Moving People and Images Journal

13/03/2023

Moving People & Images Journal collaborates with in publishing an article on mobile filmmakers in Berlin by Özgür Çiçek.

“All these three women have diverse motivations for filmmaking but they meet at the common point that if a person desires to make a film, she would definitely find a way to do it no matter where she lives, or where she arrives. As Wadhwa underlines migration comes with challenges, and Patrizia Simone’s report I referred to reveals that for women filmmaking in Europe is extra challenging. Still, even though the film industry is not easy to navigate through and there are obstacles to overcome, those who put their heart into filmmaking find a way to produce, write, and film. What makes Berlin an extraordinary place is that it is a hub where there are many filmmakers from very different places who are struggling to make their films in and through Germany, and this multiplicity creates collaborative knowledge and finds its counterpart through creating and sharing different experiences in a solidary way.”

Link in bio ☝🏽

19/12/2022

Thank you very much IHME Helsinki for this important collaboration.

IHME Helsinki on tilannut kaksi artikkelia Moving People and Images Journalilta. Yksi käsittelee kestävää elokuvatuotantoa ja toinen Geomancers-näytöstä.

18/12/2022

with .repost
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Lukuvinkkejä viikonloppuun! Tilasimme kaksi tekstiä 'lta ja ne on nyt julkaistu suomeksi Ekoblogissamme ja englanniksi Moving People and Images Journalin sivuilla. Taiteilija, arkkitehti ja tutkija Samir Bhowmik kirjoitti kritiikin lokakuisesta Geomancers-näytöksestämme ja tuottaja ja elokuvantekijä Kaisa Astikainen kirjoitti kirjaan perustuvan Veden vartija -elokuvan kestävän tuotannon oppimispolusta.

Inspiroivia tekstejä kestävyysmurrosta käsittelevistä videoteoksista ja murroksen tekemisestä elokuvatuotannossa. Lue lisää sivuiltamme ja MPI-Journalista: linkki biossa!

Kiitos kirjoittajille hienoista teksteistä ja Moving People and Images Journalille yhteistyöstä.

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Reading tips for the weekend! We commissioned two texts from and they are now published in Finnish on our Ecoblog and in English on the Moving People and Images Journal. Artist, architect and researcher Samir Bhowmik wrote a review of our Geomancers screening in October, and producer and filmmaker Kaisa Astikainen wrote about the learning curve of the sustainable film production in Memory of Water, movie based on a book by , directed by Saara Saarela and produced by Bufo.

Inspiring texts about video works dealing with sustainability transition and making the transition in film production. Read more in English !

We thank you the authors for the great texts and Moving People and Images Journal for the cooperation.




📸Samir Bhowmik by Emma Suominen
📸Kaisa Astikinen by Anne Ahn Lund

08/11/2022

Moving People and Images Journal collaborates with Suomen elokuvasäätiö - Finnish Film Foundation in publishing an article by African-Asian American writer, filmmaker, and entrepreneur Sharron L. Todd.

Sharron L. Todd had an in-depth conversation with Shameela Seedat on her filmmaking journey and her latest work African Moot.

South African Shameela Seedat is a human-rights law specialist and a document filmmaker. Before her film career, she worked in law for over ten years, and this background can be seen in the themes of her films.

“Growing up, I was particularly inspired by family members who’d actively joined the political struggle and were engaged in some form of resistance to the system of racial inequality in our country at the time. Siblings of both my father and mother had been imprisoned, banned, or tortured by the Apartheid government,” says filmmaker, Shameela Seedat, about a long dark period in South African history that only formerly ended in the 1990s. “In some ways, this has inspired my filmmaking in contemporary times, as I am drawn to characters who are ready to speak and ready to act, while all showing their human vulnerabilities.”
https://movingpeopleandimagesjournal.com/a-bloodline-of-activism-shameela-seedat-and-her-documentary-film-african-moot/

03/11/2022

Thank you very much Suomen elokuvasäätiö - Finnish Film Foundation for this unique collaboration!

