiastic post, https://silentlondon.co.uk/2017/02/15/the-futures-bright-colour-in-film-2017/, or better still, consider joining us!

Colour in Film is an unique international event intended to foster and stimulate the interaction between the two vibrant, but still separate, colour film restoration and colour science circles.

The Second International Conference, Colour in Film, will take place from 27-29 March, 2017 at BFI Southbank and George Fox Room, Friends House, 173 Euston Rd, London NW1 2BJ . It will cover the entire breadth of colour in moving images, from early (pre)cinema’s chromolithographic printing through the applied colours of tinting, toning and their Desmetcolor rendition, from chromogenic Agfacolor and Eastmancolor through the video- and film- based look of the golden age of British colour television and up to modern, current grading in the digital domain.

The conference will begin with an afternoon of screenings in the beautiful NFT3 theatre at BFI Southbank on March 27, followed by a full day of symposium sessions in Friends House, where we will conclude on March 29 with Sarah Street’s project workshop on the Eastmancolor revolution.

Colour in Film is aimed at everyone interested in colour in cinema, colour in cultural heritage, colour reproduction and restoration, and colour perception, whether a film restorer, archivist, historian, enthusiast, or a colour scientist.

The event is co-organised by the Colour Group (GB) and HTW – University of Applied Sciences Berlin, in cooperation with ERC Advanced Grant FilmColors (University of Zurich), the British Film Institute (BFI), and The Eastman Revolution project (University of Bristol).

Hope to see you in London!

Ulrich Ruedel

HTW – University of Applied Sciences, Berlin

Conference: Orphans 2017 / Orphelins de Paris – Tests, essais et expérimentations

Orphans 2017 / Orphelins de Paris

Tests, essais et expérimentations

 

Cinémathèque française, March 2-4, 2017

Registration: www.nyu.edu/orphanfilm

 

jeudi / Thursday, 2 mars / March 2

9:00 am Introductions

Dan Streible (NYU MIAP) & Pauline de Raymond (Cinématheque française)

About the Orphan Film Symposium on Tests, essais et expérimentations

Lydia Pappas (University of South Carolina) Fox Newsreel Outtakes of Paris, 1922-1929

 

9:30-10:00 am Proto-cinema

Pauline de Raymond (Cinémathèque française) A Bar Room Scene (1894), a hand-painted Edison Kinetoscope film from the collection of the Cinémathèque française

Dan Streible (NYU) Fred Ott Camera Tests: Edison Kinetoscopic Record of a Sneeze and [Fred Ott Holding a Bird] (1894)

Laurent Mannoni & Céline Ruivo (Cinématheque française) Étienne-Jules Marey rediscovered: new restorations of 90mm films (ca. 1890-1900)

 

10:00-11:00 am Medical Attractions

Antonia Lant (NYU Cinema Studies) Dr. Eugène Louis Doyen Surgical Films (1898-1912)

Claudia Gianetto (Museo Nazionale del Cinema, Torino) Les films neuro-pathologiques du Professeur Camillo Negro (1906-1918)

 

11:00 am Pause

 

11:30 am – 1:00 pm Experimental Artists

Bill Brand (BB Optics) introduction

Alexis Constantin & Alice Moscoso (Centre Pompidou) Super 8 films by Artist Teo Hernandez

Simona Monizza (EYE Filmmuseum) Restoring the Abstract Films of Joost Rekveld: #2 (1993) and #3 (1994)

Stefano Canapa & Guillaume Mazloum (L’Abominable) Images Inédites de David Dudouit

 

vendredit / Friday, 3 mars / March 3

9:00 – 10:45 am Silent Rushes from the Old Masters

Elodie Tamayo (Université Sorbonne Nouvelle – Paris 3) Rushes from Abel Gance’s film maudit Ecce homo (1918)

Thomas Christensen (Danish Film Institute) Benjamin Christensen’s Double-Exposure Tests for Häxan (ca. 1920)

Manon Billaut (Cinémathèque française) Testimony of a Location : The Rushes for The Swallow and the Titmouse (1920)

Bernard Eisenschitz (film critic and historian) & Céline Ruivo (Cinémathèque française) L’Atalante, by Jean Vigo (1934, Gaumont, Francofilm): Excerpts of dailies preserved and newly restored by the Cinémathèque française.

 

10:45 am Pause

 

11:10 am – 1:00 pm Newsreel and Documentary Leftovers

Elżbieta Wysocka (Filmoteka Narodowa) More than could be shown: Unused Materials [nieużytki] from Polish Newsreels, 1944-1994

Mila Turajlic (filmmaker) Stevan Labudović: Yugoslav Newsreel Footage [restlovi] and the Non-Aligned Movement in Algeria

Lina Kaminskaitė-Jančorienė (Vilnius University) The Leftovers [liekanos]of Memory: Outtakes from Robertas Verba‘s Šimtamečių godos /The Dreams of Centenarians (1969)

Theodore Kennedy (independent) & Amy Sloper (Wisconsin Center for Film and Theatre Research) B.F. Skinner Plays Himself: Outtakes from a Film Biography, The Skinner Revolution (1978)

 

samedi / Saturday, 4 mars

9:00 – 10:30 am Amateur Film and Home Movies in WWII

Kay Gladstone (Imperial War Museum) Clandestinity: Amateur Films of Secret Subjects in France and Belgium during the Second World War

Lydia Pappas (University of South Carolina MIRC) Identifying Amateur Films by Members of the U.S. Army in WII: J. B. Doty Collection (Italy, 1944) and For This We Die (India, 1944)

Rachael Stoeltje (Indiana University Libraries) John Ford’s Home Movies of Mexico, 1941-1948

 

10:30 am Pause

 

11:00 am Remarks for the Good of the Order

Thomas Christensen (Association des Cinémathèques Européennes) Report on the Conclusion of Project FORWARD and an Audiovisual Orphan Works Registry for the EU

 

11:15 am – 1:00 pm Tests, essais et expérimentations

Elżbieta Wysocka (Filmoteka Narodowa) Krzysztof Kieślowski’s Klaps (Slate, 1976)

Paul Fileri (NYU) Paulin Vieyra’s Student Film C’était il y a quatre ans [Four Years Ago] (1954) : French Colonialism as Seen by an African

Walter Forsberg (Smithsonian National Museum of African American History and Culture) Building a Collection via Archival Partnerships: A People’s Playhouse (American Negro Theatre, ca. 1944)

Enrico Camporesi (Labex CAP, Centre d’Histoire et de Théorie des Arts, EHESS) & John Klacsmann (Anthology Film Archives) A Film Is a Reel: Barbara Rubin’s [Untitled, Rolls 5347 and 5350] (1964?)

Tzutzumatzin Soto Cortés (Cineteca Nacional Mexico) Take Over (1936): Rodriguez Brothers test films of Miguel Alemán as Governor of Veracruz, Mexico

Rachael Stoeltje (Indiana University Libraries) Outtakes from the Peter Bogdanovich Collection: What’s Up, Doc? (1972) and Paper Moon (1973)

Céline Ruivo (Cinémathèque française) Premier nocturne en fa # majeur de Chopin, Interprété par Victor Gille (Gaumont-Petersen-Poulsen, 1928)

Dennis Doros & Amy Heller (Milestone Film) Project Shirley: In Paris Parks (1954)

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