1
الفرص التي تتعلق بنوع الجنس يف القطاع السمعي البرصي gender-related opportunities in the audiovisual sector 2 3
SouthMed WiA - Towards Greater Gender Equality: Promoting the Role of Women in the Southern Mediterranean Audiovisual Sector
www.smedwia.eu
Project Coordination: Anna Lucia Pinto, Project Coordinator Stefanie Thomas, Communication Coordinator
Title: Gender-related Opportunities in the Audiovisual Sector Project by: Researchers: Valentina Ferraro Isabeau Gerbelle A project co-founded by the European Union Design and Composition: Elena Duplá Lorenzo Fiore
Implemented by: Special thanks to: Dr. Ignasi Guardans Houaida Oueslati Anastasiia Perun
Editor: CUMEDIAE aisbl
Published by: CUMEDIAE aisbl In association with: www.culture-media.eu
ISBN: 978-2-9602297-0-7 EAN: 9782960229707 4 5
جدول املحتويات table of contents
I مقدمة I Introduction 6 192 - Justification - ملاذا هذا الكتيب اإلعالمي Target - Who is this for - - الهدف : ملن هذا الكتيب Methodological Notes - -مالحظات منهجية II Women in South Mediterranean Cinema: 14 A Catalogue II اإلنتاج السيناميئ 200 1. املنتجني املختارين III Film Production 32 2. متويل إلنتاج األفالم Selected Producers - - Funding for film production
211 III دعم املهنيني: بناء املعرفة IV Support to Professionals: Knowledge Building 62
IV الهياكل االجتامعية والشبكات V Social and Networking Structures 92 216 VI Festivals 106 Vالجوائز واملكافأت 224 VII Awards and Prizes 128 VI املنارصة و التوعية 232 VIII Awareness and Advocacy 134
VII قصة امرأة IX A Woman Story 156 240
X Selected Public Initiatives 168 - In the South Med Region - In Europe 6 7
I. introduction 8 9
why a handbook The SouthMed WiA Project ‘Towards Greater Gender Although some analyses have been conducted to measure and better understand the cur- Equality: Promoting the Role and Image of Women in the rent development of the audiovisual and film sectors in the region, they do not include a specific focus on women representativeness. No organized data, study papers and in- Southern Mediterranean Audiovisual Sector’ was laun- dicators are available specifically on the presence of women in the film industry. Even if ched on February 1st, 2017 for a thirty-month period. reliable statistics and indicators of the actual presence of women in the audiovisual sec- tor are still missing, scattered data point out that women representation is still very low. It is co-funded by the European Union within the framework of the regional programme Med Film and implemented by a consortium led by Interarts in Spain, in partnership with the Higher School of Within this same Project, and in accordance with its program, a survey was carried out at Audiovisual and Cinema (ESAC) in Tunisia, the Culture & Media Agency Europe aisbl (CUMEDIAE) in the very beginning, with the intention to produce an Inception report for internal use and Belgium, the Permanent Conference of the Mediterranean Audiovisual Operators (COPEAM) in Italy as very initial mapping of what was available in support of gender-related activities in the and the Screen Institute Beirut (SIB) in Lebanon. Region. This Survey demonstrated that just 34% of respondents were aware of public or private entities working specifically for the audiovisual sector and including the promotion Given its ultimate goal is to positively influence widespread cultural attitudes and public opinion, the of gender equality among its activities. In a more general perspective, our findings pointed project aims to strengthen the capacities of female professionals and operators of the audiovisual out that in less than the 50% of the cases respondents were aware of programs or activities sector in seven countries of the Southern Mediterranean, Algeria, Egypt, Jordan, Lebanon, Morocco, supporting gender equality and the role of women in general, which could also benefit pro Palestine, Tunisia and to contribute to sustainable development and cultural diversity by enhancing fessionals in the audiovisual sector the image of women in the film sector. These results confirmed the need and the importance of making an effort to systematize To achieve the aforementioned goals, the SouthMed WiA project envisages a range of diverse acti the available relevant information on programs and activities regarding gender and the au vities including the support to projects on gender equality in the audiovisual sector, capacity- buil diovisual sector in the target Countries, together with collecting practical information to ding and coaching of local operators, especially women, awareness raising and outreach activities to contribute to facilitating access to the industry and its professionals. relevant stakeholders, networking, and research on the image and role of women in the film sector.
In this framework, this handbook is designed to systematize and make more accessible relevant information of different sources and nature, which has in common its usefulness for anyone tr target ying to promote similar objectives than those if this project, as well as for professionals who would who is this for like to interact with those who are part of the gender balance and gender awareness effort in the The target audience of this handbook has been selected to include not only the primary SouthMed Region in the audiovisual sector. In a nutshell, the handbook presents opportunities and beneficiaries of the project actions (female film professionals and sub-grantees¹) but also initiatives related to film production, the funding of audiovisual projects in this area, the facilitation potential beneficiaries, which are other organization that are involved/are willing to get in of exchange and networking among professionals, the opportunities related to knowledge building, volved in activities related to the audiovisual sector and/or gender, in and beyond the South and a selection of public policy initiatives. The handbook does not pretend to be exhaustive, nor Med region. Indeed, some of the opportunities illustrated in this handbook might be benefi obviously final: it is the picture of a moment, at the time of its drafting, resulting from a solid (but cial in tracing exemplar cases and best practice that could also be extended and adapted to always limited) desk research, properly supplemented by the information provided on the basis of a other contexts. survey distributed online during the inception research phase, and complemented with direct inter
views with relevant operators. ¹ Two calls for proposals have been launched, in June 2017 and in December 2017, with the objective to support projects implemented by organizations active in the audiovisual sector in the Southern Mediterranean region. The projects have been selected based on their potential to contribute to enhancing the participation female audiovisual professionals on local, regional and national scales and the image of women in audiovisual products. Beneficiaries awarded a grant in the first call for proposals will be eligible to apply for the second call after finalizing their project. 10 11 Giving easy access to a broad range of cases and experiences has also the side effect of creat ing a favorable ground for establishing synergies and networking. This knowledge spillover • Need for instruments (financial or material) would reinforce the impact of this handbook to promote its scope towards gender equality, • Need for knowledge (theoretical and applied) by fostering a constellation of organizations and actions around gender. • Need for recognition of the work done to establish a professional career with financial returns Information is given for the use of whoever is willing or will be willing to use it for the benefit • Need for understanding the situation of gender in the sector to consciously act of the gender cause in the audiovisual sector. This, in turn, will ensure long-lasting effect of on it with the most appropriate means the SouthMed WiA project as well as related projects that could benefit of the stock from information provided. It is important to note that from the start we decided to approach the research and the in formation from the perspective of its real impact, and not necessarily only from the angle of a declared objective or even a title related to gender. In other words, what mattered for an initiative or activity to be counted was whether it could directly contribute to the main ob jectives of this project in the field of gender. As a result, we have included both some initiati ves that have directly been designed to help facilitate female professionals in the SouthMed film sector or projects related to them; as well as opportunities that are open to a broader audience (i.e. not only women), that deal with larger objectives, or that cover a larger scope than the SouthMed Region.
Given that the programs and initiatives collected are a living object and the research has been running for several months, the list of opportunities has required a constant check ing and updating to assess the current status of the programs and decide to include them among the opportunities. Still, the detail of some information may change in the time lapsing between the closing of the research and its dissemination. We have considered this issue, but we believe that even in that case, if a particular program or activities is not avail- able anymore, the entities or organizations behind them remain interesting sources of more methodological notes updated information. A lack of opportunities is often accounted as one of the main factors hindering participation and women representativeness in the audiovisual sector. Some of the reasons behind that But before moving into the list of activities and resources, we decided to publish a movie lack are related to social factors, others to the access to the information. While working on catalogue including movie productions related to gender, also produced in the framework the social premises of participation requires systemic and long-terms efforts, giving access of initiatives for advocacy and awareness building as well as Women directors’ movies. Once to the information about existing opportunities is what this handbook is about: filling the again, the catalogue is probably not exhaustive. And as it is common with any classification gap between information and action, first providing information to start action; secondly of films related to subject, the result could be open to debate. But we believe the importance supporting better actions with systematized information. of this catalogue goes beyond the list of titles: each film can also be viewed as a successful and inspiring project where a large number of people managed to work together, obtain the Several months of ongoing desk research involved digging into the relevant sources of in proper funding, and actually produce a very strong contribution to the debate on gender or formation to find out the most complete and updated information on the programs and to the image of women. initiatives established in the target Countries to help professionals in the audiovisual sector smooth their work, giving them support to satisfy specific needs: 12 13 To produce the list of opportunities and resources, interviews with relevant stakeholders When an initiative or activity could actually fall under more than a section, we applied what were conducted to complement the research. That helped to select the initiatives and pro we considered was its most important objective instead of repeating the same information grams, which could represent opportunities both in terms of business and professional de in two separate sections. We acknowledge that this whole matter may have terminology velopment. The final classification results of detailed analysis of the information we had col discrepancies. For this purpose, we have added a glossary of terms, which gives references lected, resulted in the creation of the following 6 categories: to the basic conceptual tools to navigate the discourse on gender in the audiovisual sector. Each opportunity has a brief description pointing out what it is about, who can apply, from 1. Information related to the production of a film, subdivided into two parts: which Country(ies)/Region(s), if the opportunity is only for women or not, if it is specific for the audiovisual sector or not, as well as references to the organization in charge (in x A selection of producers active in the Region cluding contact information). The time references displayed for each initiative are based on x A selection of opportunities and programs related to funding of film prodution. the information available; therefore they should be taken as indicative of the duration and This includes co-production opportunities and other supporting programs. The relevance of the listed opportunity. The main industry target is pointed out for each oppor term “production” here is used in the broad sense of support also to pre-produc tunity in order to enable directors, producers, broadcasters, journalists, screenwriters, etc., tion and, in a few cases, distribution. to screen the opportunities that are open to them.
2. Information on programs and projects that, whatever their names, result in supporting Some initiatives considered of special interest or particularly useful as examples have been professionals in developing their knowledge and improving their skills (knowledge highlighted along the list of opportunities. These Industry insights for film production, building). knowledge building, social and networking structures and knowledge building opportunities might eventually refer to organizations located beyond the geographical scope of the Sou 3. Initiatives that contribute to the connection among film professionals and the thMed Region (although having programs in some of the target Countries). These Industry enrichment that results out of that. insights boxes are complemented by Women stories, illustrating the experience of women who can be accounted for the success of some initiative (e.g. women manager, leader of a 4. Festivals, using this expression in its widest sense. In this case, we combine festivals program) or whose career has been positively influenced by a particular program in the list. organized in the Region, or targeted to women and open to the Region, even if based somewhere else. The Handbook concludes with a shorter list of a series of examples of gender-related policies in the audiovisual sector: in the South Med Region and also in Europe. 5. Awards and prizes include recognitions given to women and /or to professionals wor king in the broad audiovisual sector, including journalists, directors, distributors, entre preneurs, etc.
6. Initiatives where the main focus can be related to increasing awareness in this matter, or in supporting advocacy for it. This includes a broad and diverse set of initiatives (i.e. promotion, conferences, round tables, screenings, seminars, etc) sharing the main aim to raise awareness and directly/indirectly influence decision makers, stakeholders and rele vant audiences to support gender balance. 14 15
II. women in south mediterranean cinema: a catalogue.
movies related to gender equality issues in target countries 16 17
understanding what will they double life masculinities say about you
Synopsis. Four men are cham Synopsis. “What will they say Synopsis. Fatma Mlayah is a pioning gender equality in the about you” is a common Ara young girl from Tataouine who Middle East and North Africa bic phrase used in every home loves playing football. Since (MENA). From Egypt to Leba in the Middle East when one her birth, she always suffered non, Morocco and Palestine, member of the family does a hormonal imbalance. She has their stories of being involved something out of the ordinary always perceived her identi fathers, supporting women in and the family’s worried about ty closer to a man rather than business and promoting gen what others might think. This a woman which prompts her, der equality broadly challenge video shares a message to girls after a long and complex me stereotypes of men in the re and women of the Middle East dical career, to launch in 2008 gion. and beyond: do your thing, no the legal process that allowed matter who or what tries to her to become “Mohamed Ali”. Release date. 2017 hold you back. From which Countr(ies)/ Director. Najib Mnasria Region(s). MENA Countries Director. Eric Quennoy and Release date. 2016 Producer/Distributor. Mark Bernath for Nike From which Countr(ies)/ IMAGES MENA Release date. 2017 Region(s). Tunisia References /website From which Countr(ies)/ Producer/Distributor. Region(s). Middle East TV Tunisienne Producer/Distributor. References /website Division References /website 18 19
freedom what if we fi yadiha through halima switched tanger gool millefeuille altaghyeer football roles?
Synopsis. This documentary Synopsis. Halima is a beautiful Synopsis. New social experi Synopsis. A documentary Synopsis. Fatima is a girl from Synopsis. Zaineb and Aisha, tells the story of 2 young Pa and tenacious girl passiona ment on gender stereotypes film about Women Leaders in Tangier who works in Arej, an symbols of the Revolution lestinian girls passionate for te who loves horses and has a awareness-raising in the Arab Morocco, occupied Palestinian association from Bir Chifa, one and the future of Tunisia, are football. Moved by fervour and huge passion for a game rooted region. For the International Territories and Tunisia. of the poor suburbs of the fighting for their independen stubbornness, they manage to in Moroccan culture, the “Tbou Women’s Day in 2016, UN Wo city. Fatima encounters Strait ce, to win their freedom. Both overcome the many obstacles rid”. Halima will become the men invited youth to share Director. Jad Ghosn and Gazelles, a feminine fight against the religious and they encounter in practising first Moroccan woman. She also their thoughts on gender roles Adeeb Farhat football team of the zone. cultural shackles established this sport. founded the first female school and stereotypes through social Release date. 2015 They have very little fans but by an archaic society. of the arts and techniques of media platforms. UN Women From which Countr(ies)/ they keep going thanks to Director. Motasem Aliwaiwi “Tbourid”. also released a social experi Region(s). Morocco, Palestine, their effort and passion for the Director. Nouri Bouzid Release date. 2016 ment video that involved 20 Tunisia sport. Among other association Release date. 2012 From which Countr(ies)/ Director. Ahmed Madfai young men and women from Producer/Distributor. members, Fatima helps them From which Countr(ies)/ Region(s). Palestine Release date. 2016 Algeria, Egypt, Jordan, Lebanon, Oxfam’s AMAL Programme organizing a match against Region(s). Tunisia Producer/Distributor. From which Countr(ies)/ Palestine, Saudi Arabia, Sudan References /website Atletico de Madrid Feminas. Producer/Distributor. Documentary Film Depart Region(s). Morocco and Syria. They were asked to The goal is to create a big event Siècles Production ment of Palestine TV Producer/Distributor. SNRT switch roles and answer ques in Tangier, give some visibility References /website References /website References /website tions as they think the other to the feminine sport and bring gender would. down the barriers between two different cultures. Release date. 2016 From which Countr(ies)/ Director. Juan Gautier Region(s). Algeria, Egypt, Jor Release date. 2015 dan, Lebanon, Palestine, Saudi From which Countr(ies)/ Arabia, Sudan, Syria Region(s). Morocco Producer/Distributor. Producer/Distributor. UN Women Juan and Andrea Gautier References /website References /website 20 21
the source scheherazade, les douar de la source des cairo 678 tell me a story citronniers femmes femmes
Synopsis. Set in a remote vil Synopsis. The film unfolds the Synopsis. Cairo nowadays. Heb Synopsis. Salma Zidane, a wi Synopsis. After the murder lage in North Africa, the story poignant story of three women ba hosts an evening political dow, lives alone near the line of her parents, the young focuses on women who go on and their search for justice talk show on Sun TV. Karim, her that separates Israel from the Sabrina is taken to a poor villa a sex strike against having to from the daily plight of sexual husband, is the deputy direc occupied territories. She has ge exposed to attacks by Isla fetch water from a distant well. harassment in Egypt. When one tor of a newspaper that backs a house and a lemon trees’ mist armed groups. To support of the women resorts to stab the Government; he dreams of orchard that his dead father their families, men are hired Director. Radu Mihaileanu bing harassers in the groin, she soon being the director. How planted. The Israeli Minister of in factories. They entrust the Release date. 2011 becomes a phantasmal hero ever, it is made clear to him that Defence settles near her home defense of the village to their From which Countr(ies)/ that causes a nationwide stir. his wife’s political opinion, that in a luxurious villa with his wife wives. By taking up arms to Region(s). North Africa leans towards the opposition, is Mira. repulse and defeat Islamist at Producer/Distributor. Elzévir Director. Mohamed Diab poorly received and could cost tackers, women are becoming Films, Oï Oï Oï Productions Release date. 2010 him his promotion. Using his Director. Eran Riklis aware of their strength and References /website From which Countr(ies)/ charm and sex as tools, he con Release date. 2008 status. Traditions and taboos Region(s). Egypt vinces Hebba to choose social From which Countr(ies)/ are now overturned. Producer/Distributor. themes that will not affect the Region(s). Israel Dolar Film Government. Producer/Distributor. IFC Films Director. Mohamed Chouikh References /website References/website Release date. 2005 Director. Yousry Nasrallah From which Countr(ies)/ Release date. 2009 Region(s). Algeria From which Countr(ies)/ Producer/Distributor. Acima Region(s). Egypt Films, ENTV Producer/Distributor. Kamel References/website Abo-Ali References /website 22 23
women directors’ movies 24 25
la belle a day for aya goes to et la meute the bridge girls’ war women the beach beauty and the dogs
Synopsis. Mariam just wants to Synopsis. A new swimming pool Synopsis. A mother wakes up in Synopsis. As the forces of ISIS With scenes of solidarity, Synopsis. Aya is ten years old enjoy her night, when a tragic in town causes much chatter, the middle of the night to take and Assad tear through vil strength, and love amongst and works as a maid in a small event occurs. Despite the trau particularly because Sunday her sick baby girl to the hospi lages and society in Syria and these brave women soldiers, house in Casablanca. ma, the pretty Tunisian student has been announced as a day tal. She catches a taxi with her Northern Iraq, a group of brave “Girl’s War” is a surprising She dreams of a different life is determined to go to the poli for women. Bringing together young son, and gets dropped and idealistic women are ta story of Middle Eastern fe where she isn’t locked away ce. But what can be done when a diverse group of women her off at a bridge near the hos king up arms against them— minism on the front lines. from the world and were she your perpetrator is your only from the small community is pital. In the darkness, she sud and winning inspiring victories. can be a child. In spite of her hope for justice? an unexpected equaliser – and denly realises her son is no lon Members of “The Free Women’s Director. Mylène Sauloy situation she manage to find no one is more excited than ger with her. Screaming out for Party” come from Paris, Turkish Release date. 2016 happiness and frolics in her Director. Kaouther Ben Hania Azza, who dreams of wearing the boy, her heart skips a beat Kurdistan, and other parts of From which Countr(ies)/ daily life. As the Eid feast Release date. 2018 a swimsuit. Naturally, the men when she sees a hole in the the world. Their dream: to crea Region(s). France, Syria, approaches, Aya dreams of From which countr(ies)/ can’t help but be curious – and bridge, close to where her son te a Democratic Syria and a so Northern Iraq, Kurdistan going home to her family. Region(s). Tunisia find their own colourful way of was standing. ciety based on gender equality. Producer/Distributor. Producer/Distributor. protesting against the women’s GIRL’S WAR honours the legacy Women Make Movies Director. Maryam Touzani Cinetelefilm day. Director. Hala Lofty of Sakine Cansiz, co-founder of References /website Release date. 2015 References /website Release date. 2015 the PKK who was assassinated From which Countr(ies)/Re- Director. Kamla Abou Zekri From which Countr(ies)/ in Paris in 2013, and reflects on gion(s). Morocco Release date. 2016 Region(s). Egypt the sacrifices made by all of the Producer/Distributor. From which Countr(ies)/ Producer/Distributor. Hassala women in the movement, who Nabil Ayouch Region(s). Egypt Films, DayDream Art produc have endured jail, rape, war, References/Website Producer/Distributor. tion and persecution in their quest Elham Shahin References /website to liberate their lives and sis References /website ters from male dominance. 26 27
feminism camera/ et maintenant, the kingdom inshallah: wadjda yema woman on va où? of women a history of arab feminism
Synopsis. The struggle for Synopsis. Working as a video Synopsis. An enterprising Sau Synopsis. Ouarda mourns her Synopsis. In an isolated Leba Synopsis. The story of the wo Muslim women emancipation grapher at weddings in Casa di girl signs on for her school’s military son who may have nese village inhabited by both men of Ein El Hilweh refugee is often portrayed stereotypi blanca which requires her to be Koran recitation competition been killed by his second son Muslims and Christians, a new camp between 1982-1984 is cally as a showdown between out at night alone, a practice as a way to raise the remaining Ali, a leader of an Islamist conflict is looming in the valley. an important chapter in the Western and Islamic values, condemned in many Muslim funds she needs in order to buy maquis. She is also watched by Women invent false quarrels history of Palestinian refugee but Arab feminism has existed communities, Khadija Harrad the green bicycle that has cap a guard sent by Ali. Thanks to to distract the men and hide women in Lebanon. After the for more than a century. This is part of the new generation tured her interest. her courage and stubbornness, the information. They will use Israeli invasion of Lebanon in groundbreaking documen of young, divorced Moroccan she revives her garden and stratagems to make them for 1982, the camp was destroyed tary recounts Arab feminism women seeking to realize their Director. Haifaa Al-Mansour hopes for a better life. get their anger and their dif and its men imprisoned. “The largely unknown story, from desires for freedom and in Release date. 2012 ference. Kingdom of Women” docu its taboo-shattering birth in dependence while honouring From which Countr(ies)/ Director. Djamila Sahraoui ments the community and or Egypt by feminist pioneers up their families’ wishes. Region(s). Saudi Arabia Release date. 2012 Director. Nadine Labaki ganizing spirit of the women through viral Internet cam Producer/Distributor. From which Countr(ies)/ Release date. 2011 during this period, how they paigns by today’s tech-savvy Director. Karima Zoubir Razor Film Region(s). Algeria From which Countr(ies)/ were able to rebuild the camp, young activists during the Arab Release date. 2012 References/website Producer/Distributor. Region(s). Lebanon protect and provide for their Spring. From which Countr(ies)/ Aramis Film Producer/Distributor. families while their men were Region(s). Morocco References/website Anne-Dominique Toussaint held captive. Director. Feriel Ben Mahmoud Producer/Distributor. References/website Release date. 2014 Les Films de demain Director. Dahna Abourahme From which Countr(ies)/ References/website Release date. 2010 Region(s). MENA Countries, From which Countr(ies)/ France Region(s). Lebanon Producer/Distributor. Producer/Distributor. Virginie Adoutte ARCPA/AL-Jana References/website References/website 28 29
chahinaz: three times number one caramel what rights maria’s grotto divorced for women?