You can read the article in English on Moving People and Images Journal

https://movingpeopleandimagesjournal.com/a-bloodline-of-activism-shameela-seedat-and-her-documentary-film-african-moot/

Eteläafrikkalais-suomalaisen yhteistuotannon African Mootin ohjaaja Shameela Seedat vieraili Helsingissä Rakkautta & Anarkiaa -festivaalilla syyskuussa.  Vierailun yhteydessä Academy of Moving People & Images järjesti TransBorder Conversations -tilaisuuden. Elokuvasäätiö on tukenut TransBord...

16/06/2022

The Moving People and Images Journal collaborates with Istituto Italiano di Cultura Helsinki in publishing an article by Italian film editor Beppe Leonetti.

In this article Beppe Leonetti reflects on different aspects of being an editor in making documentary films and had a conversation with editor Niels Pagh Andersen about his book Chaos in Order.

“Documentary film has a long tradition of siding with the weak. It is difficult to film in the real world without recognizing the obvious injustices.” Siding with the weak: I think Pagh Andersen’s vision of cinema in general and editing in particular, is all here, in those sentences. Everything is political, that’s what you get from Pagh Andersen’s account. Making a movie is political. Editing a movie is very political because editors have the power to shape the image of the world. They can make their protagonist into victims, and their antagonists into pure evil. They can also fake reality, as we see these days. “On the contrary, we need to constantly question how we humans shape our world, but at the same time, we also need to constantly question our own-motivations and methods when we are depicting this world.”

To read the article please visit
👉🏾 www.movingpeopleandimagesjournal.com

📸 Eleni Molfeta

IIC Helsinki
Order in Chaos Book

29/05/2022

Moving People and Images Journal julkaisi elokuvantekijä ja tutkija Evrim Kayan artikkelin, jossa hän tutkii turkkilaisia tai kurditaustaisia liikkuvia elokuvantekijöitä ymmärtääkseen heidän panostaan elokuvaan Saksassa ja kysyy, missä he näkevät itsensä maan nykyisessä elokuvateollisuudessa.

Evrim Kaya haastatteli elokuvantekijöitä, jotka ovat tuoneet uusia ulottuvuuksia Saksan elokuvateollisuuteen, rikkoneet rajoja ja paenneet tukahduttavia kategorisointeja.

🔗 Lue artikkelin lyhytversio sivuiltamme: https://www.goethe.de/ins/fi/fi/kul/mag/22967178.html

🔗 Koko artikkeli on luettavissa MPIJ:n sivuilla: https://movingpeopleandimagesjournal.com/turkish-kurdish-german-today-in-conversation-with-mobile-filmmakers-of-germany/
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Moving People and Images Journal veröffentlichte einen Artikel der Filmemacherin und Forscherin Evrim Kaya, die sich auf die Spuren der mobilen/bewegten Filmemacher*innen mit türkischen oder kurdischen Wurzeln begibt, um ihren Beitrag zum Film in Deutschland zu verstehen und zu untersuchen, wo sie sich in der heutigen Filmlandschaft des Landes sehen.

Evrim Kaya hat Filmemacher*innen interviewt, die neue Dimensionen in die deutsche Filmindustrie eingebracht haben, die Grenzen verwischt haben und den repressiven Kategorisierungen entkommen sind.

🔗 Die Kurzfassung des Artikels ist auf unserer Webseite zu lesen: https://www.goethe.de/ins/fi/fi/kul/mag/22967178.html

🔗 Der vollständige Artikel ist auf der Webseite von MPIJ verfügbar: https://movingpeopleandimagesjournal.com/turkish-kurdish-german-today-in-conversation-with-mobile-filmmakers-of-germany/

12/04/2022

The Moving People and Images Journal collaborates with Dokumenttikilta Ry - The Finnish Documentary Guild in publishing an article by Carmen Baltzar.

In this article Baltzar explores different aspects of ethics in making documentary films.

“Using others’ personalities, histories, stories, emotions and thoughts as material for your art is a strange occupation. Documentarians are not the only artists to do this, but we do it in a way that is more obvious and consistent than any other art that I’m aware of. We expose our sources – often their name, but also their face, body, voice, presence and way of being. And if we find a way of not showing any of those things, we still use a combination of moving image and audio to make the audience view their personhood our way.” Carmen Baltzar

To read the article please visit
👉🏾 www.movingpeopleandimagesjournal.com

📸 Anneli Sauli

26/01/2022

The Moving People and Images Journal collaborates with the Goethe-Institut Finnland in publishing an article by Evrim Kaya.

In her article, filmmaker and researcher Evrim Kaya traces the mobile/moving filmmakers with Turkish or Kurdish roots to understand their contribution to cinema in Germany and explores where they see themselves within the landscape of today’s cinema industry in the country.

Evrim Kaya interviewed to the filmmakers who have brought new dimensions into the film industry in Germany, blurred the lines, and have escaped the stifling boxes.

“I had the chance to meet and chat with filmmakers from different generations and experiences, hoping to take a snapshot of the current landscape inhabited by filmmakers with Turkish and Kurdish migration backgrounds in Germany. As imaginable, one conclusion that can be made immediately is that there are as many perspectives as there are filmmakers and each perspective is subject to change at any moment. I kept in mind that definitions are labels that help us understand things but also have tangible, material effects on the phenomena they are attached to – sometimes detrimental ones. And in our case, many filmmakers are aware of the danger of ghettoization and their personal struggle to make their films goes hand in hand with a constant fight for un-labeling themselves.”

You can read the article on the MPI journal website: https://movingpeopleandimagesjournal.com/turkish-kurdish-german-today-in-conversation-with-mobile-filmmakers-of-germany/

📸 Dilşad Şirvan

26/01/2022

The Moving People and Images Journal collaborates with Dokumenttikilta Ry - The Finnish Documentary Guild in publishing an article by filmmaker and writer Minou Norouzi, in which Norouzi discusses the documentary film Village of Women by Tamara Stepanyan.

“That’s just the beginning of a feminist tale about the effects of migration set in the backwaters where no one considers themself feminist. Feminist lives, however, are lived. Even as we hear weary declarations about a husband’s absence, such as “he is the centre of my universe”, we witness scenes of coded liberalism. For example, a picnic gathering in the hills among three older women serves as a reminder of the empowerment these women, too, are capable of. In a campaign of laughter, they defend the actions of a sixty-year-old fellow villager losing her virginity in the mountains: “It’s a natural need. She has never experienced this in her life, the poor one (…) she wanted to know what it was.” But I want to leave aside the transnational feminist reading that the film inspires for now. Village of Women brings something more unique to the plethora of documentaries about migration. Namely, it turns the spectacle of migration on its head by avoiding the topic altogether.”

The article is now available on the MPI journal website: https://movingpeopleandimagesjournal.com/village-of-women/

📸 Markus Rapp

11/10/2021

“I consider documentary fieldwork and filming as a space and time in between. By in between, I mean the combination of certain characteristics that make the space and time of documentary fieldwork both part of everyday life and at the same time removed from it. Before a documentary film becomes representation (something about the world) it is an event (something that happens in the world) In other words, before a documentary film becomes a product that can travel around the screens, it is a creative and social process rooted in the place and time where it happens. Documentary filming is a lived time as well as an imagined, speculative and desired one.” Arturo Delgado Pereira

You can read the full article on www.movingpeopleandimagesjournal.com

Aalto University

📷 by Siobhan Ni Choileain

05/10/2021

In his essay, researcher and filmmaker Alejandro Pedregal traces back to the early days of cinema. The new art form emerged during a capitalist era which had fundamentally altered our perception of time. How can cinema today challenge the hegemonic worldview of time produced by the capitalist societ...