Synopsis. Aziz runs a garment Synopsis. A beauty salon in Synopsis. Chahinaz, a 20-year- Synopsis. A gripping portrait Synopsis. Khitam, a Gaza-born Director. factory that employs about fif Beirut is the setting for the old student in Algeria, has of women, whose lives were Palestinian woman, was mar Ibtisam Salh Mara’ana ty workers. He terrorizes them, sensual romantic comedy mixed feelings about the dictated by a moral code, ried off in an arranged match Release date. 2007 just as he does with his wife “Caramel”. The salon is a lively Western world and its values, “Maria’s Grotto” is a painful to an Israeli Palestinian. She From which Countr(ies)/ and daughter. One day, his wife and colourful microcosmos in but she admires the freedom ly true film about the followed him to Israel and Region(s). Israel, Palestine discovers that he is a gentle which various women meet of Western women. Through issue of honour killings in bore him six children. When Producer/Distributor. man with the clientele. She de and talk about their most im her curiosity and voyage of Palestine. Khoury explores the her husband divorced her in ArabWomensFF cides to cast a spell on him so portant topics: their looks, the self-discovery, Chahinaz begins issue through the stories of absentia in the Sharia Mus References/website that his gentle behaviour never newest beauty treatments and to wonder what life is like for four women: one is wrongly lim court and gained custody ends. Aziz becomes a feminist men, of course. women in other Muslim coun accused of dishonouring her of the children, Khitam was and his life becomes a hell. tries and around the world, and family and then murdered; the left with nothing. She cannot Director. Nadine Labaki why things are slow to change second dies after being forced contact her children, has no Director. Zakia Tahiri Release date. 2007 in Algeria. by her brothers to swallow property and no citizenship. Release date. 2008 From which Countr(ies)/ poison; the third survives re Although married to an Israeli, From which Countr(ies)/ Region(s). Lebanon Director. Samia Chala peated stabbings inflicted by a draconian law passed in 2002 Region(s). Morocco Producer/Distributor. Release date. 2007 her brother; and the fourth is a and barring any Palestinian Producer/Distributor. Anne-Dominique Toussaint From which Countr(ies)/ hip-hop singer who dares speak from gaining Israeli citizenship Côté Distribution References /website Region(s). Algeria out about honour killings, and has made her an illegal resident References/website Producer/Distributor. Article Z, faces death threats. there. Now she is out on a dual ITVS International battle, the most crucial of her References /website Director. Buthina Canaan life: against the court which Khoury always rules in favour of the Release date. 2007 husband and against the state, From which Countr(ies)/ in a last-ditch effort to gain ci Region(s). Palestine tizenship and reunite with her Producer/Distributor. Majd children. Productions References /website 30 31
hanan four women the silences of rachida ashrawi: of egypt the palace a woman of her time
Synopsis. A look at terrorism Synopsis. Amina Rachid was rai Director. Tahani Rached Synopsis. In the stormy after Synopsis. Set in 1950s Tunisia, Director. Moufida Tlatli in Algeria through the eyes of sed in a non-religious, Wester Release date. 1997 math of the peace accord sig the film is about Alia, a 25-year- Release date. 1994 Rachida, a teacher in one of the nized, aristocratic household From which Countr(ies)/ ned between Israel and the old woman, who returns to From which Countr(ies)/ school districts. before embracing Socialism Region(s). Canada, Egypt PLO, Palestinian spokeswoman her place of birth, a prince’s Region(s). Tunisia and fighting for social justice. Producer/Distributor. Hanan Ashrawi emerged as a palace in which her mother Producer/Distributor. Director. Yamina Bachir Another deeply committed National Film Board of Canada formidable negotiator and a Khedija worked as house Amorces Diffusion, Capitol Release date. 2002 activist, Shahenda Maklad, a References /website persuasive voice on the inter servant and mistress. Alia Entertainment From which Countr(ies)/ Muslim, was a student demons national stage. But beyond the had fled the palace 10 years References/website Region(s). Algeria trator in Egypt’s national move polished rhetoric and the public earlier, at which time she spent Producer/Distributor. ment who lost her husband to poise, what drives the 47-year- burying tortured memories Margarita Seguy a political assassination before old mother of two whose high of her childhood. In her vi References /website pursuing political office her profile and personal integrity sit to pay respects for the self. Her mentor, Wedad Mitry, have made her enemies as well death of the prince, Alia wanders a devout Christian, is a militant as friends? through the largely aban nationalist leader and author. doned palace where she is Their friend, Safynaz Kazem, is Director. Mai Masri confronted by these me a political journalist and strict Release date. 1995 mories represented as detailed Muslim. These four women are From which Countr(ies)/ flashbacks of her childhood. the subject of this impressive Region(s). Palestine She begins to piece together documentary exploration of Producer/Distributor. a narrative about her mother’s opposing religious, social, and Nour Productions sexuality and sexual exploi political views in modern-day References/website tation in a space ordered by Egypt. gender and class differen ce, and is re-awakened to her persistent questioning about her father’s identity. 32 33
III. film production 34 35 Selected Producers Specific for women
1. C:NTACT Stories Untold industry insight What it is about: STORIES UNTOLD presents the unique stories of eleven exceptional wo Stories Untold is a project funded by the men from across the Middle East and North Danish Centre for Gender, Equality and Diver- Africa region. The films are made by the wo sity KVINFO and Danish-Arab Partnership Pro men with the help and facilitation of six profes gramme. This project presents the unique sional female filmmakers from Tunisia, Egypt, Palestine, Lebanon, Jordan and Oman. The stories of eleven women from across the first-time filmmakers have been taught to ex Middle East and North Africa region. press themselves visually through film on a need-to-know basis by six female profession The women in the film have made the films themselves with the help and al filmmakers from the MENA Countries, who facilitation of six professional female filmmakers from Tunisia, Egypt, Pales C:NTACT and MA3MAL 612 have worked with to tine, Lebanon, Jordan and Oman. Together, the films offer a wide range of create a method of self-expression through film. important personal testimonies from the region, sharing their way of seeing The films have been screened in all the participa their environment through an intended low-tech expression, namely mobile ting countries. phones. The directors and the first-time filmmakers enter in a unique sym biosis, where they together create a completely new genre, distanced from Since when: 2015 - to date classic documentary and closer to personal storytelling aesthetic. Who can apply: First-time filmmakers From which Countr(ies)/Region(s): This project aims at enabling women all over the world to mirror themselves MENA Countries in the personal representations of these women – and even become inspired Specific for women: YES to tell their own stories using their own phones. STORIES UNTOLD aspires to Focus on the audiovisual sector: YES popularize and democratize this method of filmmaking and use it as a cata Organization in charge: C:NTACT, Ma3mal 612 lyser of visualized personal storytelling of people all over the world. Website To showcase the success of the project and to target a wider audience, the films have been screened in all the participating countries. The screenings of the films are free of charge and screened in different communities and so cieties as well as theatres and cinemas. 36 37 Selected Producers Other
1. 2. FILMLAB BIDAYYAT PALESTINE Production Film Production
What it is about: Filmlab supports production by What it is about: Every year, Bidayyat produces ‘together, the films offer cultivating a strong network of filmmakers in Pa a group of short, experimental documentary lestine and providing competitive opportunities films in addition to feature-length documenta a wide range of impor- for seed-funding and coaching for filmmakers to ries, selecting the projects that best fit its artis produce film art. tic vision as part of its contribution to the crea tant personal testimonies To support film productions, Filmlab provides: tion of a cinematic and visual arts culture that co-productions in Palestine, co-productions is independent, socially influential, and open to from the region, sharing abroad as well as equipment Support. the experiences of other societies. Filmlab also makes a suitable space, production their way of seeing their equipment and post-production facilities avail Since when: 2013 - to date able and equitably accessible for filmmakers in Who can apply: Filmmakers, documentary environment through an Palestine. The opportunity is open to filmmakers makers, directors, producers and film viewers alike to use for professional From which Countr(ies)/Region(s): Syria, intended low-tech ex- meetings, film screenings, and to experience Lebanon, Palestine film and initiate film production. Specific for women: NO pression, namely mobile Focus on the audiovisual sector: YES Since when: 2014 - to date Organization in charge: Bidayyat phones’ Who can apply: Directors and producers Website From which Countr(ies)/Region(s): Worldwide Specific for women: NO Focus on the audiovisual sector: YES Organization in charge: FilmLab Palestine Website 38 39
3. 4. 5. 6. CCM DARKSIDE K FILMS NADI LEKOL NAS Co-Production Production Production Film Production and Agreements Distribution
What it is about: Co-production agreements What it is about: Darkside is a Film and TV pro What it is about: K Films was established by What it is about: Driven by 10 years of experien with several countries. duction company specialized in producing high- award-winning Moroccan producer Khadija ce in the film distribution, Nadi Lekol Nas has end film and video products for Arab and Inter Alami who has been involved in all aspects of started to produce short films and documen Since when: 2000 - to date national broadcasters. production since 1980. K films produces feature taries, covering all aspects of film production, Who can apply: Industry target The company also provides Broadcast Hire films, documentaries and short films. It is also a from development to pre-production, produc From which Countr(ies)/Region(s): Egypt equipment from single camera operator to full trusted Service Company to international part tion and post-production. Nadi Lekol Nas is de Specific for women: NO crew and earned its reputation for being a relia ners from all over the world, working on a broad dicated to produce original films that resonate Focus on the audiovisual sector: YES ble technical services provider for producers and range of shows of all sizes, delivering on sche with both Arab and western audiences. Organization in charge: Centre production companies. dule and on budget. Cinématographique Marocain (CCM) Since when: 1998 - to date Website Since when: 1998 - to date Since when: 1999 - to date Who can apply: Industry target Who can apply: Industry target Who can apply: Industry target From which Countr(ies)/Region(s): Lebanon From which Countr(ies)/Region(s): Lebanon From which Countr(ies)/Region(s): Morocco Specific for women:NO Specific for women: NO Specific for women: NO Focus on the audiovisual sector: YES Focus on the audiovisual sector: YES Focus on the audiovisual sector: YES Organization in charge: Nadi Lekol Nas Organization in charge: Darkside Organization in charge: K Films Website Website Website 40 41
7. 8. 9. NI CP UP Tunisia Nomadis Clandestino Production Ulysson Production Images Production
What it is about: Nomadis Images is a Tuni What it is about: Clandestino is a film produc What it is about: Ulysson is a film produc sian production company founded by Dora tion company based in Tunisia. It offers various tion company, founded in 1985 by the Thabet Bouchoucha in 1995. Since then, Nomadis services ranging from preparation to post- brothers, Riadh and Faouzi. Although its head has produced several feature films including production and the possibility to rent cameras, office is located in Tunis, the fame of its expe “Demain, je brûle” by Mohamed Ben Smail (se drones and machinery equipment. A powerful rience and professionalism allows it to work lected at the Critics’ Week, Venice Film Festival workstation is also available for DCP editing, ca both nationally and internationally. Today 1998), “Baraket” by Djamila Sahraoui (Selected libration and export. Ulysson produces a wide variety of projects at the 2006 Berlin Festival Forum), Raja Amari’s such as documentaries, commercials, short “Satin Rouge” (Selected at the 2002 Berlin Festi Since when: - to date films, music videos, corporate films and more. val Forum) and Raja Amari’s “Secrets” (Selected Who can apply: Filmmakers at Orrizzonti, Venice Film Festival 2009). From which Countr(ies)/Region(s): Tunisia Since when: 1985 - to date Specific for women:NO Who can apply: Filmmakers Since when: 1995 - to date Focus on the audiovisual sector: YES From which Countr(ies)/Region(s): Tunisia Who can apply: Filmmakers Organization in charge: Clandestino Production Specific for women: NO From which Countr(ies)/Region(s): Tunisia Website Focus on the audiovisual sector: YES Specific for women: NO Organization in charge: Ulysson Production Focus on the audiovisual sector: YES Website Organization in charge: Nomadis Images Website 42 43 Funding for Film Production Specific for women
1. 2. 3. FF TFI and OF MC Fork Films Funding Gucci Tribeca Grantmaking Documentary Fund Programme
What it is about: Fork Films awards grants What it is about: Gucci Tribeca Documentary What it is about: It’s a funding programme to to full-length non-fiction films that foster a Fund provides finishing funds to feature-length support courageous and inspiring feminist acti culture of understanding and work towards a documentaries which highlight and humanize vists worldwide. more peaceful and just society, while utilizing issues of social importance from around the world. MamaCash makes grants to groups and move powerful and artistic storytelling methods. It is aimed for films, based anywhere, that are ments that have the conviction and tenacity to Specifically they seek films that promote peace in production or post-production with intended speak out, tell their stories and demand justice, building, human rights, and social justice, with a premiere exhibition. Funded films are driven by no matter the obstacles. particular emphasis on projects that bring wo thoughtful and in-depth storytelling, bolstered by men’s voices to the forefront. a compelling visual approach. Since when: 1983 - to date More than half of the projects supported will spot Who can apply: Since when: 2011 - to date light the lives of women and youth around the From which Countr(ies)/ Who can apply: Filmmakers globe, and illuminate the ways they are working to Region(s): Worldwide From which Countr(ies)/Region(s): Worldwide improve their communities, their futures and the Specific for women: YES Specific for women: YES world. Focus on the audiovisual Focus on the audiovisual sector: YES sector: NO Organizations in charge: Fork Films Since when: 2017 - to date Organization in charge: Website Who can apply: Filmmakers, documentary makers Mama Cash From which Countr(ies)/Region(s): worldwide Website Specific for women: YES Focus on the audiovisual sector: YES Organizations in charge: Tribeca Film Institute, Oath Foundation Website 44 45
industry insight Mama Cash Granting Programme is a funding programme developed to support courageous and inspiring feminist activists worldwide.
The objective of this program is to strengthen international women’s funding movements by offering grants to feminist groups and movements ‘this programme supports expressing the conviction and tenacity to tell their stories and demand justice. This program also targets activists who are advancing their own the belief that feminist rights and building their own movements for social change. Additionally, this programme prioritises groups led by people working together to deal with activities have the power issues they experience directly, like domestic workers fighting for the impro vement of working conditions. to transform the world’
This grantmaking programme provides grants that cover three thematic portfolios: Body, Money and Voice with the aims of strengthening trainees’ skills, knowledge and networks.
This programme supports the belief that feminist activities have the power to transform the world. Since in most cases they lack the funding, supportive networks and access to learning opportunities, Mama cash fills this gap by providing grants to groups and movements to maximise their impact and enable them to implement a change of vision within their communities. 46 47
4. 5. 6. 7. WIF FRAMELINE IWMF WMF Women in Film Frameline Completion Howard G. Buffett Fund Reporting Grants For Finishing Fund Fund for Women Journalists Women’s Stories
What it is about: The fund gives grants to film What it is about: The Frameline Completion What it is about: The Howard G. Buffett Fund for What it is about: A funding initiative supporting makers working in both short and long formats Fund provides grants to emerging and estab Women Journalists enables the IWMF to drama journalism produced by and about women. In in all genres: narrative, documentary, animated lished filmmakers. This program seeks to pro tically expand its support of women journalists. an era of increased globalization, the need for and experimental. To apply for the Finishing vide a much-needed source of financial contri The Fund will support projects including educa varied coverage of gendered topics is critical to Fund, the filmmaker must have completed 90% butions to artists who often struggle to secure tional opportunities, investigative reporting and a free and representative press. These grants of principal photography and have a rough cut funding to complete their works. Grants up to media development initiatives. will be a catalyst for reporting on untold sto at the time of application. $5,000 are available for the completion of films ries surrounding issues that impact women and that represent and reflect LGBTQ life in all its Since when: 2011 - to date girls’ daily lives worldwide. These grants provide Since when: 2004 - to date complexity and richness. Who can apply: Journalists opportunities for women journalists to pursue Who can apply: Filmmakers From which Countr(ies)/Region(s): Worldwide international stories of importance through From which Countr(ies)/Region(s): Worldwide Since when: 2016 - to date Specific for women: YES gender-sensitive coverage of underreported to Specific for women: YES Who can apply: Filmmakers Focus on the audiovisual sector: NO pics. Focus on the audiovisual sector: YES From which Countr(ies)/Region(s): Worldwide Organization in charge: International Women’s Organization in charge: Women In Film Specific for women:YES Media Foundation Since when: - to date Website Focus on the audiovisual sector: YES Website Who can apply: journalists Organization in charge: Frameline From which Countr(ies)/Region(s): worldwide Contacts/References/Website Specific for women:YES Focus on the audiovisual sector: NO Organization in charge: International Women’s Media Foundation Website 48 49 Funding for Film Other 8. 9. IWMF WMM 1. 2. IWMF Emergency Fund Production Assistance BERLINALE, FEDE- DFI & Distribution Service RAL FOUNDATION Grants FOR CULTURE, GOE- Programme What it is about: It provides women journa What it is about: The Production Assistance lists with a lifeline of support in times of crisis. Program provides fiscal sponsorship, low-cost THE Now more than ever, journalists around the media workshops and information services INSTITUTE, world face real dangers as a result of their re to independent media artists. The services in porting. The Emergency Fund is sustained with cluded in this program reflect Women Make World Cinema Fund the support of individual donors to address the Movies’ commitment to outreach and develop What it is about: The World Cinema Fund works What it is about: The goals of the Doha Film growing need to provide direct assistance to wo ment of both emerging and established women to develop and support cinema in regions with Institute Grants Programme are to identify new men journalists who are suffering. film- and videomakers. Through the Distribu a weak film infrastructure, while fostering cul talent, seek out new cinematic voices and disco tion Service programme, Women Make Movies tural diversity in German cinemas. It supports ver universally resonant stories. The Institute’s Since when: 2013 - to date works with organizations and institutions that films that could not be made without additional approach is to champion projects whose thrust Who can apply: journalists utilize non-commercial, educational media funding: films that stand out with an unconven is to explore, expand and cultivate authentic From which Countr(ies)/Region(s): worldwide in their programs. The films and videotapes tional aesthetic approach, tell powerful stories storytelling, with a keen interest in propelling Specific for women:YES represent a diversity of styles, subjects and and transmit an authentic image of their cul forward contemporary work that demonstrates Focus on the audiovisual sector: NO perspectives in women’s lives. More than half tural roots. a deep understanding of the specific possibili Organization in charge: International Women’s of the works in the collection were produced The World Cinema Fund supports exclusively the ties of the medium of cinema. The Programme Media Foundation by women of diverse cultures, and the collec production and distribution of feature films and provides creative and financial assistance for Website tion includes a variety of works by and about feature-length documentaries. short and feature-length projects, subject to lesbians, older women and women with disabi eligibility criteria by Qatari and international lities. In the last three years, WMM has returned Since when: 2018 - to date first and second-time directors, as well as estab more than $1.5 million to women producers in Who can apply: filmmakers lished MENA directors. royalty payments. From which Countr(ies)/Region(s): Latin Ame rica, Central America, the Caribbean, Africa, the Since when: - to date Since when: 1988 - to date Middle East, Central Asia, Southeast Asia, Cau Who can apply: Directors Who can apply: filmmakers casus, Bangladesh, Nepal, Mongolia, Sri Lanka From which Countr(ies)/Region(s): Worldwide From which Countr(ies)/ Region(s): worldwide Specific for women:NO Specific for women:NO Specific for women:YES Focus on the audiovisual sector: YES Focus on the audiovisual sector: YES Focus on the audiovisual sector: YES Organizations in charge: Berlinale, Federal Organization in charge: Doha Film Institute Organization in charge: Women Make Movies Foundation for Culture, Goethe Institute Website (WMM) Website Website 50 51
3. 4. 5. 6. ALTER CINÉ IFF PMA R&M LANG FOUNDATION Influence Film Funding WorldView New FOUNDATION Documentary Film Opportunities Genres Fund CrossCurrents Grants Doc Fund
What it is about: Every year, the Alter-Ciné What it is about: Influence Film supports What it is about: WorldView supports media What it is about: The CrossCurrents Doc Fund is Foundation awards a grant of 10,000 Cana the production of feature-length docu content that aims to bring the richness and di an international documentary production fund dian dollars and a few 5,000 Canadian dollars mentaries and grows and engages new versity of the world to audiences through great that fosters storytelling from within commu grants to assist filmmakers in the produc audiences. It is comprised of three parts: storytelling. The New Genres Fund supports the nities whose perspectives have been historica tion of a documentary project. The grant is Influence Film Foundation provides grant development of original, distinct and ground lly underrepresented or marginalized. The Fund aimed at young video and filmmakers born funding to late-stage documentary projects; breaking storytelling, from both emerging and promotes inclusion in the documentary space and living in Africa, Asia or Latin America who Influence Film Club is an online platform of cu established filmmakers; connecting and deve celebrating all doc forms and the diverse per want to direct a film in the language of their rated documentaries and associated resources loping audiences both in the UK and the wider spectives of storytellers. In particular, it focuses choice that respects the aims of the Foundation. that engages audiences around issues raised by world. Projects should reside in the fiction or on emerging filmmakers who have a connection the films; drama-doc sphere and/or have an innovative to or shared experience with their subject, as Since when: - to date Influence Film Features provides investment multi-platform element. well as sharing stories with audiences within and Who can apply: Videomakers, filmmakers funding through an annual fund. Grants of up to £20,000 are available for re outside the featured community. From which Countr(ies)/Region(s): Africa, Asia, search, development and pilots. Latin America Since when: 2011 - to date Since when: 2013 - to date Specific for women: NO Who can apply: Documentary makers, film Since when: - to date Who can apply: Documentary makers, film Focus on the audiovisual sector: YES makers Who can apply: Filmmakers makers Organization in charge: Alter-Ciné Foundation From which Countr(ies)/Region(s): Worldwide From which Countr(ies)/Region(s): Worldwide From which Countr(ies)/Region(s): Worldwide Website Specific for women: NO Specific for women: NO Specific for women:NO Focus on the audiovisual sector: YES Focus on the audiovisual sector: YES Focus on the audiovisual sector: YES Organization in charge: Organizations in charge: Public Media Alliance Organizations in charge: R & M Lang Founda Influence Film Foundation Website tion Website Website 52 53
7. 8. 9. 10. AFAC AFACT HD RF Cinema Grant Documentary Program Hot Docs Blue Ice The Miller / Packan Group Documentary Film Fund What it is about: The funding is open to all kinds What it is about: It’s a three-year program that Fund of film projects – short films, feature narratives, funds and supports creative documentary films short documentaries, feature documentaries, that address social realities in the Arab region. animation and experimental film. AFAC offers The program welcomes on an annual basis sub What it is about: The fund helps enable more What it is about: The Miller / Packan Film Fund funding for development/scripting, production missions of short, medium-length and feature African documentary filmmakers to tell stories supports documentaries that educate, embrace and post-production. Projects applying for a documentary film projects that are in produc and contribute to a new generation of the Afri and inspire, and provides grants to feature- development/scripting grant are eligible for a tion and post-production. can documentary community. The Fund provi length non-fiction projects that address social maximum of $15,000 while projects applying for Around 15 documentary projects will be sup des development grants of up to 10,000 CAD issues and inspire others. The Fund supports a production/ post-production grant are eligible ported in each cycle of the ADP program with and production grants of up to $40,000 CAD to filmmaking in advanced development (up to for a maximum of $50,000. a maximum grant amount of $50,000 per four to 10 projects annually. Each year, up to five $10,000), production and post-production film. The selected projects will be given both funded projects are also invited to participate in stages (up to $25,000). Since when: 2007 - to date financial as well as professional support by ad a year-long mentorship program, along with pri Who can apply: Screenwriters, filmmakers visors and experts. The winning projects will vate filmmaker labs at Hot Docs and the Durban Since when: 2016 - to date From which Countr(ies)/Region(s): benefit from network opportunities that bring FilmMart/Durban International Film Festival. Who can apply: Documentary makers Arab Countries their directors and producers into the mar From which Countr(ies)/Region(s): Worldwide Specific for women: NO ket, the circuit of international film festivals as Since when: - to date Specific for women:NO Focus on the audiovisual sector: YES well as other fellow filmmakers and industry Who can apply: Documentary filmmakers Focus on the audiovisual sector: YES Organization in charge: Arab Fund for Arts and professionals. From which Countr(ies)/Region(s): Africa Organization in charge: Rogovy Foundation Culture (AFAC) Specific for women: NO Website Website Since when: 2013 - to date Focus on the audiovisual sector: YES Who can apply: Documentary filmmakers Organization in charge: Hot Docs From which Countr(ies)/Region(s): Website Arab Countries Specific for women: NO Focus on the audiovisual sector: YES Organization in charge: Arab Fund for Arts and Culture (AFAC) Website 54 55
11. 12. 13. 14. RF PCF FHP FWB The Miller/Packan Open Call: Mobility Roy W. Dean Grant FWB Grants Focus Grant Fund
What it is about: The Roy W. Dean Film Grant What it is about: Filmmakers without borders What it is about: The Foundation publishes a What it is about: The Prince Claus Fund’s Mobi funds short films, documentaries, independent (FWB) supports independent filmmakers around list of ideas that might interest a documentary lity Fund supports the cross-cultural exchange features and web series that are budgeted under the world via grants and other funding initiati filmmaker in search of the next project. In addi of artists and cultural practitioners. By covering $500,000. They must be films that are unique ves. Supported projects include narrative films, tion to the Topic, the listing includes other ele travel costs for artistic and cultural mobility, and make a contribution to society, compelling documentary films, and new media projects that ments such as Suggested Logline, Story Premise, such as economy class plane or train tickets, stories about little-known subjects, historical align with themes of social justice, empower Impact Potential and possibly some initial refe the Mobility Fund assists in the professional films and films that touch hearts. ment, and cultural exchange. rence material or links. There is no time limit or growth and networking possibilities of those deadline to these Request for Proposals. Once a it supports. Artists and cultural practitioners Since when: 1992 - to date Since when: - to date filmmaker submits a proposal that the Founda from the following countries are entitled to Who can apply: Filmmakers, documentary Who can apply: Filmmakers tion feels properly handles the development of this fund: Jordan, Tunisia, Morocco, Lebanon, makers From which Countr(ies)/Region(s): Worldwide this project, they grant the $15,000. Algeria and Egypt. From which Countr(ies)/Region(s): Worldwide Specific for women:NO Specific for women: NO Focus on the audiovisual sector: YES Since when: - to date Since when: - to date Focus on the audiovisual sector: YES Organization in charge: Filmmakerswithout Who can apply: Documentary makers Who can apply: Cultural and artistic institutions Organization in charge: borders (FWB) From which Countr(ies)/Region(s): Worldwide From which Countr(ies)/Region(s): Worldwide From the heart Productions Website Specific for women:NO Specific for women: NO Website Focus on the audiovisual sector: YES Focus on the audiovisual sector: NO Organization in charge: Rogovy Foundation Organization in charge: Prince Claus Fund Website Website 56 57
15. 16. 17. 18. AMA MROF RCB CCM Mobility Fund of Artists Short-Short Call for Films and Support for and Cultural Operators Documentary Film Projects Production within Africa Entries
What it is about: Within the framework of the What it is about: This is an assistance pro What it is about: The fund aims to facilitate cul What it is about: The Manuel Rivera-Ortiz Foun “Béjaia Film Lab”, there are 2 opportunities: a gramme for national film production including tural and artistic exchanges within the African dation for Documentary Photography & Film in writing aid grant called “Les Ateliers sauvages pre-production and post-production advan continent. The fund is offered to artists, arts pro vites documentary filmmakers around the globe Hafid Tamzali” and a post-production aid grant ces on receipts for feature films and short fessionals and cultural operators living and wor to share their human interest stories and submit called “Mouny Berrah Award”, respectively films presented by Moroccan film-production king in Africa to travel within the continent in their “Short-Short” documentary film projects endowed with: companies; a financial contribution to writing order to engage in the exchange of information, highlighting human unrest, forgotten commu - 4 weeks writing residence +200,000 DA and re-writing film scripts for feature films and the enhancement of skills, the development of nities, over-exploited people and environments - 8 weeks of post-production + 300,000 DA short films; a quality premium may be granted informal networks and the pursuit of coope impacted by war, poverty, famine, disease, ex The call is open to young professionals from to feature films and short films having received ration. ploitation and global distress. The Manuel Ri Morocco, Algeria and Tunisia. Candidates se a pre-production advance on receipts. vera-Ortiz Foundation for Documentary Photo lected for the writing and post-production Since when: 2005 - to date graphy & Film will award a US$5,000 grant to residency will benefit from guidance by Since when: 1980 - to date Who can apply: Artists, cultural operators a single completed “Short-Short” documentary leading professionals in the cinema industry. Who can apply: Screenwriters, filmmakers, From which Countr(ies)/Region(s): Africa film project. directors Specific for women:NO Since when: 2002 - to date From which Countr(ies)/Region(s): Morocco Focus on the audiovisual sector: NO Since when: 2011 - to date Who can apply: Screenwriters, filmmakers, Specific for women: NO Organization in charge: Art Moves Africa (AMA) Who can apply: Documentary makers, film directors Focus on the audiovisual sector: YES Website makers, directors From which Countr(ies)/Region(s): Morocco, Organization in charge: Centre From which Countr(ies)/Region(s): Worldwide Algeria and Tunisia Cinématographique Marocain Specific for women: NO Specific for women: NO Website Focus on the audiovisual sector: YES Focus on the audiovisual sector: YES Organizations in charge: Manuel Rivera-Ortiz Organization in charge: Rencontres Cinémato Foundation for Documentary Photography & graphiques de Bejaia Film Website Website 58 59 to stimulate the promotion and circula 19. 20. tion of international co-productions in 21. Europe and beyond. IDFA HBF CINEREACH IDFA Bertha Fund Hubert Bals Fund Since when: 2017 Cinereach Grants Who can apply: filmmakers, directors From which Countr(ies)/Region(s): Africa, Asia, Latin America, the Middle East and
What it is about: The IDFA Bertha Fund is de Opportunity mix: Funding and co-production parts of Eastern Europe Title of opportunity: Cinereach Grants signed to stimulate and empower the creative Specific for women: NO Opportunity mix: Funding documentary sector in Africa, Asia, Latin Ame What it is about: The Hubert Bals Fund is de Focus on the audiovisual sector: YES rica, Middle East and parts of Eastern Europe signed to help remarkable or urgent feature Organization in charge: Hubert Bals Fund What it is about: Cinereach is an indepen by supporting innovative documentary projects films by innovative and talented filmmakers from Contacts/References/website dent film company dedicated to vital, artful by talented filmmakers from these regions. Africa, Asia, Latin America, the Middle East and filmmaking. As a philanthropic organization, The Fund provides development, production parts of Eastern Europe on their road to comple Cinereach helps expand its films’ creative po and distribution grants through two funding tion. It provides grants in various categories that tential by offering adaptive development, schemes: filmmakers from and living in the often turn out to play a crucial role in enabling financing, production, grants, and other su mentioned regions can apply for IBF Classic these filmmakers to realise their projects. pport models. Each year Cinereach awards European co-producers of documentaries from The fund offers support through: a Script and 20-30 grants—comprising over $1 million—to these regions can apply for IBF Europe. In ad Project Development grant that can be used new and existing grantees. Grants amounts dition to financing, the Fund offers filmmakers for the further development of a script (e.g. re ranging from $5,000 to $50,000 can be tailor-made consultancies and training pro search, writing, translation or hiring a coach or awarded to support any stage of a film’s pro grammes to support them in their creative and script consultant) and also to present a project gression, from development to completion. production process. Additionally, filmmakers are to financiers or other potential partners at (in invited to participate in the different industry ternational) co-production meetings or film Since when: 2006 events that IDFA has to offer and broaden their festivals. “HBF Bright Future” is specifically for Who can apply: Producers, directors, international network and knowledge of the do 1st and 2nd films, while “HBF Voices” is for more filmmakers cumentary industry. acclaimed directors; From which Countr(ies)/Region(s): Worldwide HBF+Europe: Minority Co-production support, Specific for women: NO Since when: 1998 - to date to encourage European producers to participate Focus on the audiovisual sector: YES Who can apply: documentary makers, film as a minority co-producer in high-quality film Organization in charge: Cinereach makers, co-producers projects by filmmakers from Africa, Asia, Latin Contacts/References/Website From which Countr(ies)/Region(s): Africa, Asia, America, the Middle East and parts of Eastern Latin America, Middle East and parts of Eastern Europe; Europe HBF+Europe: Distribution Support for Interna Specific for women: NO tional Coproductions, to offers financial support Focus on the audiovisual sector: YES to the distribution of feature films by filmmakers Organization in charge: IDFA from Africa, Asia, Latin America and parts of Website Eastern Europe, 60 61
industry insight Cinereach is an independent film company dedi- cated to vital, artful filmmaking. As a philanthro- pic organization, Cinereach helps expand its films’ creative potential by offering adaptive develop- ment, financing, production, and other support models, through several opportunities: produc- ‘Cinereach offers tailored, tion & financing, grants, fellowships and produ- cers initiatives. year-round distribution
- Production & Financing: Cinereach develops, produces, and finances several guidance and audience de- projects each year. It also co-finances and co-produces with other production companies, co-financiers and investors using traditional film financing structu velopment support to se- res such as equity or debt financing. - Grants amounts ranging from $5,000 to $50,000 can be awarded to support lect grantees as well as a any stage of a film’s progression, from development to completion. - Distribution and Audience Strategy: Cinereach offers tailored, year-round dis customized year-long pro- tribution guidance and audience development support to select grantees. - Fellowships: The Cinereach Fellowship is a customized, year-long program for gramme for filmmakers at filmmakers at transitional points in their careers. Fellows receive opportunities to deepen their connection to their work, explore what professional develop transitional points in their ment means to them, and experiment with new ideas. - Producers Initiative: The Cinereach Producers Initiative aims to offset the lack careers’ of sustainability for committed independent producers.
Cinereach is an independent film company dedicated to vital, artful filmmaking. As a philanthropic organization, Cinereach helps expand its films’ creative po tential by offering adaptive development, financing, production, and other su pport models that align with the unique vision of each supported filmmaker. Cinereach also strives for a more sustainable film industry through targeted initiatives and strategic partnerships. 62 63
IV. support to professionals: knowledge building 64 Knowledge Building Specific for women 65
3. 4. 1. 2. EWA IWMF SCIENCES PO BEV Mentoring Programme Elizabeth Neuffer Femmes d’Avenir en Filmonomics: Future for Women Producers Fellowship Méditerranée leaders in distribution What it is about: The programme is specifically What it is about: The Elizabeth Neuffer Fel What it is about: A program developed for What it is about: It’s a leadership training pro aimed at women cinema producers who have lowship provides academic and professional young women from the Southern shores of the gramme for women with 7+ years of film distri already a relevant experience at the national opportunities to advance the reporting skills of Mediterranean to guide and train them in their bution experience and who have the ambition to level and wish to evolve further to a European/ women journalists with at least three years of professional and personal growth. run / own a distribution business or operate at a international dimension. Mentees will upgrade professional experience in journalism and who higher executive level. the core skills and competences needed in their focus on human rights and social justice. Since when: 2015 - to date profession such as financing, negotiating, mana Who can apply: Civil society Since when: 2016 - to date gement and business development. Since when: 2004 - to date From which Countr(ies)/Region(s): Who can apply: Distributors, future leaders Who can apply: Journalists MENA Countries From which Countr(ies)/Region(s): Worldwide Since when: - to date From which Countr(ies)/Region(s): Worldwide Specific for women: YES Specific for women: YES Who can apply: Producers Specific for women: YES Focus on the audiovisual sector: NO Focus on the audiovisual sector: YES From which Countr(ies)/Region(s): Worldwide Focus on the audiovisual sector: NO Organization in charge: Sciences Po Organization in charge: Birds Eye View Specific for women:YES Organization in charge: International Women’s Website Website Focus on the audiovisual sector: YES Media Foundation Organization in charge: EWA Website Website 66 67
5. 6. 7. 8. SF UN WOMEN UN WOMEN EGYPT KCD Empowering Women UN Women Training Education for Gender Kultura Through Wealth in Centre eLearning Equality Communication Minds Campus y Desarrollo ONGD What it is about: UN Women supports Egypt’s What it is about: Safadi Foundation projects and What it is about: It’s a global and innovative What it is about: It’s a touring workshop that is commitment to promoting education as a programs give special emphasis to the role of online platform for training for gender equa aimed at empowering women through audio- priority catalyst for economic growth and women with the aim of sustaining rural commu lity. It is open to everybody interested in using visual tools. It involves a video workshop where social justice. Targeting young women and nities and reducing the exodus to urban areas. training or learning as a means to advance participants will learn the basics of production girls in five communities in the governorates of Projects focus on fostering sustainability throu gender equality, women’s empowerment and and editing and, consequently, they will create Greater Cairo, Minia, Luxor, Aswan and the Red gh building and enhancing farmers’ technical ca women’s rights. The Campus offers a flexible a short one-minute short film about the subject Sea, UN Women aims to reduce the gender gap pacities and increasing their competitiveness in learning experience that meets the demand of a chosen each year. in education both in formal and informal schools, the local market. diverse and global audience and allows for conti to strengthen the quality of formal educational nuous acquirement of skills and knowledge. Since when: 1997 - to date institutions and community mechanisms to pro Since when: 2006 - to date Who can apply: Filmmakers mote education of young women and girls. Who can apply: Civil society Since when: In 2017 From which Countr(ies)/Region(s): Worldwide From which Countr(ies)/Region(s): Lebanon Who can apply: Civil society Specific for women: YES Since when: - to date Specific for women: YES From which Countr(ies)/Region(s): Worldwide Focus on the audiovisual sector: YES Who can apply: civil society Focus on the audiovisual sector: NO Specific for women: YES Organization in charge: Kultura Communica From which Countr(ies)/Region(s): Egypt Organization in charge: Safadi Foundation Focus on the audiovisual sector: NO tion y Desarollo ONGD Specific for women: YES Website Organization in charge: UN Women Website Focus on the audiovisual sector: NO Website Organization in charge: UN Women Egypt Website 68 69
9. 10. 11. CIPA AND UN FEM- UNESCO SHASHAT MES ALGÉRIE Promotion de la culture Young Palestinian Sensibiliser les de l’égalité dans Women Filmmakers médias pour produire les médias ‘Incubator’ Program un discours médiatique What it is about: The Program aims at empo exempt de stéréotypes wering women to play a leading role as cultural sexistes producers in Palestine and for their works to be What it is about: In Morocco, a series of trainings in center stage to enhance their professional What it is about: It is an awareness training at for media professionals is planned by UNESCO skills. Shashat through this program Shashat tended by 25 media professional at the Centre to develop internal policies for gender equality assists young women filmmakers in applying to International de Presse d’Alger regarding gen and professional practices encouraging editors film festivals and helping them prepare all the der equality, animated by the sociologist and and journalists to take up the theme of equali requirements, provides an institutional back-up expert in gender, development and analysis of ty gender in their creations and programming. support for young women filmmakers applying public policies, Farida Osmani. for jobs, grants or studies. Moreover, this pro Since when: 2012 - to date gramme facilitates the travel of the filmmakers Since when: 2016 - 2017 Who can apply: Editors and journalists to participate in international film festivals and Who can apply: Journalist and Broadcasters From which Countr(ies)/Region(s): Morocco sends packages of their films to critics and re From which Countr(ies)/Region(s): Algeria Specific for women:YES searchers to promote studies of their works. Specific for women: YES Focus on the audiovisual sector: NO Focus on the audiovisual sector: NO Organization in charge: UNESCO Since when: 2005 - to date. Organization in charge: Centre International de Website Who can apply: Producers Presse d’Alger and Un Femmes From which Countr(ies)/Region(s): Palestine Website Specific for women: YES Focus on the audiovisual sector: NO Organization in charge: Shashat Website 70 71 industry insight ‘Young Palestinian Women Filmmakers Incubator Pro- gram’ (Shashat) is a program founded and implemented by Shashat, an NGO based in Ramallah, Palestine, which promotes women’s cinema as an agent of social transfor- mation in the Palestinian society and women as creative directors of the Palestinian popular culture.
After having tested a broader scope including also basic and professional training, the target of this mentorship program has been coherently identified as the marginalised women having an idea, to be provided with a professional suitcase, a portfolio, to go with in the world and know at the doors of the industry. Consequently, the program addresses young women film makers from marginalized communities in the West Bank and the Gaza Strip. The additional value of the program is that young women filmmakers of films with a social message are also given professional quality production support through funding of productions with mento ring or outright production grants. ‘it is a 360-degree program’ It is a 360-degree program. In fact, not only it grants assistance to young women filmmakers in applying to film festivals by helping them preparing all the requirements and in applying for jobs, grants or studies, but also it facilitates the travel to participate in international film festivals. Furthermore, in the aftermath of festivals or initiatives, the program is expected to send packages of their films to critics and researchers to promote studies of their works in order to give more visibility to their works.
This program has been designed for a long term impact, overcoming the logic of short term project interventions. It is rooted on a deep understanding of as well as on its roots place in the social dynamics underlying the real local social texture, and understanding the underlying social dynamics and the actual needs of the target community.
In the design phase, the analysis of the needs and the target selection proved to be crucial in making women’s cinema accepted and valued on the grassroots level throughout Pa lestine. Indeed it was based on a preliminary observation of the actual dynamics, where most of the time when a woman is credited as director in the productions of Media Departments, the actual duties are closer to a secretary role than a filmmaker. Furthermore, it also took ad vantage of the connections with other programs run by the organization, in a synergic game, such as the “Women’s Film Festival in Palestine Program”, “Films for Everyone”. 72 73
12. 13. 14. 15. COPEAM EED RYV CBF Media in favour of Shahed Trains 25 Young Raise Your Voice Mentoring Women in women entrepreneurs Men and Women From Business Programme Camps Opportunity mix: Knowledge building at ne Opportunity mix: knowledge building at What it is about: It is a training/production mo What it is about: Shahed is a training for 25 tworking networking dule open to journalists from radio, TV and print young people from the Refugee Camps of media and intended to enhance women’s con Jenin and Askar (Nablus’ neighbourhood) on What it is about: An innovative solution What it is about: Raise Your Voice is a hybrid tribution to the economic and social progress story writing and use of social media tools to that combines mentoring with technology programme combining education and outreach through the production of news on successful report and raise awareness of economic and so to offer cross-border support to women to increase female perspectives in media. It’s a stories able to promote the entrepreneurial vo cial challenges faced by local communities. The entrepreneurs. Participants build their business space where women can exchange views and cation and become sources of inspiration for initiative will set up an e-media platform com skills and digital literacy through training and be find ways to express themselves through the other women. posed of a community radio along with a web come part of a global community of committed, medium of film: create authentic productions site and social media tools in order to reach out ambitious entrepreneurs who are invested in that would challenge stereotypes, provoke The pilot edition was organized in January 2017 to a broader audience. each other’s success. The programme boosts thought and grow the presence of the female in Algeria in collaboration with the EPRS (the confidence, improves business performance and voice in the ongoing discussion about women’s Algerian public radio), with the support of the Since when: 2016 - 2017. ultimately creates wealth for the entrepreneurs rights and empowerment in Egypt and beyond. French Embassy in Algeria (Service for Coopera Who can apply: Storywriters, filmmakers supported. tion and Cultural Action) and the UNESCO Office From which Countr(ies)/Region(s): Palestine Since when: 2016 - to date for the Maghreb. Specific for women: YES Since when: 2010 - to date Who can apply: Civil society The second edition - carried out with the su Focus on the audiovisual sector: YES Who can apply: Entrepreneurs From which Countr(ies)/Region(s): Egypt pport of UNESCO and in collaboration with the Organization in charge: EED European Endowe From which Countr(ies)/Region(s): Worldwide Specific for women: YES Arab State Broadcasting Union (ASBU) - took ment for Democracy Specific for women: YES Focus on the audiovisual sector: YES place in Tunis in November 2017. Website Focus on the audiovisual sector: NO Organization in charge: Raise Your Voice Organization in charge: Cherie Blair Foundation Contacts/References/Website Since when: 2017 Contacts/References/Website Who can apply: Journalists From which Countr(ies)/Region(s): Mediterranean Countries Specific for women: NO Focus on the audiovisual sector: YES Organization in charge: COPEAM Website 74 75 Knowledge Building Other 2. 3. 1. RFC RFC RFC Rawi Screenwriters’ Local Training Med Film Factory Lab What it is about: Med Film Factory is a training supervised by tutors and experts. Local crew and What it is about: Various training opportunities What it is about: Independent Arab screen programme aimed at semi-professional Arab cast will work with them through all the stages available for emerging filmmakers, anyone inte writers (Fellows) are offered the chance to deve film directors and producers, offering them the of production. rested in filmmaking, film students and profes lop their work in a uniquely creative environment opportunity to advance their creative and pro sionals in all fields of the art and craft of film under the guidance of internationally acclaimed fessional skills and supporting them in the reali Since when: 2011 - to date making and TV. screenwriters from all over the world (Creative zation of their projects. It also aims at creating Who can apply: Team of director and producer Advisors). Each year, fellows and advisors work collective connections within the Arab regional From which Countr(ies)/Region(s): MENA Since when: 2003 to date intensively for five days on their feature narra film industry, in particular to encourage regional Countries, Iraq and the Gulf Who can apply: Filmmakers, professionals, tive screenplays. Each fellow will have several support, involvement and financing of indepen Specific for women: NO directors, screenwriters one-on-one story sessions with the lab’s creative dent creative voices and films through all the Focus on the audiovisual sector: YES From which Countr(ies)/Region(s): Jordan advisors. The advisors’ guidance ranges from im stages of filmmaking. Selected participants at Organization in charge: The Royal Film Specific for women: NO proving the fellow’s technique as a screenwriter tend two workshops: Commission - Jordan (Rfc) Focus on the audiovisual sector: YES to life lessons and practical suggestions to be ex Website Organization in charge: The Royal Film plored in their next draft. Emphasis is placed on The Producers’ Coaching Programme Commission - Jordan (Rfc) each fellow’s individual voice and story. For six days, producers will be guided by pro Website fessionals through an advanced coaching pro Since when: 2005 - to date gramme tackling various aspects of producing: Who can apply: Screenwriters, co-writers, creative producing, marketing, funding, lega writers/directors lities and pitching, with emphasis on regional From which Countr(ies)/Region(s): Arab co-production, exhibition and distribution. countries Specific for women:NO The Directors’ Workshop Focus on the audiovisual sector: YES Guided by reputable regional and international Organization in charge: The Royal Film film tutors and experts, selected directors will Commission - Jordan (Rfc) join the group, for one-on-one sessions and Website hands-on exercises throughout the program. Ex perts will work with directors on their directing techniques, camera, sound and editing with the aim of helping them develop their visual langua ges as directors. In addition, participants will have the opportunity to direct a short film in spired by their feature film project, 76 77
4. 5. 6. 7. TWF PGADC BERLINALE BERLINALE The American Film Power of Diversity TALENTS TALENTS Institute Conservatory Master Workshop Talents Beirut What it is about: It is s the annual summit and What it is about: Talents Beirut is a project that (AFI) networking platform of the Berlin International What it is about: It’s an eight-week intensive aims to support film talents from the Arab World, What it is about: It’s a one-of-a-kind gradua Film Festival for 250 outstanding creatives from program that trains creative producers to take allowing them to reflect on their own works by te program in film studies that trains 140 film the fields of film and drama series. a project from script through distribution on connecting with other emerging and confirmed makers in practical filmmaking experiences over In addition to the extensive summit programme multiple platforms. The Workshop exists to help talents and by discovering new ways to approach two years. AFI’s mission is to serve the enter of master classes and panel discussions with nurture creativity and diverse perspectives from the art of film making, whether from technical tainment industry by developing a pipeline of top-notch experts, Berlinale Talents offers a people from all walks of life. It gives select par or theoretical point of views. the next generation of great filmmakers. Time range of Project Labs in which applicants can ticipants an opportunity to learn from some of Warner Foundation’s mission of cultivating a further develop and present their own project. the most successful producers in the business Since when: 2014 - to date dynamic artistic community is captured in its Berlinale Talents also provides Studio pro and network with like-minded participants. Who can apply: filmmakers grant to AFI. The next generation of storytellers grammes and workshops for specific groups of From which Countr(ies)/Region(s): Arab world has access to a first-in-class education in film. film professionals. Since when: 2007 - to date Specific for women: NO Empowering talented filmmakers to step into Who can apply: Producers Focus on the audiovisual sector: YES the industry by crafting meaningful films and Since when: 2003 - to date From which Countr(ies)/Region(s): Worldwide Organization in charge: Metropolis Association, careers, AFI’s Time Warner Fellowship does cri Who can apply: Filmmakers, distributors, edi Specific for women: NO Goethe-Institut Lebanon, Berlinale Talents, FID tical work. tors, production designers, sales agents, score Focus on the audiovisual sector: YES Marseille, AFAC. composers and sound designers Organization in charge: Producers Guild of Website Since when: 1989 - to date From which Countr(ies)/Region(s): Worldwide America Diversity Committee Who can apply: Filmmakers Specific for women: NO Website From which Countr(ies)/Region(s): worldwide Focus on the audiovisual sector: YES Specific for women:NO Organization in charge: Berlin International Focus on the audiovisual sector: YES Film Festival, Creative Europe MEDIA, Robert Organization in charge: Time Warner Bosch Stiftung, Medienboard Foundation Berlin-Brandenburg Website Website 78 79 It is preferred that projects have 60 to 80% of 8. 9. 10. their production completed, with a funding commitment from at least one additional source AAI AMI BAVC (besides BAVC). Amel House For Human Training National MediaMaker Since when: 1991 - to date Rights Fellowship Who can apply: Creative media artists From which Countr(ies)/Region(s): What it is about: The Amel House for Human What it is about: BAVC’s National MediaMaker Specific for women: NO What it is about: Professional media train Rights (AHHR) develops annual advanced educa Fellowship has provided in-kind training and sup Focus on the audiovisual sector: YES ing based on the most modern international tional programs in addition to systematic train port for independent artists at work on social Organization in charge: media training standards and practices. Specific ing on dealing with causes related to human issue nonfiction film and multimedia projects, Bay Area Video Coalition (BAVC) courses are: TV and Radio Journalism, Technical rights and international humanitarian law in Le with a particular focus on supporting emerg Website Operation, Digital Media, Skills of Photography banon and the Arab world in collaboration with ing artists and underserved communities. The and Creativity, Media Skills, Communications La Sagesse University. Fellowship builds an engaged national commu and Public Relations, Youths Training. Also avail AHHR organizes a yearly Summer School focu nity of creative media artists from diverse fields, 11. able online (e-learning). sing on “law of armed conflict” which gathers increases their capacity for project completion BAA around 50 participants from the all over the and lasting impact, and inspires new partner Since when: 2017 world. Moreover, AHHR is regularly implement ships and collaboration to support future work. Skills Program Who can apply: Civil society, professionals ing Video Advocacy Action Training which are Anyone with a noncommercial project can apply From which Countr(ies)/Region(s): Arab coun What it is about: The Skills Program is designed providing youths with technical skills to pro for the MediaMaker Fellowship. Applicants must tries, worldwide for those who wish to specialize in the technical mote their rights. Other trainings including a either become a BAVC member (at the $55 level Specific for women: NO aspects of filmmaking, such as production, cine Course on Palestinians rights are also regularly or hight) or pay a $35 application fee. Focus on the audiovisual sector: YES matography, sound and editing. Over the course organized by AHHR. The project should be documentary or non- Organization in charge: Aljazeera Media of a year, Bidayyat will be hosting workshops in fiction in nature, must have a strong digital Institute all these areas. The programme is open to young Since when: 1979 - to date media component or vision, and should have the Website talents from Syria and Lebanon, including Pales Who can apply: potential for social impact. tinians residing in both countries. From which Countr(ies)/Region(s): Lebanon BAVC takes special interest in artists who are
Specific for women: NO working on projects about community and so Since when: 2013 - to date Focus on the audiovisual sector: YES cial justice issues, but encourages projects of Who can apply: Filmmakers Organization in charge: Amel Association any genre or subject matter to apply. From which Countr(ies)/Region(s): Syria, International The MediaMaker Fellows program is particularly Lebanon, Palestine Website interested in supporting a diverse cross-section Specific for women:NO of media creators, especially those who are Focus on the audiovisual sector: YES working on their first or second feature-length Organization in charge: project and who, above all, demonstrate a capa Bidayyat for Audiovisual Arts city for artistic growth. Website 80 81
12. 13. 14. 15. BAA COPEAM & ASBU DC DFI Introduction to Inter Rives Documentary Campus Youth Programmes Documentary Film MENA Programme
Directing What it is about: Youth Programmes empower What it is about: The programme gives profes What it is about: 8 participants will be offered What it is about: “Inter-Rives” is a Euro-Arab TV young people to make films addressing issues sionals and talented up-and-coming filmmakers the opportunity to follow a practical and theo co-production project open to the broadcasters that are important to them. Participants gain from the MENA Countries the chance to tell their retical, hands-on intensive training. The emerg members of COPEAM and ASBU (Arab States film production skills, while having fun and cre stories entering the international non-fiction ing talents must demonstrate interest in arts Broadcasting Union), aimed at promoting cultu ating films that represent their experiences and market. The training included directors and and film and must have the desire to specialise ral or social topics relevant to the Euro-Medite their opinions about the world. Featuring film producers from Egypt, Tunisia, Morocco, Libya, in directing documentary films that engage and rranean region. appreciation, acting classes, and filmmaking and Algeria, Jordan, the Palestinian territories, Syria question society. The candidates must have an Based on the “basket” formula, each edition is storytelling workshops, the Youth Programme and Lebanon. Participants attend workshops idea for a documentary film that will be imple devoted to a common general topic that, star is a journey into the process of creative colla aimed at developing their stories for the in mented with the assistance of their instructors ting from a shared editorial approach and wor boration and an opportunity for youth to speak ternational market. Sessions are focused on over the course of the training, resulting in a king method, each TV partner treats according up about the changes they want to see in their storytelling, budgeting, the legal aspects of in short film not exceeding 10 minutes. to its own cultural and professional background. lives, their community and the world. ternational coproductions, distribution, crowd Then the programme includes 2 co-production funding and finance, making a trailer, project Since when: 2013 - to date workshops. Since when: 2016 - to date presentation and pitching. Who can apply: Emerging filmmakers Who can apply: Young people From which Countr(ies)/Region(s): Syria, Since when: 2009 - to date From which Countr(ies)/Region(s): Since when: 2012 - to date Lebanon, Palestine Who can apply: Specific for women: NO Who can apply: Filmmakers Specific for women:NO Producers from COPEAM and ASBU networks Focus on the audiovisual sector: YES From which Countr(ies)/Region(s): Focus on the audiovisual sector: YES From which Countr(ies)/Region(s): Organization in charge: Doha Film Institute MENA Countries Organization in charge: Bidayyat for Audiovi Euro and Arab Countries Website Specific for women: NO sual Arts Specific for women:NO Focus on the audiovisual sector: YES Website Focus on the audiovisual sector: YES Organization in charge: Documentary Campus Organization in charge: COPEAM and ASBU Website Website 82 83
16. 17. 18. 19. DFI DFI DFI FdP Short Scriptwriting Lab Series Lab Hezayah Screenwriting Doc at Work What it is about: The Short Scriptwriting Lab What it is about: The Series Lab is a one-week Lab is designed to assist new and emerging screen intensive boot-camp for directors, writers and What it is about: It’s a laboratory of ideas open What it is about: The lab is designed to assist writers and writer-directors to develop and producers working in serialized content in Qatar to anyone who wants to learn all about docu emerging screenwriters and writer-directors write a screenplay from an original idea with and other MENA Countries. The Lab is dedicated mentaries. The program includes meetings with to develop and write an original feature-length the support of international mentors. The Lab to teams developing both scripted and non- the authors attending the festival, presentation screenplay. Participants work in small groups provides an experience where filmmakers learn fiction series projects created for distribution of books, DVDs and events, panel discussions with the support of experienced mentors. The the principles of dramatic writing for short films on all platforms (including television, digital or and debates, workshops for those who want to lab consists of four sessions of four-day work (premise, theme, structure, character and story), app based work). Focusing on taking a project deepen their knowledge in various aspects of shops, which take place intermittently over a pe examine and explore their creativity and indivi from script to screen, customized attention will film technique or with the rules of the market. riod of six months. During each four-day session, dual voice, and gain an understanding of the be paid to preparing pitches, developing your participants are expected to work on all agreed international short film landscape. Candidates work, securing financing, understanding the glo Since when: - to date assignments and reach key milestones as they are encouraged to develop personal stories that bal marketplace, creating marketing strategies Who can apply: Civil society build toward their screenplays. come from the heart, and that reflect contem and finding unique avenues for the distribution. From which Countr(ies)/Region(s): Worldwide porary life in the MENA Countries. The goal is to support the teams of creators by Specific for women: NO Since when: 2010 - 2017 brainstorming development and execution stra Focus on the audiovisual sector: YES Who can apply: Emerging screenwriters and Since when: 2010 - to date tegies that can bring their projects out into the Organization in charge: Festival dei Popoli writer-directors Who can apply: Emerging screenwriters and world and to the viewers who seek independent Website From which Countr(ies)/Region(s): Qatar and writer-directors and diverse voices in storytelling. GCC Countries From which Countr(ies)/Region(s): Qatar or Specific for women: NO MENA Countries. Since when: 2010 - to date Focus on the audiovisual sector: YES Specific for women: NO Who can apply: Directors, writers and produ Organization in charge: Doha Film Institute Focus on the audiovisual sector: YES cers Website Organization in charge: Doha Film Institute From which Countr(ies)/Region(s): Qatar and Website other MENA Countries Specific for women:NO Focus on the audiovisual sector: YES Organization in charge: Doha Film Institute Website 84 85
20. 21. 22. 23. IF SAE INSTITUTE SI RSICA La Fabrique Cinéma AMMAN The Episodic Program Master of Fine Arts De- Courses gree in Cinematic Arts What it is about: It’s a training ground for inde What it is about: The Institute aims to enhance What it is about: The MFA program supports What it is about: La Fabrique Cinéma de l’Institut pendent voices to develop an original series and the creative and technical media skills of young career development and business skills with an français is a tailored program helping talented pilot script. The program provides artists with individuals and professionals alike, through the advanced education in cinema, television and a young directors from emerging countries in the tools, training, and industry access to move delivery of expansive learning possibilities of wide range of newly evolving screen-based me crease their international exposure. Each year, their projects and careers forward. The pro fered by some of Jordan’s brightest industry dia. this program invites ten directors working on gram envisages the Episodic Lab: a six-day pro experts and academics. They extend a variety their first or second feature films to attend the gram at the Sundance Resort in Utah that offers of diplomas in Digital Filmmaking, Audio Pro Since when: 2008 - to date Festival de Cannes along with their producers. writers the opportunity to workshop an origi duction, Visual effect and Animation and Digital Who can apply: Civil society Since when: 2009 - to date nal pilot script while developing their writing Marketing, as well as an extensive range of short From which Countr(ies)/Region(s): Who can apply: Directors and pitching skills. Working with accomplished courses. MENA Countries From which Countr(ies)/Region(s): Algeria, showrunners, non-writing creative producers Specific for women:NO Morocco, Lebanon, Egypt, Palestine, Jordan, and executives, the Fellows participate in one- Since when: 1976 - to date Focus on the audiovisual sector: YES Tunisia, et al. on-one story meetings, pitching sessions, and si Who can apply: Civil society, professionals Organization in charge: Red Sea Institute of Specific for women: NO mulated writers rooms, which together provide From which Countr(ies)/Region(s): Worldwide Cinematic Arts (RSICA) Focus on the audiovisual sector: YES creative and strategic keys to success. Specific for women:NO Website Organization in charge: Institut français Focus on the audiovisual sector: YES Website Since when: 2018 - to date Organization in charge: SAE Institute Amman Who can apply: Screenwriters Contacts/References/Website From which Countr(ies)/Region(s): worldwide Specific for women: NO Focus on the audiovisual sector: YES Organization in charge: Sundance Institute Website 86 87
24. 25. RFCJ F3C Film Centers Produire au Sud What it is about: The film centers are set up in What it is about: It’s a workshop focusing on different areas of the Kingdom of Jordan. These the outline and structure of film co-production venues are educational and entertainment cen within the industry. The workshop aims to fami ters, where children and young people can learn liarize young producers based in the south (Asia, the know-how of filmmaking and also watch and Africa, Latin America, the Near and Middle East discuss films. and Central and Eastern Europe) with a variety of important tools and international co-production Since when: 2006 - to date techniques by coaching individual projects in de Who can apply: Civil society velopment. From which Countr(ies)/Region(s): Jordan Specific for women:NO Since when: 2000 - to date Focus on the audiovisual sector: YES Who can apply: young producers Organization in charge: The Royal Film From which Countr(ies)/Region(s): Asia, Africa, Commission Jordan Latin America, the Near and Middle East and Website Central and Eastern Europe Specific for women: NO Focus on the audiovisual sector: YES Organization in charge: Festival Des 3 Continents Website
building capacity is no game of chance 88 89
26. 27. 28. 29. ISMAC ESAV DE EURODOC TWF Institut Supérieur des MARRAKECH Eurodoc Production Film Independent Métiers de l’Audiovisuel Formation Cinéma What it is about: EURODOC is one the leading What it is about: Film Independent is a pro training programme in Europe designed for do gramme of inclusion, supporting a diverse com et du Cinéma Audiovisuel cumentary film producers developing a specific munity of innovative voices in the Hollywood. What it is about: The creation of ISMAC repre What it is about: The cinema and audiovisual project with international potential. The pro Committed to elevating the work of filmmakers, sents an important turning point on the road to department organise bachelor and master de gramme is also open to commissioning execu Film Independent develops filmmakers, helps create qualified human resources in the audio gree courses that will lead to the career of cine tives from the documentary departments of the them make movies and build audiences for visual and film field answering the growing ma and television director, of image, sound and broadcasters or from Film Funds working on a their projects, and drives creativity in the film needs of the sector after its liberalisation. It is mounting. regional, national or international level. industry. As Lead Funder of Film Independent’s also strengthening the dynamic of the develop Artistic Development Programs, Time Warner ment and the upgrade of the audiovisual and Since when: - to date Since when: - to date Foundation’s grants bring the Documentary Lab, film sector to turn it into a national industry and Who can apply: students Who can apply: directors and producers Producing Lab, Directing Lab, Screenwriting Lab, a vector of development. From which Countr(ies)/Region(s): Morocco From which Countr(ies)/Region(s): 20% of Fast Track, Talent Guide, and Project Involve to Specific for women: NO non-European participants (maximum 5 or 6 the industry. Since when: 2012 - to date Focus on the audiovisual sector: YES participants each year). Who can apply: Students Organization in charge: L’École Supérieure des Specific for women: NO Since when: 1981 - to date From which Countr(ies)/Region(s): Morocco Arts Visuels de Marrakech Focus on the audiovisual sector: YES Who can apply: Director and Producer Specific for women: NO Website Organization in charge: EURODOC From which Countr(ies)/Region(s): Worldwide Focus on the audiovisual sector: YES Website Specific for women: NO Organization in charge: Ismac Focus on the audiovisual sector: YES Website Organization in charge: Time Warner Founda tion Website 90 91
30. 31. 32. FIPA FILMLAB PALESTINE EURODOC Fipa Industry FilmLab Talent Executives Seminar Opportunity mix: Knowledge building at Opportunity mix: Knowledge building at Programme networking networking Opportunity mix: Learning at networking
What it is about: Fipa Industry analyses and pre What it is about: Filmlab develops and boosts What it is about: It’s a platform for the exchange dicts structural, economic, technological and filmmaking capacities by connecting interna and transmission, reflection the professional ex artistic evolutions in the audiovisual sector. It tional professional support and providing long- periences, ideas and visions of commissioning builds bridges between professionals, allowing term education programs to Palestinian film executives from international public televisions them to meet one another, to share ideas and makers, in addition to facilitating international and funds. The seminar provides an ongoing to work together to build the future of creation co-production opportunities, and knowledge- genuine professional development moment: a and of television. It supports daring creation by exchange. In order to support filmmaking ta unique opportunity for inspiring and open- offering project leaders expertise and coaching lents, Filmlab provides workshops, residencies, minded deliberation on the complex issue of fa to better understand the marketplace. capacity building. cilitating the creation and on the dissemination of documentary works. Since when: 1987 - to date Since when: 2014 - to date Who can apply: Producers, directors Who can apply: Filmmakers, directors Since when: 2018 From which Countr(ies)/Region(s): Worldwide From which Countr(ies)/Region(s): Palestine Who can apply: Producers Specific for women:NO Specific for women: NO From which Countr(ies)/Region(s): Europe and Focus on the audiovisual sector: YES Focus on the audiovisual sector: YES abroad Organization in charge: FIPA Organization in charge: FilmLab Palestine Specific for women:NO Contacts/References/Website Contacts/References/Website Focus on the audiovisual sector: YES Organization in charge: EURODOC Contacts/References/Website 92 93
V. social and networking structures 94 95 Social & Networking Structures Specific To Women 3. 4. 1. 2. LLWB SOREAD EWF CSRAWC Encourage women in 2M - Expertes Women for the future in African Women in business to ‘take the Mediterranean - Axis 1 Cinema Blog lead to succeed’ What it is about: The programme aims at estab What it is about: The purpose of the African Wo What it is about: The aim of the programme What it is about: It’s a database that will allow lishing dynamic and sustainable working stra men in Cinema Blog is to provide a space to dis is to bring together professional women and journalists and media professionals to easily tegies between the civil society, the institutio cuss diverse topics relating to African women in providing them with a platform to share expe identify and contact women experts in diffe nal world and the academic world that work for cinema. The blog is a public forum of the Centre riences, develop competencies and skills, and es rent areas such as economy, politics, culture women’s empowerment in the southern Medi for the Study and Research of African Women in tablish networks and exchange expertise. and foreign affairs. It will, therefore, allow to in terranean. It also aims to disseminate existing Cinema. crease the presence of women on the screen, to knowledge on gender equality in the territories, Since when: 2006 - to date improve their visibility and to effectively fight to scientifically analyze them and to make the Since when: 2009 - to date Who can apply: Civil society against sexist stereotypes. institutions aware of that. Who can apply: Filmmakers, actors, producers, From which Countr(ies)/Region(s): Lebanon film professionals Specific for women:YES Since when: 2014 - to date Since when: 2014 - 2017 From which Countr(ies)/Region(s): Africa Focus on the audiovisual sector: NO Who can apply: journalist and media Who can apply: Civil society Specific for women:YES Organization in charge: The Lebanese League professionalists From which Countr(ies)/Region(s): Algeria, Focus on the audiovisual sector: YES for Women in Business (LLWB) From which Countr(ies)/Region(s): Morocco Egypt, Jordan, Lebanon, Morocco, Palestine, Organization in charge: Centre for the Study Website Specific for women: YES Tunisia and Research of African Women in Cinema Focus on the audiovisual sector: NO Specific for women:YES Website Organization in charge: Soread - 2M Focus on the audiovisual sector: NO Website Organization in charge: EuroMediterranean Women’s Foundation Website 96 97
5. IWFFN International Women’s Film Festival Network What it is about: the Network (IWFFN) has been created to support and promote women’s voices, visions and leadership, both onscreen and be hind the scenes. The Network strives to amplify the visibility of women filmmakers, more pro minently showcase their work across the globe, and demonstrate that audiences attend films about women and girls. The network serves as a forum for members to exchange knowledge and expertise.
Since when: 2012 - to date Who can apply: filmmakers From which Countr(ies)/Region(s): worldwide Specific for women: YES Focus on the audiovisual sector: YES Organization in charge: International Women’s Film Festival Network (IWFFN) Website
exploration widens the creative lens 98 99 Social & Networking Structures Other
1. 2. 3. DOC SOCIETY BEIRUT DC BEV Good Pitch Beirut Cinema Platform Filmonomics Quarterly Title of the opportunity: Good Pitch Opportunity mix: knowledge building at ne Title of the opportunity: Beirut Cinema Plat Title of the opportunity: tworking form Filmonomics Quarterly
What it is about: Good Pitch brings together do What it is about: It’s a platform implemented What it is about: It’s a London-based event, for cumentary filmmakers with foundations, NGOs, by the Lebanese Beirut DC association for Arab filmmakers and film executives who want to con campaigners, philanthropists, policy makers, independent filmmakers/producers working on nect to the cutting edge issues around gender brands and media around leading social and en their first or second feature-length documen equality in film, to celebrate new work coming vironmental issues - to forge coalitions and cam tary or fiction films, whose projects are in deve up, and to connect to others who are engaged paigns that are good for all these partners, good lopment or in post-production. This platform is in the issues. This is the first of regular quarterly for the films and good for society. designed to bring together Arab independent symposiums – fun, informative, conscious and filmmakers with Arab and international indus clever are the watch words for this event. Since when: 2011 - to date try professionals, with the aim of encouraging Who can apply: producers, filmmakers co-productions, collaborations and partnerships. Since when: 2017 - to date From which Countr(ies)/Region(s): worldwide Who can apply: filmmakers, film executives Specific for women: NO Since when: 2016 - to date From which Countr(ies)/Region(s): worldwide Focus on the audiovisual sector: YES Who can apply: filmmakers, producers Specific for women:NO Organization in charge: Doc Society From which Countr(ies)/Region(s): Arab coun Focus on the audiovisual sector: YES Contacts/References /Website tries Organization in charge: Birds Eye View Specific for women:NO Contacts /References/Website Focus on the audiovisual sector: YES Organization in charge: Beirut DC Website 100 101
industry insight Good Pitch is a Doc Society project in partners- hip with Ford Foundation and the Sundance Ins- titute Documentary Film Program.
Doc Society is a nonprofit film foundation supported by Bertha Foundation, the Ford Foundation and more than 50 organisations and individuals globa ‘this program focuses on lly. Since 2005, its mission has been to befriend great filmmakers, support great films, broker new partnerships, build new business models, share new sharing skills and capacity knowledge and develop new audiences globally. building. all participants
This programme has a plethora of objectives: to fuel the very best indepen dent documentary filmmaking in the world, to connect changemakers with bring something unique’ powerful films they can deploy in their work, to forge new partnerships be tween filmmakers and changemakers from across civil society, to unlock new investment and new audiences for documentary films, to connect change makers with powerful films they can deploy in their work, to build a global ‘good’ network of filmmakers and changemakers, to enrich the lives of indivi duals, to transform communities and improves societies.
This program focuses on sharing skills and capacity building. All participants bring something unique: expert knowledge, access to memberships and mai ling lists, campaigning and lobbying expertise, connections to policymakers or corporate leaders, and new sources of funding. 102 103
4. AN Afrikayna/ Arterial Network Morocco Title of the opportunity: Afrikayna Arterial Network Morocco
What it is about: Arterial Network is a dyna mic Pan-African, civil-society network of artists, industry insight cultural activists, entrepreneurs, enterprises, Created in May 2013, Afrikayna places at the cen- NGOs, institutions, and donors active in Africa’s ter of its reflections the African component of creative and cultural sectors. Established as a the Moroccan identity and directs, in this sense, member-based, non-profit organisation, Arte a series of actions for the promotion of the arts rial Network operates all across the continent in both English and French, and is led by an elected and the cultures of Africa by the formation, the Steering Committee which represents the five creation, co-production and dissemination. regions of the continent. Arterial Network’s five Its objective is to gather the various African visions in a unifying spirit and core focus areas to support the arts are advoca around a solidarity-based Africa, bring similar movements closer to young cy (through the Artwatch Africa project), capaci people in Africa, and facilitate mobility and artistic exchanges to enrich each ty building, market access, knowledge manage other, while actively participating in the safeguarding of traditional cultural ment and information dissemination. expressions, whose importance in the development of contemporary and ur ban trends. What it is about: Since when: 2016 - to date Who can apply: filmmakers, civil society, It is thanks to these partnerships and artistic and cultural collaborations be entrepreneurs tween Morocco and Southern countries that Afrikayna contributes to the de From which Countr(ies)/Region(s): Morocco velopment of cultural and creative industries through co-production, promo Specific for women:NO tion and dissemination. Focus on the audiovisual sector: YES Organization in charge: Arterial Network The program of actions favors the multiplication of projects dealing with ar Contacts/References/Website tistic interactions and intercultural dialogue between Morocco and its conti nent. 104 105
5. FIDMARSEILLE FIDLab Title of the opportunity: FIDLab
What it is about: FIDLab is a support platform for international co-production organized by FIDMarseille, Festival International de Cinéma de Marseille. FIDMarseille selects 10 film projects from all over the world, at every stage of produc tion and, through FIDLAb, organizes meetings between co-producers, distributors, production aid funds, or other potential fund providers for ‘its objective is to gather production, diffusion and distribution. the various African visions Since when: 2002 - to date Who can apply: filmmakers, producers in a unifying spirit and From which Countr(ies)/Region(s): worldwide Specific for women:NO around a solidarity-based Focus on the audiovisual sector: YES Organization in charge: FIDMarseille Africa’ Website 106 107
VI. festivals 108 109 Festivals Specific To Women
07. 09. 10. KCD MAFF AFFM AIWFF01. UN03. WOMEN SHASHAT05. Caravana ‘Entre Malmö Arab Film Films Femmes Aswan International JORDAN & RFC Women’s Film Cineastas’ Festival Festival Méditerranée Women Film Festival Women’s Film Week Festival in Palestine de Cine de Mujeres Title: Malmö Arab Film Festival Title: Films Femmes Mediter de El Cairo Title: Aswan International Title: Women’s Film Week Title: Women’s Film Festival in Since when: 2011- to date ranée Malmö, Sweden 2006 - to date Women Film Festival Since when: 2013 - to date Palestine Title: Caravana “ Entre Cineas Location: Since when: Since when: 2017 - to date Location: Amman, Jordan Since when: 2006-present tas” Festival de Cine de Mujeres Specific for women: YES. MAFF Location: Marseille, France Location: Egypt Specific for women:YES Location: Ramallah, Palestine de El Cairo also organizes the Arab Women Specific for women: YES Film Festival, a film festival fo Asso Specific for women:YES Organization in charge: Un Specific for women: YES Since when: 2012 - 2016 Organization in charge: cusing on films made by Arab ciation Films Femmes Mediter Organization in charge: Aswan Women Jordan, The Royal Film Organization in charge: Location: worldwide women or about Arab women, ranée International Women Film Commission Jordan Shashat Specific for women:YES aiming to highlight the great Festival Website Website Organization in charge: Website Website Kultura Communication y plethora of Arab women direc Desarrollo KCD tors, writers and actresses, as well as to raise questions about Website equality, feminism and women’s rights. 11. Organization in charge: CRIA CIWFF02. AB04. 06. Malmö Arab Film Festival Olhares do WACG Website Cairo International Festival In The Eyes of 08. Mediterrâneo, Women’s Film International du Women AWFF Cinema no Feminino Festival Film de Femmes de Arab’s Women Film Salé 2017 Title: In the Eyes of Women Festival Title: Olhares do Mediterrâneo, Title: Cairo International Wo Since when: 2013 - to date Cinema no Feminino men’s Film Festival Title: Arab’s Women Film Fes Title: Festival International du Location: Gaza, Palestine Since when: 2014 - to date Since when: 2007 - to date tival Film de Femmes de Salé 2017 Specific for women:YES Location: Lisbon, Portugal Location: Cairo, Egypt Since when: 2011 - 2015 Since when: 2006 - to date Organization in charge: Wo Specific for women:YES Specific for women:YES Location: The Hague, Location: Salè, Morocco men’s Affairs Centre Gaza Organization in charge: Organization in charge: Cairo Netherlands Specific for women: YES Website Olhares do Mediterrâneo, International Women’s Film Specific for women:YES Organization in charge: Asso Centro em Rede de Investi Festival Organization in charge: Het ciation Bouregreg gação em Antropologia Website Arabische Huis voor de Kuns Website Website ten Website 110 111 18. UNDP EFF12. RFS13. FIFF14. IFD16. Women Film’s Week ÉCU20. Etheria Film Dhaka International Festival Internationales The European Inde- Title: Women Film’s Week Festivals Film Festival International de Frauenfilmfestival Since when: 2014 - to date pendent Film Films de Femmes Dortmund Festival Title: Etheria Film Festival Location: Nicosia, Cyprus Title: Dhaka International Film Specific for women: YES Since when: 2011 - to date Title: Festival International de Title: Internationales Festival Organization in charge: United Title: The European Indepen Location: Hollywood, California Films de Femmes de Créteil Frauenfilmfestival Dortmund Since when: 1992 - to date Nations Development Pro dent Film Festival Specific for women:YES Since when: 1979 - to date Since when: 2006 - to date Location: Dhaka, Bangladesh gramme (UNDP) Since when: 2006 - to date Organization in charge: Location: Créteil, France Location: Dortmund and Specific for women: YES. A se Website Location: Paris, France Etheria Film Night Specific for women:YES Cologne, Germany lection of full-length feature Specific for women: YES. The Website Organization in charge: Specific for women: YES films as well as short length and Festival establishes two spe Festival International de Films Organization in charge: Inter documentary films by female cial awards: “The Ahmed Khedr de Femmes de Créteil nationales Frauenfilmfestival filmmakers will be screened in Award for Excellence in Arab Website Dortmund the category “Women Film Filmmaking”, dedicated to Website makers”. An independent jury DM19. outstanding cinematographic of female filmmakers, cultural Mostra de Films de talent emerging from the re experts, artists, and professio gion; and the award for Excel Dones nals will be appointed by the lence in Women’s Filmmaking. Festival Committee to judge Organization in charge: ÉCU– 15. Title: Mostra de Films de Dones this portion of the competition. ET 17. The European Independent Since when: 1993 - to date One documentary and one fic Elles Tournent SIWFF Film Festival Location: Barcelona, Spain tion award will be made for the Seoul International Website Specific for women:YES Women Filmmakers Category. Title: Elles Tournent Women’s Film Organization in charge: Drac Organization in charge: Since when: 2008 - to date Festival Màgic, Cooperativa Promotora Rainbow Film Society Location: Brussels, Belgium de Mitjans Audiovisuals Website Specific for women:YES Title: Seoul International Wo Website Organization in charge: Elles men’s Film Festival Tournent Since when: 1997 - to date Website Location: Seoul, South Korea Specific for women: YES Organization in charge: Seoul International Women’s Film Festival Website 112 113 Festivals Others 21. 23. 25. LFFF A NOUS LES EFC La Femme Film ÉCRANS Ismailia MA3MAL27. 612 IFJ29. BIFF31. Festival Les Journées International Film THINK Franco Arab Film Beirut International Cinématographiques Festival For Docu- Karama Festival Festival Film Festival Title: La Femme Film Festival d’Alger mentaries and Shorts Human Rights Film Since when: 2005 - to date Festival Title: Franco Arab Film Festival Title: Beirut International Film Title: Ismailia International Location: Beverly Hills, Title: Les Journées Cinémato Since when: 1994 - to date Festival Film Festival For Documen Title: Karama Festival, Human California graphiques d’Alger Location: Amman, Jordan Since when: 1997 - to date taries and Shorts Rights Film Festival Specific for women: YES Since when: 2009 - to date Specific for women:NO Location: Beirut, Lebanon Since when: 1991 - to date Since when: 2010 Organization in charge: La Location: Alger, Algeria Organization in charge: Insti Specific for women: NO Location: Ismailia, Egypt Location: Amman, Jordan Femme Film Festival Specific for women: NO tut francais Jordanie Organization in charge: Beirut Specific for women:NO Specific for women: NO Website Organization in charge: A nous Website International Film Festival Organization in charge: Organization in charge: les écrans Website Egyptian Film Center Ma3mal 612 Think Factory Website Website Website 22. 30. FICA LFF 32. Festival Internatio- Lebanese Film LA nal du Cinéma MA24. Festival Cabriolet Film 26. EUD28. IN JORDAN d’Alger Faten Hamama Film CIFF Festival European Film Title: Lebanese Film Festival Festival Cairo International Title: Festival International du Film Festival Festival Jordan Since when: 2001- to date Title: Cabriolet Film Festival Cinéma d’Alger Title: Faten Hamama Film Location: Beirut, Lebanon Since when: 2009 - to date Title: Cairo International Film Title: European Film Festival Since when: 2013 - to date Festival Specific for women:NO Location: Beirut, Lebanon Festival Jordan Location: Alger, Algeria Since when: 2017 - to date Organization in charge: Leba Specific for women:NO Since when: 1976 - to date Since when: 1989 - to date Specific for women:NO Location: Cairo, Egypt nese Film Festival Organization in charge: Labo Location: Cairo, Egypt Location: Amman, Jordan Organization in charge: Fes Specific for women: NO Website ratoire d’Art Specific for women:NO Specific for women:NO tival International du Cinéma Organization in charge: Website Organization in charge: Cairo Organization in charge: d’Alger Magica House International Film Festival European Union Delegation in Website Website Website Jordan Website 114 115
JIFF33. NAKI35. LI KOL E L’INITIATIVE37. ISMAC39. FFICMT41. TFF43. Jounieh NAS CULTURELLE Festival des Écoles de Festival Internatio- Tangier Film International Film Arab Short Film Festival Cinéma et nal du Cinéma Mé- Festival Festival Festival international cinéma d’Audiovisuel diterranéen de Title: Tangier Film Festival et migrations d’Afrique Tétouan Title: Jounieh International Title: Arab Short Film Festival Since when: 2008 - to date d’Agadir Film Festival Since when: 2003 - to date Title: Festival International Location: Tangier, Morocco Festival des Ecoles de Title: Specific for women: NO Since when: 2018 Location: Beirut, Lebanon Title: Festival international du Cinéma Méditerranéen de Cinéma et d’Audiovisuel Organization in charge: Location: Jounieh, Lebanon Specific for women: NO cinéma et migrations d’Agadir Tétouan ’Afrique Tangier Film Festival Specific for women: NO Organization in charge: Nadi li Since when: 2003 - to date Since when: 1995 - to date Since when: 2017 - to date Website Organization in charge: kol el Nas Location: Agadir, Morocco Location: Tétouan, Morocco Location: Rabat, Morocco Jounieh International Film Website Specific for women:NO Specific for women: NO Specific for women: NO Festival Organization in charge: Organization in charge: Organization in charge: Website L’initiative culturelle Fondation du Festival Inter ISMAC - Institut Supérieur des Website national du Cinéma Méditer Métiers de l’Audiovisuel et du ranéen de Tétouan Cinéma 44. Website FMF 36. Website 34. EC, TRIPOLI Festival Maghrébin BEIRUT DC FOUNDATION du Film Ayam Beirut Al Tripoli Film Festival 38. Title: Festival Maghrébin du Cinema’iya FFIFM Title: Tripoli Film Festival 42. Film Festival 40. FICAR Since when: 2014 - to date ACEA Since when: 2010 - to date Title: Ayam Beirut Al Festival Interna- Location: Tripoli, Lebanon International du Festival Internatio- Location: Oujda, Morocco Cinema’iya tional du cinéma Specific for women: NO Film de Marrakech nal de Documentaire Specific for women: NO Since when: 2001 - to date d’auteur de Rabat Organization in charge: Eklat à Agadir Organization in charge: Location: Beirut, Lebanon Title: Festival International du Conseils, Tripoli Foundation Festival Maghrébin du Film Specific for women:NO Film de Marrakech Title: Festival international du Website Title: Festival International de Website Organization in charge: Beirut Since when: 2001 - to date cinéma d’auteur de Rabat Documentaire à Agadir DC Location: Marrakech, Morocco Since when: 1994 - to date Since when: 2008 - to date Website Specific for women: NO Location: Rabat, Morocco Organization in charge: Fon Location: Agadir, Morocco Specific for women: NO dation du Festival International Specific for women: NO Organization in charge: du Film de Marrakech Organization in charge: Asso Festival international du Website ciation de Culture et cinéma d’auteur de Rabat d’Éducation par l’Audiovisuel Website Website 116 117
AIFDF45. AFDZ47. ACAM49. CAFAC51. DFI53. ASBL55. CINEMA- International Docu- Festival Internatio- Rencontres cinéma- Arab Film Festival Ajyal Youth Film MED mentary Film Festi- nal du Film Docu- tographiques de Berlin Festival Festival Cinéma val Khouribga mentaire de Zagora Hergla Méditerranéen de Title: Arab Film Festival Berlin Title: Ajyal Youth Film Festival Bruxelles Title: International Documen Title: Festival international du Title: Rencontres cinémato Since when: 2009 - to date Since when: 2014 - to date tary Film Festival Khouribga film documentaire de Zagora graphiques de Hergla Location: Berlin, Germany Location: Doha, Quatar Title: Festival Cinéma Méditer Since when: 2009 - to date Since when: 2012 - to date Since when: 2005 - to date Specific for women:NO Specific for women:NO ranéen de Bruxelles Location: Khouribga, Morocco Location: Zagora, Morocco Location: Sousse, Tunisie Organization in charge: Center Organization in charge: Doha Since when: 1989 - to date Specific for women: NO Specific for women: NO Specific for women:NO for Arab Film, Arts and Culture Film Institute Location: Brussels, Belgium Organization in charge: Organization in charge: Asso Organization in charge: Asso Website Website Specific for women: NO Association of the Internatio ciation du film documentaire ciation Culturelle Afrique Organization in charge: asbl nal Festival of documentary de Zagora Méditerranée Cinémamed film Website Website Website Website CPFF52. COE54. Chicago Palestine Festival del Cinema 48. 50. Film Festival Africano, d’Asia e 56. JCC ANF America Latina ACDBC 46. Title: Chicago Palestine Film ABAT Carthage Film DOC à Tunis Festival de cine Festival International Film Festival Title: Festival del Cinema Title: DOC à Tunis Since when: 2001 - to date africano School Festival Africano, d’Asia e America Title: Carthage Film Festival Since when: 2006 - to date Location: Chicago, Illinois Latina Tétouan Title: Festival de cine africano Since when: 1966 - to date Location: Tunis, Tunisia Specific for women:NO Since when: 1991 - to date Since when: 2003 - to date Title: International Film School Location: La Marsa, Tunisia Specific for women:NO Organization in charge: Location: Milano, Italy Location: Seville, Spain Festival Tétouan Specific for women:NO Organization in charge: Asso Chicago Palestine Film Festival Specific for women:NO Specific for women: NO Since when: 2017 - to date Organization in charge: ciation Ness el Fen Website Organization in charge: COE- Organization in charge: Location: Tétouan, Morocco Journées Cinématographiques Website Centro Orientamento Educa African Cinema Documenta Specific for women:NO de Carthage tivo tion and Broadcasting Center Organization in charge: Website Website Website Association BIDAYYAT ARTCINE Tétouan Website 118 119
on stage or behind the camera, engage audiences 120 121 59. FCAPA57. IAFFZ MAFF61. MAFF63. Arab65. Film Festival AFLAM67. Festival des Cinémas International Arab Arab Film Festival Göthenburg Arab Australia Les rencontres inter- d’Afrique du Pays Film Festival Zurich Stockholm Film Days nationales des ciné- Title: Arab Film Festival d’Apt mas arabes Title: International Arab Film Title: Arab Film Festival Title: Göthenburg Arab Film Australia Title: Festival des Cinémas Festival Zurich Stockholm Days Since when: 2001 - to date Title: Les Rencontres interna d’Afrique du Pays d’Apt Since when: 2012 - to date Since when: 2015 - to date Since when: 2015 - to date Location: Sydney - Melbourne - tionales des cinémas arabes Since when: 2003 - to date Location: Zurich, Switzerland Location: Stockholm, Sweden Location: Göthenburg, Sweden Canberra - Perth, Australia Since when: 2013 - to date Location: Apt, France Specific for women:NO Specific for women: NO Specific for women:NO Specific for women: NO Location: Marseille, France Specific for women:NO Organization in charge: Organization in charge: Organization in charge: Organization in charge: Arab Specific for women:NO Organization in charge: International Arab Film Festival Malmö Arab Film Festival Malmö Arab Film Festival Film Festival Australia Organization in charge: Aflam Festival des Cinémas d’Afrique Zurich Website Website Website Website du Pays d’Apt Website Website 62. 64. 66. 68. 60.AFF MAFF AFMI IF BBC 58. Arab Film Festival Arab Film Festival Arab Film Festival Panorama des BBC Arabic Festival FA Landskrona cinémas du Maghreb Title: Arab Film Festival Title: Arab Film Festival Title: BBC Arabic Festival AMAL, International Since when: 2011 - to date et du Moyen-Orient Title: Arab Film Festival Since when: 1996 - to date Since when: 2014 - to date Euroarab Film Location: Rotterdam, Landskrona Location: San Francisco, Title: Panorama des cinémas Location: London, United Festival Netherlands Since when: 2016 - to date California du Maghreb et du Moyen- Kingdom Specific for women: NO Title: AMAL- International Location: Landskrona, Sweden Specific for women: NO Orient Specific for women:NO Organization in charge: Arab Euroarab Film Festival Specific for women:NO Organization in charge: Arab Since when: 2006 - to date Organization in charge: BBC Film Festival Since when: 2003 - to date Organization in charge: Film and Media Institute Location: Saint-Denis and Pa Website Website Location: Santiago de Malmö Arab Film Festival Website ris, France Compostela, Spain Website Specific for women: NO Specific for women:NO Organization in charge: Organization in charge: Fun Indigènes Films dación Araguaney-Puente de Website Culturas Website 122 123
ZU69. VU71. CORSICA.DOC73. FIF75. FP77. DOCSBARCELONA79. Zayed University Vues d’Afrique Festival Internatio- Fajr International Festival Internazio- International Docu- Middle East Film nal du film docu- Festival nale del Film Docu- mentary Film Festi- Title: Vues d’Afrique Festival mentaire mentario val Since when: 1984 - to date Title: Fajr International Festival Title: Zayed University Middle Location: Montreal, Canada Title: CORSICA.DOC - Festival Since when: 1982 - to date Title: Festival dei Popoli - Title: Docs Barcelona - I East Film Festival Specific for women:NO International du film documen Location: Tehran, Iran Festival Internazionale del Film nternational Documentary Since when: 2010 - to date Organization in charge: Vues taire Specific for women: NO Documentario Film Festival Location: Abu Dhabi, United d’Afrique Since when: 2007 - to date Organization in charge: Fajr Since when: 1959 - to date Since when: 1997 - to date Arab Emirates Website Location: Ajaccio, Corsica International Festival Location: Florence, Italy Location: Barcelona, Spain Specific for women:NO Specific for women:NO Website Specific for women: NO Specific for women: NO Organization in charge: Zayed Organization in charge: Organization in charge: Organization in charge: University CORSICA.DOC Festival dei Popoli DocsBarcelona Website 72. Website Website Website FICMM Festival Interna- FFF76. tional du Cinéma Fastnet Film Festival Méditerrannéen de ALJAZEERA70. DOCVILLE74. Title: Fastnet Film Festival F3C78. AVD80. Montpellier Since when: 2008 - to date Aljazeera Interna- International Docu- Festival Des 3 Conti- FID International Location: Schull, Ireland tional Documentary Title: Festival International mentary Film Festi- nents Film Festival Mar- du Cinéma Méditerranéen de Specific for women: NO Film Festival val seille Montpellier Organization in charge: Title: Festival Des 3 Continents Fastnet Film Festival Title: Aljazeera International Since when: 1979 - to date Title: Docville - International Since when: 1979 - to date Title: FID International Film Documentary Film Festival Location: Montpellier, France Documentary Film Festival Website Location: Nantes, France Festival Marseille Since when: 2005 - to date Specific for women:NO Since when: 2005 - to date Specific for women: NO Since when: 2002 - to date Location: Doha, Qatar Organization in charge: Fes Location: Leuven, Belgium Organization in charge: Location: Marseille, France Specific for women:NO tival International du Cinéma Specific for women:NO Festival Des 3 Continents Specific for women:NO Organization in charge: Méditerranéen de Montpellier Organization in charge: Website Organization in charge: Asso Aljazeera Website Docville ciation Vue sur les docs Website Website Website 124 125
AM LTD FIPA81. HRW83. MF85. ACA87. FESPACO89. Aesthetica91. Short Festival Internatio- Human Rights Watch MedFilm Festival Milano Film Festival Le Festival panafri- Film Festival nal de Programme Film Festival cain du cinéma et de Title: MedFilm Festival Title: Milano Film Festival Title: Aesthetica Short Film Audiovisuelle la télévision de Title: Human Rights Watch Since when: 1995 - to date Since when: 1996 - to date Festival Ouagadougou Title: FIPA Festival Inter Film Festival Location: Rome, Italy Location: Milan, Italy Since when: 2011 - to date NO NO Location: York, United national de Programme Since when: 2009 - to date Specific for women: Specific for women: Title: FESPACO - Le Festival Kingdom Audiovisuelle Location: worldwide Organization in charge: Organization in charge: Asso panafricain du cinéma et de la Specific for women: NO Since when: 1987 - to date Specific for women:NO MedFilm Festival ciazione Culturale Aprile télévision de Ouagadougou Organization in charge: Location: Biarritz, France Organization in charge: Website Website Since when: 1969 - to date Aesthetica Magazine Ltd Specific for women: NO Human Rights Watch Location: Ouagadougou, Burki Website Organization in charge: FIPA Website na Faso Festival International de Pro Specific for women: NO gramme Audiovisuelle Organization in charge: Website 86. 88. FESPACO MEN MV Website 84. Middle East Now Mostra Viva del Me- 92. KCD diterraneo TFF Festival Interncio- Title: Middle East Now Torino Film Festival Title: Mostra Viva del Mediter nal de Cine Invisible Since when: 2010 - to date 82. raneo Title: Torino Film Festival IOM Location: Florence, Italy ‘Film Sozialak’ de Since when: 2012 - to date Since when: 1982 - to date Specific for women: NO 90. Global Migration Bilbao Organization in charge: Middle Location: Valencia, Spain ACRIFF Location: Torino, Italy Film Festival NO Specific for women: NO Title: Festival Internacional de East Now Specific for women: Rome Independent Organization in charge: Torino Title: Global Migration Film Cine Invisible “Film Sozialak” de Website Organization in charge: Film Festival Film Festival Festival Bilbao Mostra Viva Title: Rome Independent Film Website Since when: 2016 - to date Since when: 2009 - to date Website Festival Location: worldwide Location: Bilbao, Spain Since when: 2002 - to date Specific for women: NO Specific for women: Location: Rome, Italy Organization in charge: UN Organization in charge: Specific for women:NO Migration Agency (IOM) Kultura Communication Organization in charge: Asso Website y Desarrollo KCD ciazione Culturale Rome Inde Website pendent Film Festival Website 126 127
!F93. ISTANBUL AFF95. DIFF97. CHOUFTOUHON99. - Istanbul Independent Alexandria Film Durban Internatio- NA Film Festival Festival nal Film Festival Festival Internatio- nal d’Art Féministe Title: !f Istanbul Independent Title: Alexandria Film Festival Title: Durban International de Tunis Film Festival Since when: 2006 - to date Film Festival Since when: 2001 - to date Location: Alexandria, Virginia Since when: 1979 - to date Title: Chouftouhonna, Location: Istanbul, Turkey Specific for women: NO Location: Durban, South Africa le Festival International d’Art Specific for women: NO Organization in charge: Specific for women:NO Féministe de Tunis Organization in charge: Alexandria Film Festival Organization in charge: Since when: 2015 - to date !f Istanbul Website Durban International Film Location: Tunisia Website Festival Specific for women:NO Website Organization in charge: Bochra Triki 96. Website 94. WMMRF AC Ankara Internatio- 98. Festival Interna- nal Film Festival DIOGENE ASBL tional du Film des Millenium Documen- Title: Ankara International Film Droits de l’Homme tary Film Festival Festival de Paris Since when: 1988 - to date Title: Millenium Documentary Title: Festival International du Location: Ankara, Turkey Film Festival Film des Droits de l’Homme de Specific for women: NO Since when: 2009 - to date Paris Organization in charge: World Location: Brussels, Belgium Since when: 2003 - to date Mass Media Research Specific for women:NO Location: Paris, France Foundation Organization in charge: Specific for women:NO Website Diogène asbl Organization in charge: Website Alliance Ciné Website 128 129
VII. awards and prizes 130 131 Awards & Prizes Specific To Women 3. 4. 1. 2. IWMF EC CARTIER EWA Courage in Journalism Lorenzo Natali Media Cartier Women’s EWA Award at Fest Award Prize Initiative Awards Forward Women in What it is about: Reporting from areas of insta What it is about: The Natali prize will acknowl bility, oppression and conflict, Courage in Jour edge outstanding reporting (online, print or Film Pitch Forum nalism Awardees put themselves at risk to give audio-visual works) on development issues such What it is about: The Cartier Women’s Initiative What it is about: The call is open for any feature a window into critical global issues. Lifetime as poverty eradication and the economic, social Awards are an international business plan com film (fiction or documentary) at any stage of de Achievement Honorees set new standards for and environmental dimensions of sustainable petition created in 2006 to identify, support and velopment, from all over the world, providing women journalists and encourage future ge development. encourage projects by women entrepreneurs. that one of the following criteria is fulfilled: the nerations of reporters to find their voice. The The prize has two categories based on age: 21 Since their inception, they have accompanied subject matter is deemed to be especially impor Award provides these extraordinary women to 26 years old, and 27 years plus. For each ca 180 promising female business-owners and re tant to women; the plot revolves around strong with increased visibility and a mantle of safety tegory there will be a winner from each region: cognized 64 laureates. female characters or the director of the film is a to continue their vital work. Africa, the Arab World and the Middle East, Asia woman. The application can be submitted only and the Pacific, Latin America and the Carib Since when: 2006 - to date by the production company. Since when: 1990 - to date bean, Europe. A “Grand Winner” will be selected Who can apply: entrepreneurs Selected projects will compete for a 4.000 EUR Who can apply: journalists from among the regional winners, and an addi From which Countr(ies)/Region(s): worldwide prize. From which Countr(ies)/Region(s): worldwide tional thematic prize will be awarded for work Specific for women: YES Specific for women: YES focused on the elimination of violence against Focus on the audiovisual sector: NO Since when: 2018 Focus on the audiovisual sector: YES women and girls. Organization in charge: Cartier Who can apply: producers Organization in charge: International Women’s Contacts/References/Website From which Countr(ies)/Region(s): worldwide Media Foundation (IWMF) Since when: 2005 - to date Specific for women: YES Contacts/References/Website Who can apply: journalists Focus on the audiovisual sector: YES From which Countr(ies)/Region(s): worldwide Organizations in charge: Film Center Serbia, Specific for women:YES European Women’s Audiovisual Network (EWA) Focus on the audiovisual sector: YES Contacts/References/Website Organization in charge: European Commission Contacts/References/Website 132 133 Awards & Prizes Other 1. 2. SS PriMed Shore Scripts What it is about: The PriMed – International Fes tival of Mediterranean Documentary Film and Screenwriting Reportage is open to all directors, producers and Competition distributors who, through their programmes or films, contribute to a better understanding Opportunity mix: Funding and prizes of the countries of the Mediterranean basin in its widest sense, from the Atlantic coasts to What it is about: The fund is an opportunity to the Black Sea. The audiovisual works presented become a produced screenwriter. The winning should be about the culture, heritage, history, film(s) will be submitted to world-renowned societies and life of the men and women living film festivals, as well as shown to Oscar-winning in Mediterranean countries. The competition, Judges, Production Companies, Agents and Ma that takes place every year, aims to promote and nagers. The filmmaking team will have the full reward programs whose quality and creativity, support of Shore’s staff all the way through the both in content and in art forms, are remarcable. production process, including equipment and post-production service deals. Since when: 1994 - to date Who can apply: directors, producers, Since when: 2016 - to date distributors Who can apply: screenwriters From which Countr(ies)/Region(s): worldwide From which Countr(ies)/Region(s): worldwide Specific for women: NO Specific for women: NO Focus on the audiovisual sector: YES Focus on the audiovisual sector: YES Organization in charge: PriMed Organization in charge: Shore Scripts Contacts/References/Website Contacts/References/Website there is a lot of work before a script 134 135
VIII. awareness and advocacy 136 137 Awareness & Advocacy Specific for women
1. 2. 3. 4. CJ PE EMWF HEYA TV Women & Film #WhatIReally CSO WINS Project Arab Woman TV What it is about: The CSO WINS project aims to What it is about: The programming of the chan ReallyWant strengthen the capacity of civil society organiza nel is rich in education programmes showing What it is about: This project is an attempt to What it is about: The video sees a series of tions (associations, NGOs, etc.) of the southern the skill of many operators giving advice to Arab retrace the story of “Women & Film”, the first women from various regions across the globe, Mediterranean to participate in the policy dia women viewers. The channel’s programmes co ever feminist film magazine, published in Ca including the Middle East, singing the song in logue on gender equality. In addition, the pro ver a whole range of tastes and interests, local lifornia during the early 1970s. In addition to order to raise awareness of a number of key wo ject opens many opportunities for helping these events and social news. Public and international this, the research takes into account the maga men’s issues including gender pay gap and child organizations to play an active role in the moni figures and social icons are permanent guests of zine’s place in the development of feminist film marriages. toring of policies on women’s rights and to get the channel. criticism, with reference to both early women’s inspired from existing advocacy actions at na writing on film and the poststructuralist Since when: 2016 - to date tional and Euro-Mediterranean level. Since when: 2002 - to date theories of the 1970s. From which Countr(ies)/Region(s): worldwide From which Countr(ies)/Region(s): Lebanon Specific for women: YES Since when: 2015 - 2017 Specific for women: YES Since when: 2011 - to date Focus on the audiovisual sector: NO Who can apply: civil society Focus on the audiovisual sector: NO From which Countr(ies)/Region(s): USA Organization in charge: Project Everyone From which Countr(ies)/Region(s): MENA Organization in charge: Heya Tv Specific for women: YES Contacts/References/Website Countries Contacts/References/Website Focus on the audiovisual sector: YES Specific for women:YES Organization in charge: Clarissa Jacob Focus on the audiovisual sector: NO Contacts/References/Website Organization in charge: Euro-Mediterranean Women’s Foundation Contacts/References/Website 138 139
5. WGLG I Have a Story What it is about: “I Have a Story” campaign seeks to increase awareness and understanding of gender stereotypes and gender-based vio lence (GBV), and to encourage gender-based vio lence survivors to seek support. The campaign uses a peer-to-peer approach to facilitated screenings, supplemented by social media and local content production, to promote openness about GBV and encourage positive action to re duce its incidence.
Since when: 2011 - to date From which Countr(ies)/Region(s): Jordan, worldwide Specific for women:YES Focus on the audiovisual sector: YES Organization in charge: Women and Girls Lead Global Contacts/References/Website
the voice: a powerful tool for advocacy 140 141
WGLG industry- I Have A Story. WGLG isinsight a public-private partner ship between USAID, the Ford Foundation and the Indepen- dent Television Service (ITVS) working in collaboration with CARE. Women and Girls Lead Global believes in the power of sharing stories of courageous women who refuse to accept the status quo.
That is why WGLG curates and screens powerful documentaries made by some of the world’s best filmmakers in villages cities and rural classroom. As illustrated in the following image, the WGLG’ approach implies several steps: a selection of women, the establishment of context-specific change ‘this campaign aims at models and social impact goal and the design of a social impact campaign strategy. Consequently, film facilitators are trained and series of three films are screened for community members. This increasing awareness and stage marks the beginning of breakthrough conversations and enables the development of com munity action plans. Finally, successful stories are generated with an impact on community-led understanding of gender transformation. stereotypes and gender- “I Have a Story” is a gender-sensitive campaign that uses a home-based screening model and on line platforms to provide a safe and intimate space to discuss issues like gender-based violence. based violence, and (...) at Firstly, this campaign aims at increasing awareness and understanding of gender stereotypes and gender-based violence, and secondly aims at encouraging gender-based violence survivors to ask encouraging gender-based for support. The campaign uses a peer-to-peer approach to facilitate screenings, supplemented by social violence survivors to ask media and local content production, to promote openness about GBV and encourage positive action to reduce its incidence. for support’ One of the main objectives of this campaign is creating an emotional and personal media expe riences for television viewers to increase knowledge and change attitudes about the importance of equitable and inclusive roles for women and girls, including leadership positions. The second is increasing public attention, exposure, and awareness around the roles of women and girls in society, with a focus on issues identified locally as most critical for progress, promoting an en abling environment for female empowerment. Finally, this campaign also aims at mobilizing men and women to take action to create more social, economic and political opportunities for women and girls, by also connecting women to service providers and amplifies messages to the greater public. A repository of stories around the world (Bangladesh, India, Jorda, Kenya, Peru), is available online at the following link. 142 143
6. 7. UNESCO WEK Femmes et média au Equality Maghreb ‘Womanhood,industry An Egyptian insight Kaleidoscope’ is an What it is about: The aim of this project is to What it is about: “Femmes et Médias au move beyond these three images, to pay atten interactive documentary, a self-production car Maghreb” is a quarterly magazine edited by tion to women’s voices, their personal perspec ried out by this not-for-profit organisation. Be- UNESCO’s Office in Rabat and funded by The tives, their daily lives, individual horizons, emo Swedish International Development Coopera tween 2014 and 2015, the female film-maker tions, tsituation of utterance: in other words, tion Agency (SIDA) and Finland’s government. It Florie Bavard, born in Marseille but raised be- to listen to their “worldviews”. has been thought as a tool to stimulate the de tween Cairo, USA and France met 15 Egyptian bate on the role of media as a vehicle for the cul Since when: 2012 - to date women. ture of equality. The magazine allows to broad From which Countr(ies)/Region(s): Egypt cast and value research works and testimony of They are authors, actresses, bloggers, filmmakers, humanitarians, musicians, Specific for women:YES men and women who contributed to bridge the photographers, psychiatrists, researchers, students, teachers or writers. Focus on the audiovisual sector: YES gap between today women’s life and their place The criteria to be selected for the project are the following one: to have Organization in charge: Womanhood egyptian and image in media in Maghreb. worked on the question of gender and to be introduced by another partici kaleidoscope pant. The selected 15 Egyptian women born between 1931 and 1995, who have Contacts/References/Website Since when: 2010 - to date one thing in common: being confronted with the question of Gender in their From which Countr(ies)/Region(s): Maghreb social activity. Specific for women: YES Focus on the audiovisual sector: NO Equality is a project which aims at paying attention to women’s voices, their Organization in charge: UNESCO personal perspectives, daily lives, individual horizons, emotions, situation of Contacts/References/Website utterance: in other words, to listen to their “worldviews”. This project collects 7 hours of testimonies that have been divided into 80 small video-clips and one interactive documentary, available since May 2017. Two different shows are being presented: one is around four key themes (Activism, Gender, Voice and the West) and the other is around other three key themes (Revolution, Generation and Public Space).
This project has an Archive dimension: through their interviews, those pro tagonists question the current stereotypes imposed upon them. Analyzing the gendered roles in the (post)revolutionary process, they reflect upon their social roles and their political struggles at a given moment. Those testimo nies refer to Post-colonial Historiography and show that Visual Anthropology offers new means to convey those narratives. 144 145
8. 9. MOSSAWA TAM The Mossawa Center - Women’s Courts The Advocacy Center Project For Arab Citizens in Israel What it is about: The Mossawa Center What it is about: The “Women’s Courts” project addresses socio-economic instability by orga aims to raise the voice of women to have a more nizing regional economic development projects. effective role in defending their rights, enhance They cooperate with Arab local councils, NGOs women’s participation to combat Gender Based ‘they are authors, ac and the private sector to build their capacities to Violence (GBV), and to enhance and empower gain access to public and private funding. Mos the role of civil society organizations (CSOs), tresses, bloggers, film- sawa works with marginalized groups such as youth coalitions and media specialists in taking women, youth and the Bedouin communities of a leading role in advocating women’s rights. makers, humanitarians, the Negev/Naqab Desert in the areas of land and housing, employment, education and infrastruc Since when: 2015 - to date musicians, photographers, ture. From which Countr(ies)/Region(s): Palestine Specific for women: YES psychiatrists, researchers, Since when: 1997 - to date Focus on the audiovisual sector: NO From which Countr(ies)/Region(s): Palestine Organization in charge: Women Media and students, teachers or and Israel Development- TAM- The voice of the voiceless Specific for women:YES Contacts/References/Website writers’ Focus on the audiovisual sector: NO Organization in charge: Mossawa Contacts/References/Website 146 147
10. 11. 12. 13. CJ & KW NAWFA NAWM UoE The Women & Film New African Women The New African Transnational Project Magazine Woman Magazine Moroccan Cinema What it is about: This project is an attempt to What it is about: The aim of the magazine is to What it is about: The award-winning bi-monthly What it is about: The project aims to explore retrace the story of “Women & Film”, the first represent African women, share their stories, ce magazine is the only women’s publication co the critical and commercial success of Moroccan ever feminist film magazine, published in Ca lebrate their triumphs, shed light on their strug vering the entire African continent and its dias cinema through a transnational lens, analysing lifornia during the early 1970s. In addition to gles and ultimately to show the world and each pora. It provides in-depth coverage on a diverse the global reach of this ‘small’ national cine this, the research takes into account the maga other the beauty, strength and above all diversi range of issues that truly speak to and resonate ma through its relationship to diasporic film zine’s place in the development of feminist film ty of African women. with the African/Black woman worldwide. makers, the role of festivals and international criticism, with reference to both early women’s co-productions as well as the place of local and writing on film and the poststructuralist theo Since when: 2010 - to date Since when: 2010 - to date global audiences in the age of digital disruption. ries of the 1970s. From which Countr(ies)/Region(s): African From which Countr(ies)/Region(s): Africa The project places a strong emphasis on collabo countries Specific for women: YES ration with filmmakers, festivals, policy makers Since when: 1972 - to date Specific for women: YES Focus on the audiovisual sector: NO and other industry figures and has partner From which Countr(ies)/Region(s): worldwide Focus on the audiovisual sector: NO Organization in charge: The New African ships with ESAV (Marrakech), the London Film Specific for women:YES Organization in charge: The New African Woman Forum and Awards School and The Africa in Motion Film Festival Focus on the audiovisual sector: YES Woman Forum and Awards Contacts/References/Website (Edinburgh). The project aims to contribute to a Organization in charge: Clarissa Jacob & Kate Contacts/References/Website transnational understanding of Moroccan iden Wieteska tity through cinema and its role on the scale of Contacts/References/Website a global film circuit. Through symposia, contri butions to film festivals and publications, the researchers behind the project hope to open up a platform for international dialogue of and for Moroccan cinema.
Since when: 2015 - to date From which Countr(ies)/Region(s): Morocco Specific for women:YES Focus on the audiovisual sector: YES Organization in charge: University of ESSEX Contacts/References/Website 148 149
14. 15. 16. 17. WFFN WAC AWO OXFAM Get Yourself Connected WAC Women’s Affairs Arab Women’s Middle East Gender Center Organization Equality Programme What it is about: It is a discussion about the What it is about: WAC is an independent and Opportunity mix: Knowledge building and Opportunity mix: Legal support and advocacy status on women in film business and gen non-profit Palestinian NGO with the purpose of advocacy der equity on the occasion of the 64th Berlin advocating for women’s rights and gender equal International Film Festival. ity through capacity development, information What it is about: The AWO is an intergovern What it is about: Oxfam is empowering thou and innovative research and advocacy programs. mental organization established under the um sands of women to take part in political life, and Since when: 2014 - to date brella of the League of Arab States and head exercise their rights, working with community From which Countr(ies)/Region(s): Worldwide Since when: 2012 - 2017 quartered in Egypt. It emerged from the Cairo leaders to raise awareness of the personal status Specific for women: YES From which Countr(ies)/Region(s): Palestine Declaration issued by the First Arab Women laws governing issues such as marriage and di Focus on the audiovisual sector: YES Specific for women: YES Summit which convened in Cairo, in November vorce which discriminate against women. Oxfam Organization in charge: Women’s Film Festival Focus on the audiovisual sector: NO 2000 and was co-organized by the National also advocates to improve women’s access to le Network Organization in charge: WAC Women’s Affairs Council for Women in Egypt, Hariri Foundation gal services and helping to change the attitudes Contacts/References/Website Center in Lebanon and the League of Arab States. AWO’s of court officials towards women’s legal rights. Website agreement came into effect in March 2003. Since when: - to date Since when: 2000 - to date Who can apply: civil society Who can apply: From which Countr(ies)/Region(s): MENA From which Countr(ies)/Region(s): Egypt Countries Specific for women:YES Specific for women: YES Focus on the audiovisual sector: NO Focus on the audiovisual sector: NO Organization in charge: Arab Women’s Organization in charge: Oxfam Organization Contacts/References/Website Contacts/References/Website 150 151 Since when: 2017 - to date 18. 19. Who can apply: civil society organizations 20. From which Countr(ies)/Region(s): Palestine, NSC ANND, GAOM, Jordan, Egypt, Lebanon, Morocco, Tunisia, Lybia UN WOMEN EGYPT Empowerment of COSPE, APIDEM - Specific for women: YES Men and women for Focus on the audiovisual sector: YES Women MEDFILM Organization in charge: Arab NGO Network for gender equality Opportunity mix: Knowledge building, networ For all: the importance Development (ANND), Media Monitoring Opportunity mix: king, advocacy (Groupe Arabe d’Observation des Médias), Knowledge building at networking of cinema in COSPE, APIMED What it is about: The Empowerment of Women Mediterranean Regions Contacts/References/Website What it is about: UN Women is expanding inno programme leads capacity building, networking vative mechanisms to raise youth awareness, Opportunity mix: Networking, knowledge and awareness raising activities to reinforce and promote their advocacy and championing building, advocacy, funding female participation in public and political life. related to women’s empowerment and gender The aim of the programme is to reinforce the equality. This includes the use of sport, civic What it is about: The general objective is to multilateral and multilevel cooperation between engagement and scientific and entrepreneurial contribute to human development and gender the relevant stakeholders through the sharing innovation as mediums for encouraging youth equality through the diffusion of audiovisual of tools, methodologies and best practices in participation that protects and promotes wo products tackling social issues in the Southern order to develop a context that facilitates men’s equal participation in society. Mediterranean region. The specific objective is the empowerment of women and girls in the to increase the production, the diffusion and Southern Mediterranean. Who can apply: civil society the accessibility of audiovisual productions pro From which Countr(ies)/Region(s): Egypt moting social and gender issues and to improve Since when: 2015 - to date Specific for women: YES exchange and network between CSOs and film Who can apply: Focus on the audiovisual sector: NO industry actors. In particular, through the finan From which Countr(ies)/Region(s): MENA Organization in charge: UN WOMEN Egypt cial support to third parties (sub-grant scheme) Countries Contacts/References/Website 12 projects targeting audience development will Specific for women: YES be financed and supported. Focus on the audiovisual sector: NO Organization in charge: North-South Centre (NSC) of the Council of Europe Contacts/References/Website 152 153 Awareness & Advocacy Other
1. 2. 3. 4. AN CIR FP UNESCO, ASDI, Research and Itinerant Cinema Cinema Culture COPEAM, HACA, Knowledge Management Roadmovie What it is about: Filmlab builds a viable culture SNRT of cinema-going and critical viewership by orga What it is about: Arterial Network aims to pro What it is about: Itinerant Cinema Roadmovie nizing the annual Days of Cinema, regular public Mesurer l’égalité des voke debate, discussions and theorising around (CIR) is a non-profit project to promote film cul film screenings and cinema-centric debates, and arts, culture, creative industries and contempo ture in Tunisia. The association screens movies genres dans les médias hosting a variety of programs to promote pro rary arts and culture discourses, and to develop allowing the meeting between cinema profes What it is about: UNESCO Office in Rabat im duction and viewership among children. Filmlab African positions and leadership on such issues. sionals and public, promoting further cultural plemented a program in order to promote a also organizes film screenings for children in To better understand the movement, issues and exchanges throughout the country. The aim of more balanced representation of men and wo partnership with kindergartens. perspectives of the sector, Arterial Network con the project is to promote audiovisual culture, men in media and to forward gender equality in tributes to the development of research and the support and stimulate innovative and creative Morocco. The project is funded by The Swedish Since when: 2014 - to date dissemination of research results. ideas in civil society. International Development Cooperation Agency Who can apply: civil society and implemented in partnership with the Per From which Countr(ies)/Region(s): Palestine Since when: 2007 - to date Since when: 2014 - to date manent Conference of the Audiovisual Mediter Specific for women:NO From which Countr(ies)/Region(s): Africa From which Countr(ies)/Region(s): Tunisia ranean Operators, the High Authority of Audio Focus on the audiovisual sector: YES Specific for women:NO Specific for women:NO visual Communication and la Société nationale Organization in charge: Filmlab Palestine Focus on the audiovisual sector: NO Focus on the audiovisual sector: YES de la radio et de la télévision. The aim of the Contacts/References/Website Organization in charge: Arterial Network Organization in charge: Itinerant Cinema Road project is to change the stereotyped represen Contacts/References/Website movie (CIR) tations of women in media in Morocco through Contacts/References/Website an evaluation of media partnership organisa tions based on indicators of gender equality in UNESCO’s media.
Since when: 2013 - to date From which Countr(ies)/Region(s): Morocco Specific for women: NO Focus on the audiovisual sector: NO Organization in charge: UNESCO, ASDI, COPEAM, HACA, SNRT. Contacts/References/Website 154 155
5. 6. 7. SHASHAT SHASHAT EU Films for Everyone Cinema Cultura Med Culture Program Opportunity mix: Networking, advocacy What it is about: In the belief that “Culture is What it is about: Through this program a human right” and in order to contribute to a What it is about: Med Culture is a 4-year regio Shashat provides specialized film library with robust cultural life in peripheral areas Shashat nal programme funded by the European Union films and DVDs on Arab and international has held, since its founding in 2005, over 2000 to accompany partner countries in the south classics in three different sites in the West Bank screenings discussions in towns, villages and of the Mediterranean in the development and to address the lack of mobility in Palestine, refugee camps in the West Bank and the Gaza improvement of cultural policies and practi encourages cine-club dialogues and professional Strip. It has also produced 15 (one hour) satellite ces related to the culture sector. The approach Film Conversations. TV programs on its films, and additionally subtit is consultative/participative and takes place led 6 films into Arabic. in partnership with civil society actors, minis Since when: - to date tries, private and public institutions involved in From which Countr(ies)/Region(s): Palestine Since when: 2005 - 2009. culture as well as other related sectors. Specific for women: NO From which Countr(ies)/Region(s): Palestine Focus on the audiovisual sector: YES Specific for women:NO Since when: 2014 - to date Organization in charge: Shashat Focus on the audiovisual sector: YES Who can apply: civil society Contacts/References/Website Organization in charge: Shashat From which Countr(ies)/Region(s): Algeria, Contacts/References/Website Egypt, Israel, Jordan, Lebanon, Morocco, Tunisia, Palestine, Libya Specific for women:NO Focus on the audiovisual sector: NO Organization in charge: European Union Contacts/References/Website 156 157
IX. a woman story 158 159 After some interesting, though dangerous experiences in the documentary field, she got the chance to work at short and long movies - something she was really fond of since the beginning of her studies. For example, as a sound engineer, she worked at “Or noir”, a film by Jean Jacques Annaud shot be tween Tunisia and Qatar in 2010-2011 and “Femmes entre hier et demain” by Saad Chraibi in Morocco in 2010.
Later on, she got pregnant, and she had to stop for a year. After having given birth, she received some offers but life circumstances forced her to choose between carrying on her career as a sound technician and bring her daughter with her all the way along the filming or be a wife and a mother.
If, on one side, the choice of stopping her career was hard, on the other she had the chance to redirect her career to the production area. Therefore, she joined her brothers’ production company: Ulysson production. In 2016, she Selma Thabet was appointed Executive Director. Selma Thabet is an Executive Director and sound engineer who lives in Tunis. Her passion for the audiovisual sector was sparked at an early age by her According to Selma, what it is really missing in Tunisia are education oppor father’s love for filmmaking. This passion was solidified through formal stu tunities, especially for production. Aspiring filmmakers have to go abroad to dies, including a degree in sound engineering in Belgium at INSAS - Institut find interesting and wider opportunities National Supérieur des Arts du Spectacle. The choice of becoming a sound • engineer required patience and sacrifice - virtues that have enabled her to tackle many of the industries challenges in her school year. Although sound engineering did not fit with her ambitions precisely, it contributes in shaping, jointly with her roots her eventual pathway. Since then Selma has travelled internationally and in multiple languages including Arabic, English, French and Italian and has worked in France and her work has extended to countries including the United Kingdom, Jordan, Tunisia, Lebanon and Morocco.
She recalls having worked with a sexist filmmaker who created a difficult en vironment for her as an Arab woman to effectively do her job.
Although it has been ten years since she entered the audiovisual sector, Selma still recognizes forms of resistance against the role of women, espe cially in more technical roles. For example, while filming a movie in Algeria she was supported by a male intern and although she was the expert, he appeared reluctant to take her advice and instructions which she felt was because she was a young woman. 160 161
All the workshops and programmes she took part in showed her the power of storytelling and how important it is, for a producer, to master what she wants to do. In 2017, she directed a short documentary on women in poli tics in Algeria and started the cultural project “B to C”, a platform for cine ma talents in Algeria. This choice is due to the fact that spending 5 years working on a project without any advance was time- and energy-consuming, so she realized that fundraising inside and outside Algeria was the main issue. For that reason, she decided to start working on it and find solutions inside Algeria. The idea came from the need to find financial resources inside Algeria by involving the private sector, since the public fund is not enough anymore. The situation only gets worse with the cuts on budgets. She was inspired by similar platforms, such as DOC Society, Méditerranée audiovisuelle and Transartis. Her first principal target is cinema and audiovisual talents: film Drifa Mezenner makers, producers, writers, camera operators, sound engineers, editors, etc. Drifa Mezenner is a filmmaker and cultural manager who lives in Algiers. The second category is the private companies in all kind of economic sec After her studies in English Literature and Graphic Arts, she worked in adver tors. As far as financing is concerned, the Goethe Institute Germany helped tising as a Graphic Designer for 7 years until 2010, but suddenly she unders with the first phase of the think tank “B to C”, with 3000 euros, to work on a tood that what she wanted to do was to tell stories. In 2011, she made her diagnosis of the situation with a group of 15 people. After many encounters first short documentary “I lived in the absence twice” which was screened in and counseling, they came with a memento that gathers recommendations several film festivals around the world and for which she also won awards. In about the cinema sector. Later, the Goethe institute Algiers helped again to 2012, she started the development of her feature-length documentary “Drifa cover a part of the platform development with a 2000 euro grant. Since the and the lonely whale” which she is currently editing while freelancing as a beginning, the project was meant to be independent, this is why she did not filmmaker. establish contacts with the government in developing her platform • She started her career as a filmmaker thanks to Habiba Jahnine’ initiative, within Bejaia Doc workshop - a creative documentary workshop in East Algeria. Documentary Campus helped her to discover the work of her peers in the MENA Countries and Europe, and to learn the importance of producer in supporting a film project. Later on, she took part into Docmed, a one year program for producers in the MENA Countries, whose main objective is to help producers learning how to build a strong project for the international market. Then in 2014 she participated in the Berlinale Talent Campus, where she worked on her pitch within the Doc Station program. In the beginning of her career, she faced a plethora of obstacles: training opportunities and fundraising have been the major problems. Furthermore, the absence of a real network inside Algeria doesn’t encourage access to information about how to obtain grants. 162 163 At the same time, she faced resistance to accepting her as an expert. Not only was she stigmatized for being single, but also seen as a potential usurpator of the place of nationals. In her struggle for social recognition and respect in the Palestinian community, she discovered that there were many levels and dimensions to de-valuing her expertise. Thus, while applying for grants on the behalf of Shashat she was suspected in being only interested in her personal growth as a filmmaker. Therefore, in order to gain trust and acceptance, she had to suspend her artistic career. This decision was particularly bitter to her as the same criteria of ‘conflict of interest’ did not seem to apply to other ma nagers of cultural organizations who are also artists and professionals in their field. She attributes this to her lack of a ‘power-base’ represented by a family network of cousins and their in-laws.
Moreover, even though the Shashat’s served as a strong platform for profes
sional development of many young women, there is still resistance by some Alia Arasoughly of them to acknowledge its importance. The fact that they take full credit for Alia Arasoughly is a female filmmaker, curator, academic and sociologist of what they have achieved is to be seen as a ‘small pie’ mentality and a result of culture. She was born in Acre, then lived in the United States and in 1997 limited resources in the country. According to Alia, this lack of sense of ‘com moved back to Palestine. Alia’s interest in women and cinema goes back to munity’ is what weakens the Palestinian women sector. Her general advice to her university days, whereby her Ph.D. focused on “The Inscription of National other women is to always pursue their own vision, not to be swayed by others’ History on Women’s Bodies in Egyptian Cinema”. She has also lectured inter opinions, to hear their own voice, to know themselves better, to believe in nationally on issues of post-colonialism, gender, national identity and cinema their own power. in the Arab world and co-curated and co-organized different projects related • to the Arab cinema, such as “Liberation and Alienation in Algerian Cinema” film festival in Boston and “Centennial of Arab Cinema” in New York.
Alia is a co-founder of Shashat Woman Cinema - an NGO focusing on women’s cinema and the social and cultural implications of women’s representations. Since 2005, the organization has produced 82 short films, 10 cinema festivals and their tours in the West Bank, Jerusalem and the Gaza Strip. Her perso nal production credits include 7 films - “Torn Living”, “Hay mish Eish”, “The Clothesline” and others. Alia’s remarkable activity and advocacy for culture were recognized with several awards from the Palestinian Ministry of Wo men’s Affairs and the Palestinian Ministry of Culture.
When after years of studying and working abroad, Alia came back to her country as an experienced professional, she faced many obstacles. First, she had to get over her own culture shock and pre-conceptions about Palestine. 164 165 by art, she ended up following a more respectful and traditional path and got a degree in medicine in order to bend to the vision of a woman’s role inflicted by her family and the environment. Later on, as a self-made and self-produced artist, she has been experiencing hostility and incomprehension from the so ciety in general and men in particular who traditionally do not believe in wo men’s ability to handle management tasks or to carry high-quality research. Therefore, her success is often followed by the image of a patronizing iron lady without sexuality, friends or company. Similarly, in the academic field, traditionally stiff and not welcoming to the apparent manifestations of wo manhood, her activity is often seen as contradictory to the fact of being an artist. For her, on the contrary, they are complementary because it gives her possibility to write articles about the true life of artists, to enlighten what artists really face not only from a theoretical framework.
Moreover, she is being approached by the production companies as a mere performer and has to face the prospect of fitting in a certain artistic formula FayrouzFayrouz Karawya is a female artist, Karawaya writer, producer, anthropologist and that is often limited to her sexualisation. This mould has been similarly repli activist from Egypt. After pursuing a prestigious degree in medicine, she cated in her position on the labour market, festival and concert opportuni decided to follow her passion for music and created her own band where ties. “So it’s not only about being a woman that you are rejected but, in addi she is singer, lyrics, producer, songwriter and composer. In parallel to that, tion, a woman who wants to make her own vision of art that is not feminine she applied for a Master in cultural studies at the American University in or masculine but it’s an artistic vision,” sums up Fayrouz. Cairo. She worked on the influence of popular movies on class perception, • political system and social life in Egypt for her Master thesis and continues exploring the effects of popular culture on gender perspective by colla borating with international cultural institutions. She also produced and acted in a couple of documentary films, such as the one about a prominent Egyptian ballet dancer Taheyya Kariokka.
Within the framework of SouthMed project, Fayrouz Karawya is working on a TV series tackling the image of women and gender interaction, in tersexual and familial relations through monitoring and quantitative eva luation of violence, incidences, stereotyping, in-depth interviews, focus groups and ethnography research.
Having faced many challenges throughout her artistic and academic ca reer, Fayrouz Karawya is always looking to clarify the real picture of the role of woman in society. In fact, the public policy and the established para digm of gender relations in Egypt have affected every aspect of her perso nal development, starting from her early education. While being attracted 166 167 When her father underwent a triple bypass surgery, she felt the urge to be closer to him and came back to Beirut. Encouraged by her aunt, a famous Bel gian film distributor, she founded a distribution company Crystal Films, then established the first Europa Cinema Theatre in the MEA. Her organisation offered the full circle of cinema services, from editing, producing, directing, to distribution and that allowed her to gain an extensive expertise in all many of filmmaking.
As a woman, Dima faces challenges both in Europe and home. For instance, she had a couple of bad experiences with producers who ripped her off and treated her in an unacceptable way. At the same time in Lebanon, the law and the religion put a great impact on civil society and cinema. One of the signals of women rights being limited that Dima highlights is a recent policy in many Arab countries that discharges a man for rape of an underage girl provided
he marries her. Even though she considers Lebanon as one of the rare coun tries where she feels truly free as a woman, she was first denied her mother’s Dima Al-JoundiDima is a Lebanese director,Al-Joundi producer and writer. She studied Lebanese citizenship for many years and had to take the nationality of her philosophy in school and then moved to Brussels to study script editing at Syrian father. Despite everything, she always uses these negative experiences INSAS. Not willing to come back to war-ravaged Beirut, she decided to stay in her work and training worldwide communicating them to others and thus in Europe after graduation. Her rare specialization in editing 35-mm film turning them into an asset. reels offered her excellent prospects of work with the Belgian TV in the •
documentary department but Dima turned it down to get expertise in edi ting different genres and subsequently settle on filmmaking herself. She recollects her uncle, a famous Lebanese director based in Paris, predicting her at that point a bright career in cinema due to her not being afraid of financial instability.
She set out editing films in a variety of domains including documentaries, fiction, sound editing, Belgian, Arab, European advertising and even Afri can documentaries without the budget, one done in a bathroom just out of enthusiasm for the project. Dima’s first film, “Between Us Two…”, started with a letter she got from her sister and propelled her career as a direc tor. In 3 months she had raised 150,000€ and discovered her talent for fundraising, deciding to become a producer as well. As “Between Us Two…” went to lots of international film festivals, a Belgian producer contacted her and she did a film “The Silk Road”, and then started a film “The bare foot diva” in Cape Verde with Cesaria Evora. She moved to Paris, got enga ged a second time, but ran away before it was too serious, then moved to Sri Lanka, where she did extensive work with young Asia TV, training youth, working with street children and trafficked girls. 168 169
X. selected public initiatives 170 171 In order to address the issue of gender inequality and under-representation of women in the a plethora of actions with partners for the impulsion of the gender culture in the audiovisual sector. film sector, both on screen and behind the camera, and the perpetuation of stereotypes relating This cooperation will seal the commitment of UN Women to support the audiovisual sector in to the image of women in the societies object of this project, first of all the issue needs to be the realization development of this mission. This partnership mainly targets professionals in the acknowledged. Then, it needs to be translated into action. audiovisual sector for the promotion of gender culture through the production of useful items, the sharing and exchange of good practices and successful achievement as well as the mobilization of The above-mentioned path implies certain efforts in terms of advocacy and decision making by the technical expertise in the sector. public authorities, hence it entails the policy-making process. Examples of self-regulating policies in the broadcasting sector As the last part of this Handbook, this section points out to cases regarding the international legal framework for gender, as well as other examples that have been developed at the European level. SNRT - SOCIÉTÉ NATIONALE DE RADIOTÉLÉVISION – MOROCCO Although the focus is about public policy measures, we are also presenting cases concerning self- Parity Charter: aiming at reinforcing the parity between women and men, it includes a section de regulating policies adopted by public broadcasters as important players in the audiovisual sector. voted to the human resources and a section devoted to the programming. The decision to mention here self-regulating policies depends on the recognition of their poten A “Parity Committee” is also mandated to monitor the implementation of the internal gender equal tial exemplary value for developing policy guidelines for policy decisions also in the public domain. ity strategy. Such Committee includes members from all Departments of the radio and TV stations Those examples of self-regulating policies have been highlighted as a result of a regional peer-to- of the Group. peer capacity-building programme, conducted by the EU-funded project MedMedia and COPEAM in 2015-2016 to accompany South-Mediterranean radio and TV public broadcasters towards the deve SOREAD – 2M – MOROCCO lopment/reinforcement of internal gender-equality strategies. Charter for the Promotion of Women Image. It includes 4 sections : the enhancement of the role of women as economic, social and political actors; the fight against negative female stereotypes and awareness raising among internal and external media players; the diversification of programs and the adaptation of the editorial line taking into account the socio-cultural diversity and the evolution In the South Med Region of the status of women in the Moroccan society; an effective monitoring and an increased coopera Sensitizing the legal framework to gender: an example from Morocco tion with relevant external actors.
The Haute Autorité de la Communication Audiovisuelle (HACA), UN Women and UNESCO signed Khabirat in Rabat on March 13, 2017 a convention whose aim is primarily to frame this partnership in order Online regional network of directories (https://www.khabirat.org) designed to provide editorial to promote the fight against gender stereotypes in media content and promote gender equality teams with details of women experts in selected thematic areas. through the audiovisual and media sector in Morocco. Conceived and launched by the EU-funded programme MedMedia, the network currently involves Tunisia, Morocco, Jordan and Palestine. This agreement covers several areas of cooperation, including the sharing and exchange of informa tion, documentation and good practices, the production of practical tools in the context of accom In the field of gender sensitive policy making: some actors shaking policies in panying operators and awareness of professionals in the audiovisual sector. the SouthMed Regions
More specifically, this convention is about the implementation of an “alert system” in order to track The Arab Women Organization gender stereotypes in the audiovisual sector and of joint activities aiming at contributing to the The AWO is an intergovernmental organization established under the umbrella of the League of achievement of the purpose of this agreement. According to HACA’s President, Amina Lemrini Arab States and headquartered in Egypt. AWO’s member states are Hashemite Kingdom of Jordan, Elouahabi, the agreement will have a real and sustainable impact in terms of the effective promo United Arab Emirates, Bahrain Kingdom, Republic of Tunisia, Algeria, Sudan, Syria, Iraq, Oman, Pales tion of the gender question within the construction of a Rule of law whose main aim is to implement tine, Lebanon, Libya, Egypt, Morocco, Mauritania, Yemen and the Republic of Tunisia. 172 173 The Arab Women Organization emerged from the Cairo Declaration issued by the First Arab Women The strategy for 2016-2020, can be summarized in five axes: Summit, which convened in Cairo in November 2000 and was co-organized by the National Council 1 Fight against gender-based violence for Women in Egypt, Hariri Foundation in Lebanon and the League of Arab States. AWO’s agreement 2 Economic empowerment of women came into effect in March 2003. 3 Institutionalization of the gender approach 4 Participation of women in public and political life The AWO aims at empowering Arab women and building their capacities to promote the progress of 5 Supporting women’s participation in culture and creation Arab societies, raising awareness of the necessity of engaging women as equal partners in societal development, coordinating Arab efforts in order to foster women empowerment and elevate awa CREDIF’s mission is participating in an advisory capacity in the working activities of different public reness of their vital role in society. institutions established to study, organize and promote actions and taking initiatives in supporting greater participation of women in the development process and modernization of the Tunisian so During the first meeting of AWO’s Supreme Council, the Arab first ladies, members of the AWO Su ciety. preme Council, believing in the need to develop a policy for Arab media to highlight the pivotal role References of women in advancing their communities, and to provide a fair image of Arab women, that reflects their contributions, achievements and inputs in changing the social culture, took the decision to include media as one of the work priorities of the Organization for Arab women. In Europe Council of Europe Recommendation on gender equality in the audiovisual sector In response to this, the AWO adopted a program on “Media and Support for Women”. On 27 September 2017, the Committee of Ministers of the Council of Europe has adopted a land The Organization participated with the General Federation of Arab Journalists in organizing a work mark Recommendation on Gender Equality in the Audiovisual Sector, to acknowledge the problems shop joining 60 journalists and media specialists from eighteen Arab States in May 2005, to discuss inherent in the industry from a gender perspective, including: the lack of awareness of the preva women issues in the media. This workshop was followed by a workshop for Arab media specialists lence of gender inequality; the conscious and unconscious gender bias at all levels and the unequal in November 2005, which focused on raising awareness on the need to formulate media materials distribution of funding for audiovisual content among women and men; and to promote a variety of sensitive to the gender perspective. The above-mentioned projects resulted in a series of recom practical solutions to address these issues. mendations all revolving around the absolute need to have media strategy for Arab women. The AWO undertook the coordination between the Member States for its formulation, pursuing the The recommendation invites governments of Council of Europe member states to: efforts for its actual implementation. 1 review their legislation and policies 2 collect, monitor and publish data As implementation of the strategy, AWO initiated one of its programs entitled “Professionalism in 3 support research the Media”. The program is a set of high-level training courses and workshops dedicated to media 4 encourage the ongoing development of media literacy and personnel in general, and women media personnel in particular, to help them deal with the serious 5 enhance the accountability processes and creative media work on women’s affairs in the information era. References It also contains a detailed series of monitoring methods and performance indicators to assist all sectors of the audiovisual industry in collecting data and taking coherent action on their findings. Tunisia: CREDIF In addition, there is a handy list of reference tools for developing knowledge in this sector. Outreach events will be held to disseminate best practice and share know-how. CREDIF functions as a scientific mechanism in the field of women’s and gender rights, in line with the References strategy set out by the Tunisian Ministry of Women, Family and Children. 174 175 UK : British Film Institute (BFI) Austria : Austrian Film institute - Gender incentives
“We will continue our year-round programming devoted to women and film – now developing out The Supervisory Board of the Austrian Film Institute voted on December 21, 2016 for a catalogue from women directors to look at a range of creative roles and representation on screen”. of measures to enforce the occupation of women filmmakers in the industry. The core project of References to the BFI Plan 2017-2022 this catalogue are the gender incentives: if a project is supported by the Institute in the production phase, and if this project presents a significant number of women-occupied positions in the execu Ireland : Irish Film Board tive department, the production company will be given an extra grant of 30.000€, which can be used for the development of a new project with the corresponding proportion of women-occupied Gender and Diversity strategy of the Irish Film Board Tasking the new Head of Creative Production positions in the team. and Talent Development to work to achieve enhanced levels of diversity in Films and screen content supported by the IFB. From 2017 onwards, all applicants will have to hand in the division of calculated personnel costs be tween men and women filmmakers. The Six Point Plan on Gender Equality published in December 2015, includes the following initiatives: The Austrian Film Institute continues to offer special measures to promote women filmmakers, such 1 The collection, publication and monitoring of data on gender inequality as the training program “ProPro” for women producers, as well as a Script-award.
2 Engagement with production companies and representative organisations to raise awa References: reness of gender imbalance and working with them in education and training initiatives Equality Film Institut highlighting unconscious bias in creative decision making Film Institut - Richtlinien
3 Enhancing the skills and capacities of creative decision makers in relation to diversity and Switzerland : the Swiss Ministry of Culture Swiss film fund 2016 equality issues in the creative decision-making process The proportion of the supported film projects directed by men and women should correspond to 4 Continuing training and mentorship initiatives through Screen Training Ireland the proportion of submitted film project applications led by men and women.
5 Supporting education initiatives in schools and colleges in the area of Irish culture References: Schweizerische Eidgenossenschaft - Postproduktionsförderung 6 Working with partners in funding film and screen content, including the public service “Verordnung des EDI über die Filmförderung” PDF broadcasters RTÉ and TG4, as well as the Broadcasting Authority of Ireland (BAI) Sound and Vision Scheme, so that gender equality and diversity is promoted in publicly funded screen Sweden : Swedish Film Institute FiftyFifty by 2020 content The gender equality perspective permeates everything that is done at the Swedish Film Institute: References to the Irish Film Board 5 year Strategy 2016- 2020 from production funding to the choice of films to promote from the archive to the recruitment of new personnel. One of the Film Institute’s goals is to lay the foundation for gender equality in film Germany: FFA Germany’s national film funding institution production, a labour that moves forward with the aid of concrete action plans.
Gender parity on the film selection boards, law voted on November 10, 2016 The new action plan Goal 2020: Gender equality in film production, both in front of and behind the « Zudem werden die Gremien der FFA Paritätisch mit Frauen und Männern besetzt » camera contains four concrete steps: References 176 177 1 Women in key roles in more and larger productions: A qualitative survey to be conducted into what films women get the opportunity to make, and why
2 Increased visibility: Continuous updating the digital knowledge bank Glossary of Terms nordicwomeninfilm.com Basic conceptual tools to navigate the discourse on gender in the audiovisual sector
3 Counting continues, both behind and in front of the camera: annual gender equality report Advocacy: featuring qualitative analyses in the world of film The act or process of supporting a cause or proposal. See: Merriam-Webster dictionary 4 Increased knowledge about gender and diversity: an annual film education seminar focu sing on gender, which targets teachers and film educators to reach children and young people A set of organised activities designed to influence the policies and actions of others to achieve change. References See: Women’s Rights Advocacy Toolkit
Eurimages (the cultural support fund of the Council of Europe) The deliberate process, based on demonstrated evidence, to directly and indirectly influence deci Strategy for gender equality 20118-2020: Aiming for 50/50 by 2020 sion makers, stakeholders and relevant audiences to support and implement actions that contribute to the fulfillment of children’s and women’s rights. The strategy’s overall goal is to aim for the target of 50/50 by 2020, i.e. equal support for projects See: UNICEF Advocacy Toolkit with female directors attached, and to work to help increase gender equality both on and off-screen in the film industry. To try to achieve this goal, Eurimages will endeavour to: Audiovisual sectors: cover the film, broadcasting, video and multimedia industries. See: O. Debande & G. Chetrit (2001) The European Audiovisual Industry: an Overview, European In 1 Raise awareness about the prevalence of gender inequality and increase the visibility of the vestment Bank Sector Papers best-practice work being carried out within the Eurimages and as set forth in the Recommen dation on gender equality in the audiovisual sector: Awards and prizes: an amount of money or recognition for achievements that is given to someone X at member state level and among national, supranational and regional funds and fes following an official decision. tivals See: Online Cambridge Dictionary X among industry professionals and students X by developing and implementing a holistic communication strategy Awareness building: “Awareness” is the knowledge or understanding of a subject, issue, or situa 2 Increase the visibility of creative and technical work being carried out by women in the tion. More broadly, it is the state of being conscious of something. Awareness- building programmes industry by continuing to showcase their achievements are programmes whose main objective is to make people aware of unknown or hidden social and 3 Carrying out and promoting data monitoring and the systematic sharing of findings gender issues. 4 Supporting research initiatives See: Macmillan Dictionnary 5 Advocating for greater opportunities for women professionals 6 Devising strategies to: Best practice: X redress the imbalance in the share of public film funding women receive A procedure that has been shown by research and experience to produce optimal results and that is X tackle the difficulties female creatives face in obtaining equitable financing established or proposed as a standard suitable for widespread adoption. X aim for the goal of 50/50 by 2020 for female directors’ share of public funding from See: Merriam-Webster dictionary Eurimages
References 178 179 Additional Notes: Empowerment: Refers to increasing the spiritual, political, social or economic strength of indivi There appears to be no consensus on what constitutes a best practice, how to identify it, or even duals and communities. Empowerment of women and girls concerns women and girls gaining power what to call it. Bendixsen and Guchteniere suggest one useful definition, indicating that the term and control over their own lives. It involves awareness-raising, building self-confidence, expansion “relates to successful initiatives or model projects that make an outstanding, sustainable, and inno of choices, increased access to and control over resources and actions to transform the structures vative contribution to an issue at hand”. They continue, “[Best practices are] about accumulating and and institution, which reinforce and perpetuate gender discrimination and inequality. The core of applying knowledge of what is working and not working in different situations and contexts”. They empowerment lies in the ability of a person to control their own destiny. This implies that to be further note that the term “best” has strong inspirational value, and “the purpose of describing and empowered women must not only have equal capabilities (such as education and health) and equal publishing a successful practice, and calling it a [best practice], is to make it function as an inspira access to resources and opportunities (such as land and employment), but they must also have the tional guideline, particularly with regard to decision-making”. agency to use these rights, capabilities, resources and opportunities to make strategic choices and decisions (such as is provided through leadership opportunities and participation in political insti So, best practices carry a tripartite function: tutions. 1) identifying successful initiatives addressing important issues, 2) learning what works and does See: UN Coherence and You Gender Equality Glossary not work in different contexts, and 3) inspirational guidelines for decision making. See: Jennings , Edward T., Jr. (2007) Best practices in public administration: how do we know them? Equal opportunities for women and men: This concept indicates the absence of barriers to eco How can we use them? nomic, political and social participation on the ground of sex and gender and other characteristics. Such barriers are often indirect, difficult to discern and caused and maintained by structural phe Best practices for gender equality: The phrase ‘best practices’ refers to the accumulation and nomena and social representations that have proved particularly resistant to change. Equal oppor application of knowledge about what works and what does not work in terms of promoting gender tunities as one of the gender equality objectives is founded on the rationale that a whole range of equality and non-discrimination against women in different situations and contexts. It is both the strategies, actions and measures are necessary to redress deep-rooted and persistent inequalities. lessons learned and the continuing process of learning, feedback, reflection and analysis. Source: EIGE Glossary for the users of the Gender Mainstreaming Platform See: United Nations Department of Economic and Social Affairs Equality of Outcome: It is sometimes also referred to as “substantive equality”, and refers to the Civil society: Civil society refers to all forms of social action carried out by individuals or groups who insight that equality of opportunity may not be enough to redress the historical oppression and are neither connected to nor managed by the state. Civil society includes all organisational struc disadvantage of women. Because of their different positions in society, women and men may not tures (civil society organisations) whose members serve the general interest through a democratic be able to take advantage of equal opportunities to the same extent. In some cases, equal opportu process, and who take on the role of mediator between public authorities and citizens. Organisa nities can actually have a negative impact on women’s well-being if women exert time and energy tions and groups which champion the promotion of gender equality and the defence and respect of to take advantage of them with no result. In order to ensure that development interventions result women’s human rights are a vital component of governance, in that they are supposed to hold those in equality of outcome for women and men, it is necessary to design them on the basis of gender in power accountable. analysis. “Equal” treatment, therefore, does not mean “the same” treatment. See: United Nations Department of Economic and Social Affairs. Online Glossary See: Gender Mainstreaming Learning & Information Packs prepared by the United Nations Develo pment Programme - UNDP Co-production: A co-production agreement is a contract entered at an early state of production and it consists in a frequent involvement of the co-producers in both artistic, production and finan Funding: Money secured for a particular purpose, such as a project, a start-up company, an event or cial matters. The contract will define a minimum for this involvement: script, production plan, bud an activity by a government or organization. get and financing plan as part of the contract. See: Cambridge Dictionary As far as contractual terms are concerned, it is the joint management and ownership of rights be tween the co-producers. Gender: Gender refers to the roles, behaviors, activities, and attributes that a given society at a gi See: Elaboration from National Occupational Standards (undated) SFHMH63: Work with people and ven time considers appropriate for men and women. In addition to the social attributes and oppor significant others to develop services to improve their mental health 180 181 tunities associated with being male and female and the relationships between women and men dered equivalent in terms of rights, benefits, obligations and opportunities”. and girls and boys, gender also refers to the relations between women and those between men. See: UN Women, OSAGI Gender Mainstreaming - Concepts and definitions These attributes, opportunities and relationships are socially constructed and are learned through socialization processes. They are context, time-specific and changeable. Gender determines what Gender identity: Each person’s deeply felt internal and individual experience of gender, which may is expected, allowed and valued in a woman or a man in a given context. In most societies there or may not correspond to the sex assigned at birth, including the personal sense of the body (which are differences and inequalities between women and men in responsibilities assigned, activities un may involve, if freely chosen, modification of bodily appearance or function by medical, surgical or dertaken, access to and control over resources, as well as decision-making opportunities. Gender is other means) and other expressions of gender, including dress, speech and mannerisms. part of the broader socio-cultural context, as are other important criteria for socio-cultural analysis See: European Commission - Trans and Intersex People: Discrimination on the Grounds of Sex, including class, race, poverty level, ethnic group, sexual orientation, age, etc. Gender Identity and Gender Expression. European Network of Legal Experts in the Field of Gender See: UN Women, OSAGI Gender Mainstreaming - Concepts and definitions Equality
Gender discrimination: Any distinction, exclusion or restriction made on the basis of sex which has Gender-sensitive (policies): Policies and programmes that take into account the particularities per the effect or purpose of impairing or nullifying the recognition, enjoyment or exercise by women, taining to the lives of both women and men, while aiming to eliminate inequalities and promote irrespective of their marital status, on the basis of equality of men and women, of human rights and gender equality, including an equal distribution of resources, therefore addressing and taking into fundamental freedoms in the political, economic, social, cultural, civil or any other field. account the gender dimension. See: United Nations - Convention on the Elimination of all forms of Discrimination Against Women, See: European Commission - 100 Words for Equality: A Glossary of Terms on Equality between Wo Article 1 men and Men
Gender equality: This refers to the equal rights, responsibilities and opportunities of women and Gender awareness: It is the ability to view society from the perspective of gender roles and unders men and girls and boys. Equality does not mean that women and men will become the same but that tand how this has affected women’s needs in comparison to the needs of men. women’s and men’s rights, responsibilities and opportunities will not depend on whether they are See: United Nations Fund for Women – Engendering Economic Governance born male or female. Gender equality implies that the interests, needs and priorities of both women and men are taken into consideration, recognizing the diversity of different groups of women and Gender awareness-raising: The process that aims at showing how existing values and norms in men. Gender equality is not a women’s issue but should concern and fully engage men as well as wo fluence our picture of reality, perpetuate stereotypes and support mechanisms (re)producing in men. Equality between women and men is seen both as a human rights issue and as a precondition equality. It challenges values and gender norms by explaining how they influence and limit opinions for, and indicator of, sustainable people-centered development. taken into consideration and decision-making. In addition, awareness raising aims at stimulating a See: UN Women, OSAGI Gender Mainstreaming - Concepts and definitions general sensitivity to gender issues. See: Council of Europe - Gender Mainstreaming: Conceptual Framework, Methodology and Presen Gender equity: The preferred terminology within the United Nations is gender equality, rather than tation of Good Practices. Final Report of Activities of the Group of Specialists on Mainstreaming gender equity. Gender equity denotes an element of interpretation of social justice, usually based (EG-S-MS) on tradition, custom, religion or culture, which is most often to the detriment to women. Such use of equity in relation to the advancement of women has been determined to be unacceptable. During Gender mainstreaming: The systematic consideration of the differences between the conditions, the Beijing conference in 1995 it was agreed that the term equality would be utilized. This was later situations and needs of women and men in all policies and actions. Gender mainstreaming is the confirmed by the CEDAW committee in its General Recommendation 28: “States parties are called (re)organisation, improvement, development and evaluation of policy processes, so that a gender upon to use exclusively the concepts of equality of women and men or gender equality and not to equality perspective is incorporated into all policies at all levels and all stages, by the actors normally use the concept of gender equity in implementing their obligations under the Convention. The lat involved in policy making. Mainstreaming a gender perspective is the process of assessing the im ter concept is used in some jurisdictions to refer to fair treatment of women and men, according to plications for women and men of any planned action, including legislation, policies or programmes, their respective needs. This may include equal treatment, or treatment that is different but consi in all areas and at all levels. It is a way to make women’s as well as men’s concerns and experiences 182 183 an integral dimension of the design, implementation, monitoring and evaluation of policies and ponsibilities in order to create a more equal relationship between women and men. Women programmes in all political, economic and societal spheres so that women and men benefit equally, and men may be targeted or one group alone may be targeted by the intervention. Gender-re and inequality is not perpetuated. The ultimate goal is to achieve gender equality. Gender main distributive policies focus mainly on strategic gender interests, but can plan to meet practical streaming is a complementary strategy and not a substitute for targeted, women-centred policies gender needs in a way which have transformatory potential (provide a supportive environment and programmes, gender equality legislation, institutional mechanisms for gender equality, and for women’s self-empowerment). specific interventions that aim to close the gender gap. See: European Commission - Communication ‘Incorporating equal opportunities for women and See: Vainio-Mattila, A., Navigating Gender: A Framework and a Tool for Participatory men into all Community policies and activities’ Development Council of Europe - Gender Mainstreaming: Conceptual Framework, Methodology and Presentation of Good Practices. Final Report of Activities of the Group of Specialists on Mainstreaming (EG-S-MS) Gender stereotype: Gender stereotyping presents a serious obstacle to the achievement of real United Nations Statistics Division – Global Gender Statistics Programme gender equality and feeds into gender discrimination. Gender stereotypes are preconceived ideas whereby males and females are arbitrarily assigned characteristics and roles determined and limited Gender balance: It is commonly used in reference to human resources and equal participation of by their sex. Sex stereotyping can limit the development of the natural talents and abilities of boys women and men in all areas of work, projects or programmes. In a scenario of gender equality, wo and girls, women and men, their educational and professional experiences as well as life opportuni men and men are expected to participate proportionally to their share of the population. In many ties in general Stereotypes about women both result from and are the cause of deeply engrained areas, however, women participate less than what would be expected based on the sex distribu attitudes, values, norms and prejudices against women. They are used to justify and maintain the tion in the population (underrepresentation of women), while men participate more than expected historical relations of power of men over women as well as sexist attitudes which are holding back (overrepresentation of men). the advancement of women. See: United Nations Statistics Division – Global Gender Statistics Programme See: Council of Europe Gender Equality Strategy 2014-2017
Gender Policies: Gender policies are divided into three categories depending on the extent to which Gender Training: A facilitated process of developing awareness and capacity on gender issues, to they recognize and address gender issues bring about personal or organizational change for gender equality. The generic aim of gender training (…) is to consciously introduce gender as a category of analysis • Gender-aware policies: Gender-aware-policies recognise that women, as well as men, are actors (as opposed to description), to point to the differing needs and interests of women and men and in development and that they are often constrained in a different way to men. Their needs, their unequal representation, and to increase awareness and reduce the gender-bias which informs interests and priorities may differ and at times conflict. Gender aware-policies can be sub-divi the actions of individuals and institutions. ded into two policy types: o Gender-neutral policies approaches use the knowledge of gender This kind of gender training commonly involves: differences in a given context to target and meet the practical needs of both women and men. • Raising participants’ awareness of the different and unequal roles and responsibilities of women Gender-neutral policies do not disturb existing gender relations. o Gender-specific policies use and men in any particular context the knowledge of gender differences in a given situation to respond to the practical gender • Looking at ways that development interventions affect, and are affected by, differences and in needs of either women or men. These policies do not address the existing division of resources equalities between women and men and responsibilities. • Equipping participants with knowledge and skills to understand gender differences and inequa • Gender-blind policies: Policies that are gender-blind fail to distinguish between the dif lities in the context of their work, and to plan and implement policies, programmes and projects ferent needs of women and men in their formulation and implementation. Thus, to promote gender equality. such policies are biased in favour of existing gender relations and therefore are See: UNDP, Keays, T., McEvoy, M., Murison, S., Jennings, M. and Karim, F., - Gender Analysis and likely to exclude women or exacerbate existing inequalities between women and men. UNDP - United Nations Development Programme
• Gender-redistributive policies: aim to transform the existing distribution of resources and res 184 185 Gender Pay Gap: The percentage difference between the median hourly earnings of men and wo See: Grandori A. - Interfirm Networks men, excluding overtime payments. The causes of the gender pay gap are complex - key factors in clude: human capital differences: i.e. differences in educational levels and work experience; part-time The network model relies on exchange relationships based on trust and reciprocity as a way of working; travel patterns and occupational segregation. Other factors include: job grading practices, forging collective action. appraisal systems, and pay discrimination. See: Keast , Robyn L., - “Mixing state, market and network governance modes: the role of government See: UK Government Equalities Office in “crowded” policy domains”
Learning: Production: The activity of organizing the practical and financial matters relating to the prepara The process of getting an understanding of something by studying it or by experience. tion of a film, play, or television or radio programme. In the audiovisual sector, the production pro See: Cambridge Dictionary cess refers to the stages (phases) required to complete a media product, from the idea to the final master copy. The process can apply to any type of media production including film, video, television Knowledge is central to any discussion of learning and may be understood as the way in which and audio recording. individuals and societies apply meaning to experience. It can therefore be seen broadly as the infor See: Cambridge Dictionary mation, understanding, skills, values and attitudes acquired through learning. As such, knowledge is linked inextricably to the cultural, social, environmental and institutional contexts in which it is cre Women’s Studies: ated and reproduced. Learning is understood here to be the process of acquiring such knowledge. It Focusing on the extent to which traditional questions, theories and analyses have failed to take gen is both a process and the result of that process; a means, as well as an end; an individual practice as der into account, Women’s Studies adopts scholarly and critical perspective toward the experiences well as a collective endeavour. Learning is multifaceted reality defined by the context. What knowl of women. The objectives of Women’s Studies include: edge is acquired and why where, when and how it is used represent fundamental questions for the • Finding out about women by raising new questions and accepting women’s perceptions and ex development of individuals and societies alike. periences as real and significant See: Unesco - Rethinking Education: Towards a global common good? • Correcting misconceptions about women and identifying ways in which traditional methodo logies may distort our knowledge Marginalized groups: Different groups of people within a given culture, context and history at risk • Theorizing about the place of women in society and appropriate strategies for change of being subjected to multiple discrimination due to the interplay of different personal characte • Examining the diversity of women’s experiences and the ways in which class, race, sexual orien ristics or grounds, such as sex, gender, age, ethnicity, religion or belief, health status, disability, se tation and other variables intersect with gender xual orientation, gender identity, education or income, or living in various geographic localities. Be Although studying women is its starting point, by uncovering the ways in which social and cultural longing to such groups or even being perceived to belong to them heightens the risk of inequalities assumptions and structures are shaped by gender, Women’s Studies also studies men and the world in terms of access to rights and use of services and goods in a variety of domains, such as access to around us. It is interdisciplinary, integrating insights from many different experiences and perspec education, employment, health, social and housing assistance, protection against domestic or insti tives. Drawing from scholarly work within nearly every academic discipline as well as from the work tutional violence, and justice. of “grassroots” feminism, Women’s Studies has its own distinctive, evolving theories and methodo See: European Institute for Gender Equality (EIGE) - Gender equality glossary logies. Networking: The exchange of information or services among individuals, groups, or institutions. See: Feminism and Women’s Studies See: Merriam-Webster dictionary
Network: A pattern of more or less lasting linkages between nodes, where the nodes represent different orga nisational units. (…) The linkages may be uni- or bidirectional, representing flows of products (goods and services), sharing of resources, relations of ownership or other forms of control, lines of cooperation and communication. 186 187 nal Policies - Policy Department C: Citizens’ Rights And Constitutional Affairs, Women’s Rights & Bibliographical references Gender Equality- Study Pe 596.839 1. African American Women and Sexuality in the Cinema, 2002, Norma Manatu. 15. Gender in the Film Industry, 2014, Stephen Follows Film Data and Education.
2. Arab Media from a gender perspective: Trends and Operational Tools, 2009, Center of Arab 16. Heya TV: A feminist counterpublic for Arab women? 2007, Matar D. - Heya Tv. Women for Training and Research (CAWTAR). 17. Image des femmes dans les médias algériens, 2015, Mena Media Monitoring (MMM) en parte 3. Assessment of media development in Palestine, 2014, UNESCO & Birzei University’s Media De nariat avec la ligue algérienne de défense des droits de l’homme (LADDH). velopment Center. 18. It’s a Man’s (Celluloid) World: Portrayals of Female Characters in the Top 100 Films of 2015, 2015, 4. Boxed In 2015-16: Women On Screen and Behind the Scenes in Television, 2016, San Diego State San Diego State University Center for the Study of Women in Television and Film. University Center for the Study of Women in Television and Film. 19. It’s a Man’s (Celluloid) World: Portrayals of Female Characters in the Top 100 Films of 2016, 2016, 5. Community Radio and Empowerment of Women among Pastoralist Communities in Northern San Diego State University Center for the Study of Women in Television and Film. Kenya, 2015, University of Nairoibi. 20. La situation des femmes dans le monde arabe, 2010, Département fédéral des affaires étran 6. Content And Representation Of Women In The Arab Media, 2002, UN Women Watch. gères. Politorbis. 7. Contribution à la lutte contre les stéréotypes fondés sur le genre et à la promotion de la cul ture de l’égalité hommes-femmes à travers les médias audiovisuels, 2014, Haute Autorité de la 21. Les femmes et le cinéma dans le monde arabe, 2017, Janine Euvrard. Communication Audiovisuelle. 22. Mass Media: The Image, Role, and Social Conditions of Women A collection and analysis of 8. Egyptian Film and Feminism: Egypt’s View of Women Through Cinema, 2015, Cinesthesia. research materials, 1979, Mieke Ceulemans Guido Fauconnier of the Department of Communi cation Science Catholic University of Leuven. 9. Ellas hacen cine arabes, 2013, IEMed. 23. Media coverage of women political participation in Algeria, Morocco and Tunisia, 2009, Center 10. Etude comparative des politiques des régulateurs membres du REFRAM en matière d’égalité of Arab Women for Training and Research (CAWTAR). homme-femmes, 2011, Bertrand LEVANT au sein de la direction des Etudes & Recherches du CSA de la Fédération Wallonie-Bruxelles. 24. Media use in the Middle East : A six Nations survey, 2016, NorthernWestern University in Qatar.
11. Femmes et Médias au Maghreb, From 2010 to 2013, Sahbi Ben Nablia. UNESCO. 25. Mending the gender gap Advancing tomorrow’s women leaders in financial services, 2013, Price waterhouse cooper. 12. Femmes et presse écrite au Maghreb, From 2010 to 2013, Monia Azzalini et Manuela Malchiodi, Chercheuses de l’Osservatorio di Pavia. 26. Ministere De La Solidarite Nationale, De La Famille Et De La Condition De La Femme, 2015, Re publique Algerienne Democratique Et Populaire. 13. Femmes et radio au Maghreb, From 2010 to 2013, Sahbi Ben Nablia. UNESCO. 27. Modernization And Women In Tunisia: An Analysis Through Selected Films, 2006, Middle East 14. Gender Equality in the Media Sector, 2018, European Parliament Directorate General For Inter Technical University. 188 189 za, Xi’an Jiaotong-Liverpool University, China Scott MacKenzie, York University, Canada Chris 28. Moroccan Cinema Uncut: Local Perspectives, Transnational Dialogues, 2016, Transnational Mo topher Meir, University of the West Indies, Trinidad and Tobago Toby Millerk, City University of roccan Cinema. London, UK Hamid Naficy, Northwestern University, USA Osakue Stevenson Omoera, Ambrose Alli University, Nigeria Rod Stoman, National University of Ireland, Galway Keyan Tomaselli, Uni 29. Negotiating Dissidence: The Pioneering Women of Arab Documentary, 2017, Stefanie Van de versity of KwaZulu-Natal, Durban George Yúdice, University of Miami, USA. Peer. 40. The Relationship between Feminism and State Policies for the Elimination of Violence against 30. Next Generation Diversity: Developing tomorrow’s female leaders, 2013, Price waterhouse coo Women: The National Strategy for the Elimination of Violence against Women as an Example, per. 2015, Nazra.
31. Palestine in Film: A guide and an annoted filmography, 2012, Marvin Wingfield - American-Arab 41. Thumbs Down 2016: Top Film Critics and Gender, 2016, San Diego State University Center for Anti-Discrimination Committee. the Study of Women in Television and Film.
32. Palestinian Women Filmmakers in the New World Diaspora, 2015, The American University in 42. Turn up the volume: empowering women through media Lessons from BBC Media Action’s go Cairo. vernance programming, 2016, Josephine Casserly, BBC Media Action.
33. Présentation des résultats de l’étude Femmes et Médias en Algérie, 2017, Gouvernement algé 43. UN Understanding Masculinities:The International Men and Gender Equality Survey (IMAGES), rien, ONU Femmes and Gouvernement belge. 2017, UN Women.
34. Reflexions Sur Le Traitement Médiatique Et Les Pratiques Journalistiques Des Violences Faites 44. Visions of Struggle in Women’s Filmmaking in the Mediterranean, 2010, Flavia Lavosa. Aux Femmes, 2015, Association tunisienne des femmes démocrates. 45. Women and the Big Picture: Behind-the-Scenes Employment on the Top 700 Films of 2014, 35. Regional Training Kit for Trainers on Building Capacities of Service While Working on GBV Elimi 2014, San Diego State University Center for the Study of Women in Television and Film. nation, 2009, Center of Arab Women for Training and Research (CAWTAR). 46. Women in Arab media: present but not heard, 2010, Lebanese International University. 36. Screens and Veils: Maghrebi Women’s Cinema, 2011, Indiana University Press. 47. Women in Independent Film, 2015-16, 2016, San Diego State University Center for the Study of 37. Situation des femmes au Maroc 20 ans après Beijing, Etat des lieux et recommandations, 2015, Women in Television and Film. L’Association Démocratique des Femmes du Maroc. 48. Women Survivors of Violence: Where to Go? Problems Facing Shelters for Women in Egypt and 38. The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 100, 250, and 500 Gaps in Responses to Needs of Women Survivors of Violence, 2016, Nazra. Films of 2016, 2016, San Diego State University Center for the Study of Women in Television and Film.
39. The Education of the Filmmaker in Africa, the Middle East, and the Americas, 2013, Alia Arasou ghly, Shashat, Palestine Nicholas Balaisis, Trent University, Canada Anton Basson, South African School of Motion Picture Medium and Live Performance, South Africa Gerda Dullaart, South African School of Motion Picture Medium and Live Performance, South Africa Armida de la Gar 190 191
Photographic references Page 7: Picture courtesy of Hind Meddeb
Page 16: Picture taken from a selection of publically available images of producers/directors
Page 23: Picture taken from a selection of publically available images of women directors
Page 33: Picture courtesy of “Gate#5”
Page 63: Picture taken during the SouthMed WiA’s First Field Activity in Tunis, 5-9 November 2017
Page 86: Picture taken during the SouthMed WiA’s Workshop in Barcelona 16-18 April 2018
Page 93: Picture taken during the SouthMed WiA’s First Field Activity in Tunis, 5-9 November 2017
Page 97: Picture taken during the SouthMed WiA’s Meeting in Beirut 4-6 July 2018
Page 107: Taken from the SouthMed WiA subgranted project “New Audiovisual Society, by wo- men... for women”
Page 118: Picture taken during the SouthMed WiA’s Meeting in Alicante, September 27-28, 2018
Page 119: Picture taken from the SouthMed WiA subgranted project “New Audiovisual Society, by women... for women”
Page 129: 1 Picture courtesy of Urban Film Festival 2 Picture courtesy of Cinephilia Production 3 Picture courtesy of UN Migration Agency 4 Picture courtesy of Journées Cinématographiques de Cathage
Page 133: Picture taken during the SouthMed WiA’s Workshop in Barcelona 16-18 April 2018
Page 135: Picture taken during the SouthMed WiA’s Workshop in Barcelona 16-18 April 2018
Page 139: Picture taken during the SouthMed WiA’s Meeting in Beirut 4-6 July 2018
Page 157: Picture courtesy of “Guardians of time lost”
Page 169: Picture taken during the SouthMed WiA’s Meeting in Beirut 4-6 July 2018 192 193
I. مقدمة 194 195 ملاذا هذا الكتيب طلق مرشوعُأ سومثدويا، نساء جنوب املتوسط والصناعة السمعية البرصية، “نحو تعزيز املساواة بني املرأة والرجل: النهوض بدور املرأة وصورتها يف القطاع عىل الرغم من أن بعض التحليالت أجريت لقياس وفهم أفضل التطور الحايل للقطاعات السمعية والبرصية والسينامئية السمعي والبرصي يف جنوب املتوسط” يف 1 فرباير 2017 ملدة ثالثني شهراً. يف املنطقة، إال أنها ال تتضمن ًتركيزا ًمحدداعىل متثيل املرأة. ال توجد بيانات منظمة و مقاالت بحث ومؤرشات متاحة
بشكل محدد حول وجود النساء يف صناعة السينام. وحتى إذا كانت اإلحصاءات واملؤرشات املوثقة عن الوجود الفعيل يشرتكيفمتويله االتحاد األورويب يف إطار الربنامج اإلقليمي ‘فيلم حوض املتوسط’، وينفذ هذا املرشوع من قبل كونسورتيوم للمرأة يف القطاع السمعي البرصي ما زالت مفقودة، تشري البيانات املتفرقة إىل أن متثيل املرأة ما زال ضعيفا للغاية. بقيادةمؤسسةإنرتارتس - يف إسبانيا بالرشاكة مع املدرسة العليا للسمعي البرصي والسينام يف تونس،ووكالة الثقافة واإلعالم يفأوروبا يف بلجيكا ، واملؤمتر الدائم للمشغلني للوسائل السمعية والبرصية يف البحر املتوسط يف إيطاليا ومؤسسة الشاشة يف بريوت. وضمن هذا املرشوع نفسه، ًووفقالربنامجه، تم إجراء تحرى يف البداية، مع نية إعداد تقريرأويل لالستخدام الداخيل وكخريطة أولية للغاية ملا كان ًالدعم متاحاألنشطة املتعلقة بالنوع االجتامعي يف املنطقة. نظراإىلأنهدفه النهايئ هو التأثري بشكل إيجايب عىل االتجاهات الثقافية الواسعة والرأي العام ، يهدف املرشوع إىل تعزيز قدرات املهنيات واملشغالت يف القطاع السمعي البرصي يف سبعة بلدان يف جنوب البحر األبيض املتوسط ، الجزائر ، مرص ، األردن ، لبناناملغرب، فلسطني وتونس واملساهمة يف التنمية املستدامة والتنوع الثقايف من خالل تعزيز صورة املرأة يف قطاع األفالم. أوضحت هذه الدراسة أن ٪فقطمن 34املجيبني كانوا عىل دراية بالكيانات العامة أو الخاصة العاملة عىل
وجهالتحديديف القطاع السمعي البرصي، مبا يف ذلك تعزيز املساواة بني الجنسني ضمن أنشطتها. من منظور لتحقيقاألهداف املذكورة أعاله ، يتوخى مرشوع سومثدويا مجموعة من األنشطة املتنوعة مبا يف ذلك دعم املشاريع أكرث عمومية، أشارت نتائجنا إىل أنه يف أقل من ٪ 50من الذين تم استجوابهم كانوا عىل دراية بالربامج أو األنشطة املتعلقة باملساواة بني الجنسني يف القطاع السمعي البرصي ، وبناء القدرات وتوجيه املشغلني املحليني ، وخاصة النساء التيتدعم املساواة بني الجنسني ودور املرأة بشكل عام ، مام قد يفيد ًأيضا املهنيني يف القطاع السمعي البرصي. ،وبعثأنشطة التوعية ألصحاب املصلحة املعنيني ، والتواصل ، والبحث عن صورة ودور املرأة يف قطاع األفالم.
وأكدتهذه النتائج عىل رضورة وأهمية بذل الجهود لتنظيم املعلومات املتاحة ذات الصلة يف هذا اإلطار ، تم تصميم هذا الكتيب من أجل تنظيم وإتاحة املزيد من املعلومات التي ميكن الوصول إليها من مصادر ونوعية مختلفة ،والتي ترشك يف فائدتها أي شخص يحاول الرتويج ألهداف مامثلة من تلك التي يقدمها هذا املرشوع ، وكذلك للمهنيني الذين يرغبون يف بشأنالربامج واألنشطة املتعلقة بالجنسني والقطاع السمعي البرصي يف البلدان املستهدفة ، إىل التفاعل مع أولئك الذين هم جزء من التوازن بني الجنسني وجهود التوعية الجنسانية يف منطقة جنوب حوض البحر املتوسط يف القطاع جانبجمع املعلومات العملية للمساهمة يف تسهيل الوصول إىل لصناعة السينام ومهنييها. السمعي البرصي. باختصار ، يقدم الدليل الفرص واملبادرات املتعلقة بإنتاج األفالم؛ متويل املشاريع السمعية البرصية يف هذا املجال؛ تسهيل التبادل والربط الشبيك بني املهنيني؛ الفرص املتعلقة ببناء املعرفة، ومجموعة مختارة من مبادرات السياسة العامة. ال يدعي هذا الدليل أنه شامل، وال نهايئ، فهو صورة للحظة، يف وقت صياغته، ناتجة عن بحث مكتبي متني )ولكنه دامئًا محدود( ، مكمل بشكل صحيح باملعلومات املقدمة عىل أساس استطالع تم توزيعه عرب اإلنرتنت خالل مرحلة البحث األولية ، كمل واستُباملقابالت املبارشة مع املشغلني املعنيني. 196 197 مالحظات منهجية الهدف : ملن هذا الكتيب يعترب ُاالفتقار إىل الفرص أحد العوامل الرئيسية التي تعرقل املشاركة ومتثيل املرأة يف القطاع السمعي البرصي. وترتبط بعض األسباب وراء هذا النقص بالعوامل االجتامعية ، بينام يرتبط البعض اآلخر بالوصول إىل املعلومات. يف حني يتطلب العمل تماختيار املستهدفون من هذا الكتيب بحيث ال يشمل فقط املستفيدين األساسيني من املرشوع )محرتفات واملشاركة االجتامعية بذل جهود منتظمة وطويلة األجل ، ويدور هذا الكتيب حول الوصول إىل املعلومات والفرص املوجودة السينام و املتحصلني عىل املنح الفرعية( ولكن ًأيضا املستفيدين الذين لديهم مهارات، وهي املنظامت األخرى : أوالً توفري املعلومات لبدء العمل، سد الفجوة بني املعلومات والعمل؛ وثانياً دعم إجراءات أفضل مع معلومات منهجية. التيتشارك/ ترغب يف املشاركة يف األنشطة ذات الصلة بالقطاع السمعي البرصي و / أو النوع االجتامعي ، يفمنطقة جنوب حوض البحر املتوسط وخارجها. يف الواقع، قد تكون بعض الفرص املذكورة يف هذا الكتيب تضمنتعدة أشهر من األبحاث املكتبية املستمرة البحث يف مصادر املعلومات ذات الصلة ملعرفة مفيدةيف تتبع الحاالت النموذجية وأفضل املامرسات التي ميكن ًأيضا توسيعها وتكييفها مع السياقات األخرى. أكرثهااكتامالً وحداثة حول الربامج واملبادرات التي تم وضعها يف البلدان املستهدفة ملساعدة املتخصصني يف القطاع السمعي البرصي عىل تسهيل عملهم و منحهم الدعم لتلبية احتياجات محددة : سهولةالوصول إىل مجموعة واسعة من الحاالت والتجارب لهم أثر يتمثل يف إيجاد أرضية مواتية إلقامة التآزر والتواصل. من شأن هذا االنتشار املعريف أن يوطد تأثري هذا الكتيب عىل تعزيز نطاقه • الحاجة إىل أدوات )مالية أو مادية( نحواملساواة بني الجنسني، عن طريق دعم مجموعة من املنظامت واإلجراءات حول النوع االجتامعي. • الحاجة إىل املعرفة )النظرية والتطبيقية( • الحاجة لالعرتاف بالعمل املنجز لتأسيس مهنة ذات عوائد مالية سيتمتقديم املعلومات الستخدامها من قبل كل من هو عىل استعداد أو سيكون عىل استعداد الستخدامها • اﻟﺤﺎﺟﺔ إﻰﻟ ﻓﻬﻢ ﺣﺎﻟﺔ’ النوع اإلجتامعي‘ ﻲﻓ اﻟﻘﻄﺎع ﻟﻠﻌﻤﻞ بوعي و ﺑﻮﺿﻮح ﺑﺄﻧﺴﺐ اﻟﻮﺳﺎﺋﻞ لصالحقضيةالنوع االجتامعي يف القطاع السمعي البرصي. هذا ، بدوره ، سيضمن تأثري طويل األمد ملرشوع سومثدويا وكذلك املشاريع ذات الصلة التي ميكن أن تستفيد من املخزون املتواجد من املعلومات املقدمة. مناملهمأن نالحظ أنه منذ البداية قررنا االقرتاب من البحث واملعلومات من منظور تأثريها الحقيقي، وليس بالرضورة من زاوية الهدف املعلن أو حتى العنوان املتعلق بالجنس. بعبارة أخرى، ما يهم بالنسبة ملبادرة أو نشاط هوماإذاكان ميكن أن يساهموا بشكل مبارش يف األهداف الرئيسية لهذا املرشوع يف مجال تعزيز دور املرأة.
ونتيجة لذلك، قمنا بتضمني بعض املبادرات التي تم تصميمها بشكل مبارش للمساعدة يف تسهيل عمل املهنيات يف قطاع األفالم أو املشاريع املتصلة بها. وكذلك الفرص املفتوحة أمام املهنني بأكمله )أي ليس النساء فحسب( ، التي تتعامل مع أهداف أكرب ، أو تغطي اأكرب نطاقً من نطاق منطقة جنوب البحر املتوسط.
بالنظر إىل أن الربامج واملبادرات التي تم جمعها هي أمثلة حية وأن البحث مستمر لعدة أشهر ، فإن قامئة الفرص تتطلب التحقق والتحديث املستمرين لتقييم الحالة الحالية للربامج وقد تم تقرر تضمينها يف الفرص. ومع ذلك ، قد تتغري تفاصيل بعض املعلومات يف الوقت املنقيض بني إغالق البحث ونرشه. لقد نظرنا يف هذه املسألة، ولكننا نعتقد أنه حتى يف هذه الحالة، إذا مل يعد هناك برنامج أو أنشطة معينة متاحة، تظل املنظامت التي تقف وراءها مصادر مثرية لالهتامم ملزيد من املعلومات املحدثة.
ولكنقبل االنتقال إىل قامئة األنشطة واملوارد ، قررنا نرش كتالوج لألفالم يتضمن إنتاجات أفالم متعلقة بالنساء، والتي تم تم إطالق دعوتني لتقديم مقرتحات، يف يونيو 2017 ، ويف كانون األول 2017 ، بهدف دعم املشاريع التي تنفذها املنظامت الناشطة يف القطاع السمعي البرصي يف منطقة جنوب البحراألبيض املتوسط. وقد تم اختيار املشاريع عىل أساس قدرتها عىل املساهمة يف تعزيز مشاركة املهنيات يف القطاع السمعي عىل املستويات املحلية واإلقليمية والوطنية، إنتاجها أيضايف إطار املبادرات الخاصة بالدعوة وبناء الوعي باإلضافة إىل أفالم املخرجات من النساء. مرة أخرى ، رمبا ال يكون ً وصورةاملرأة يف املنتجات السمعية والبرصية. املستفيدون الذين حصلوا عىل منحة يف أول دعوة لتقديم مقرتحات كانوا مؤهلني للتقدم مقرتح ثاين بعد االنتهاء من مرشوعهم. الكتالوج شامالً. وحيث أنه من الشائع إنه مع أي تصنيف لألفالم ذو صلة باملوضوع، ميكن أن تكون النتيجة مفتوحة للنقاش. 198 199 عندما ميكن ملبادرة أو نشاط ما أن تندرج تحت أكرث من جزء ، قمنا بتطبيق ما اعتربناه أهم هدف ، بدالً من تكرار نفس املعلومات يفقسمني منفصلني. نحن نقر بأن هذا األمر كله قد يكون له اختالفات يف املصطلحات. ولهذا الغرض ، أضفنا ًمرسدا للمصطلحات ولكننا نعتقد أن أهمية هذا الكتالوج تتخطى قامئة العناوين: فكل فيلم ميكن أن يُنظر إليه كمرشوع ناجح وملهم حيث متكن عدد ،والذي يعطي إشارات إىل األدوات املفاهيمية األساسية للتنقل يف الخطاب حول تعزيز دور املرأة يف القطاع السمعي البرصي. كبري من األشخاص من العمل ًمعا والحصول عىل التمويل املناسب وتقديم مساهمة قوية ًجدا إىل النقاش حول الجنس أو صورة املرأة.
تحتوي كل فرصة عىل وصف موجز ملاهية، من ميكنه التقديم ، ومن أي إقليم )منطقة( ، إذا كانت الفرصة مناسبة وإلنتاجقامئة بالفرص واملوارد، أجريت املقابالت مع أصحاب املصلحة املعنيني الستكامل البحث. وقد للنساءفقطأمال، إذا كانت خاصة بالقطاع السمعي البرصي أو ال ، وكذلك إشارات إىل املنظمة املسؤولة )مبا ساعدذلك عىل اختيار املبادرات والربامج التي ميكن أن متثل ًفرصا سواء من حيث األعامل أو التطوير يفذلكمعلومات االتصال(. تستند املراجع الزمنية املعروضة لكل مبادرة إىل املعلومات املتاحة ؛ لذلك ينبغي املهني. نتج عن التصنيف النهايئ للتحليل املفصل للمعلومات التي جمعناها، إنشاء الفئات الست التالية: أن تؤخذ عىل أنها تدل عىل مدة وأهمية الفرصة املدرجة. ويتم اإلشارة إىل الهدف الرئييس للصناعة يف كل فرصة ، منأجلمتكني املخرجني واملنتجني واملذيعني والصحفيني وكتاب السيناريو وغريهم من فحص الفرص املتاحة لهم. 1. املعلومات املتعلقة بإنتاج فيلم ، تنقسم إىل جزئني
وقد تم إبراز بعض املبادرات التي تعترب ذات أهمية خاصة أو مفيدة بشكل خاص كأمثلة عىل قامئة الفرص. قد تشري x مجموعة مختارة من املنتجني النشطني يف املنطقة. رؤىهذه الصناعة إلنتاج األفالم ، وبناء املعرفة ، والهياكل االجتامعية وشبكات التواصل وفرص بناء املعرفة ، يف نهاية xمجموعة مختارة من الفرص والربامج املتعلقة بتمويل إنتاج األفالم. وهذا يشمل فرص اإلنتاج املشرتك وغريها املطاف إىل منظامت تقع خارج النطاق الجغرايف ملنطقة جنوب املتوسط )عىل الرغم من وجود برامج يف بعض البلدان من الربامج الداعمة. يستخدم مصطلح »اإلنتاج« هنا باملعنى الواسع للدعم ًأيضا يف مرحلة ما قبل اإلنتاج ، ويف املستهدفة(. وتستكمل هذه الصناديق من خالل قصص النساء ، وتوضح تجربة املرأة التي ميكن أن تُحسب لنجاح بعض حاالت قليلة ، التوزيع. املبادرات )عىل سبيل املثال ، مدير املرأة ، قائد الربنامج( أو التي تأثرت مسريتها بشكل إيجايب بربنامج معني يف القامئة. 2. معلومات عن الربامج واملشاريع التي، مهام كانت أسامؤها ، تؤدي إىل دعم املهنيني يف تطوير معارفهم وتحسني ويختتم الدليل بقامئة أقرص لسلسلة من األمثلة عىل السياسات املتعلقة بالجنسني يف القطاع السمعي البرصي: يف منطقة مهاراتهم )بناء املعرفة(. جنوب املتوسط ، وكذلك يف أوروبا. 3. املبادرات التي تساهم يف الربط بني املهنيني السينامئيني واإلثراء الذي ينتج عن ذلك.
4. املهرجانات ، باستخدام هذا التعبري بأوسع معانيه. يف هذه الحالة، نجمع بني املهرجانات املنظمة يف املنطقة، أو التي تستهدف النساء واملفتوحة باملنطقة، حتى إذا كان ّمقرها يف مكان آخر.
الجوائز 5.واملكافآت التي متنح للنساء و / أو املهنيني العاملني يف القطاع السمعي البرصي الواسع ، مبا يف ذلك الصحفيني واملخرجني عنيّواملوز ورجال األعامل ، إلخ.
6. املبادرات التي ميكن أن ينصب الرتكيز الرئييس فيها عىل زيادة الوعي يف هذا الشأن ، أو دعم الدعوة لها. ويشمل ذلك مجموعة واسعة ومتنوعة من املبادرات )أي الحفالت الرتويجية ، واملؤمترات ، واجتامعات املائدة املستديرة ، والعروض ، والحلقات الدراسية ، وما إىل ذلك( التي تتقاسم الهدف الرئييس لزيادة الوعي والتأثري بشكل مبارش / غري مبارش عىل صانعي القرار وأصحاب املصلحة واألطراف املعنية لدعم التوازن بني الجنسني. 200 201
II. اإلنتاج السيناميئ 202 203 املنتجني املختارين رؤية الصناعة مرشوع“ القصص التي مل تحىك” هو مرشوع ممول من 1.
املركز الدامنريك للجنس واملساواة والتنوع ، KVINFO وبرنامج C: NTACT الرشاكة العريب الدمناريك. يعرض هذا املرشوع القصص الفريدة قصص ال حرص لها ألحدى عرش امرأة من منطقة الرشق األوسط وشامل أفريقيا. عنوان الفرصة: القصص التي مل تحىك
وكانت النساء يف الفيلم أنفسهن االيت صنعن األفالم مبساعدة وتسهيل ستة من صانعات ما يدور حوله: تعرض القصص القصرية من 11 امرأة استثنائية األفالم املحرتفات من تونس ومرص وفلسطني ولبنان واألردن وسلطنة عامن. تقدم األفالم من جميع أنحاء منطقة الرشق األوسط وشامل أفريقيا. معا مجموعةً واسعة من الشهادات الهامة والشخصية من املنطقة ، وتشارك طريقة تصنع األفالم من قبل النساء مبساعدة وتسهيل ستة من صانعات األفالم رؤيتهم لبيئتهم من خالل أداة تكنولوجية صغرية وهي الهواتف املحمولة. يدخل املحرتفات من تونس ومرص وفلسطني ولبنان واألردن وسلطنة عامن. املخرجون وصانعي األفالم ألول مرة يف تكافل فريد من نوعه ، حيث ينشئون معاً ًنوعا تم تدريس صناعة األفالم للمرة األوىل للنساء للتعبري عن أنفسهم برصيا من خالل الفيلم ًجديدا ًمتاما ، ًبعيداعن الفيلم الوثائقي الكالسييك وأقرب إىل رواية القصص الشخصية. عىل أساس الحاجة إىل املعرفة من قبل ستة من صانعي األفالم املحرتفني من بلدان
الرشق األوسط وشامل أفريقيا ، الذين عمل معهم C:NTACT و LAM3AM 216 إلنشاء يهدف هذا املرشوع إىل متكني النساء يف جميع أنحاء العامل من أن يعكسن أنفسهن من خالل التمثيل طريقة للتعبري عن الذات من خالل األفالم. تم عرض األفالم يف جميع الدول املشاركة. الشخيص لهن - بل ويصبح ذلك مصدر إلهام لهن إلخبار قصصهن باستخدام هواتفهن الخاصة. يتطلع مرشوع قصص مل تحىك إىل تعميم هذه الطريقة يف صناعة األفالم وإضفاء الطابع الدميقراطي منذ متى: 2015- حتى اآلن عليها واستخدامها كحافز لرواية القصص الشخصية املرئية لألشخاص يف جميع أنحاء العامل. من ميكنه التقديم: صانعي األفالم للمرة األوىل من أي دول: بلدان الرشق األوسط وشامل أفريقيا من أجل نجاح املرشوع واستهداف جمهور أوسع ، تم عرض األفالم يف جميع الدول املشاركة. محددة للنساء: نعم عروض األفالم مجانية ويتم عرضها يف مجتمعات مختلفة وكذلك يف املسارح ودور السينام. الرتكيز عىل القطاع السمعي البرصي: نعم املنظمة املسؤولة: Ma3mal 612 ، C:NTACT موقع الويب: https://vimeopro.com/user33285111/stories-untold 205 متويل إنتاج األفالم 204
.1 MC برنامج ماما كاش لتوفري املنح
عنوان الفرصة: برنامج املنح
ما يدور حوله:إنه برنامج متوييل لدعم الناشطني النسويني األكرث شجاعة وإلهاما ًيف جميع أنحاء العامل. تقدم ماما كاش MamaCash املنح إىل املجموعات والحركات التي لديها القناعة واملثابرة للتعبري عن آرائهم ، وإخبار ›تقدم األفالم معاً مجموعة قصصهم واملطالبة بالعدالة ، بغض النظر عن العقبات. واسعة من الشهادات الهامة منذ متى: 1983 - حتى اآلن من ميكنه التقدم بطلب من أي مقاطعة / منطقة: يف جميع أنحاء العامل والشخصية من املنطقة ، محددة للنساء: نعم الرتكيز عىل القطاع السمعي البرصي: ال وتشارك طريقة رؤيتهم لبيئتهم املنظمة املسؤولة: ماما كاش املوقع: http:// www.mamacash.org/en/our-grantmaking من خالل أداة تكنولوجية صغرية وهي الهواتف املحمولة‹ 206 207 رؤية الصناعة برنامج ماما كاش املانح: برنامج املنح املقدمه ماما كاش هو برنامج متويل تم تطويره لدعم الناشطني من النساء األكرث شجاعة والهاما يفً جميع أنحاء العامل.
يهدف هذا الربنامج إىل تعزيز حركات التمويل النسائية الدولية عن طريق تقديم منح للجامعات والحركات النسائية التي تعرب عن قناعتهن ومثابرتهن يف رسد قصصهن واملطالبة بالعدالة.
يستهدف هذا الربنامج ًأيضا الناشطني الذين يطورون حقوقهم وينشئون تحركاتهم الخاصةمن أجل إحداث التغيري االجتامعي. باإلضافة إىل ذلك ، يقوم هذا الربنامج بتصنيف مجموعات يقودها أشخاص يعملون معا ًللتعامل مع املشكالت التي ›يدعم هذا الربنامج فكرة أن يواجهونها مبارشة ، مثل العامل املنزليني الذين يقاتلون من أجل تحسني ظروف العمل. يقدم برنامج املنح هذا منحا ًتغطي ثالث حقائب مواضيعية: الهيئة األنشطة النسوية لديها القدرة عىل واملال والصوت بهدف تعزيز مهارات ومعارف وشبكات املتدربني.
تحويل العامل‹ يدعمهذا الربنامج فكرة أن األنشطة النسوية لديها القدرة عىل تحويل العامل. ومبا أنهميف معظم الحاالت يفتقرون إىل التمويل والشبكات الداعمة وإمكانية الوصول إىل فرص التعلم ، فإن “ماما كاش” متأل هذه الفجوة من خالل تقديم منح للمجموعات والحركات لتعظيم تأثريها ومتكينها من تنفيذ تغيري يف الرؤية داخل مجتمعاتها. 208 209
.2 رؤية الصناعة CINEREACH سايرنيتش – منح سايرنيتش سايرنيتش هي رشكة أفالم مستقلة كرس تُعملها لصناعة األفالم الفنية وذلك بصفتها منظمة خريية. سايرنيتش تُساعد عىل توسيع مكانتها اإلبداعية يف مجال السينام من خالل تقديم التطوير والتمويل واإلنتاج وغري ذلك من مناذج الدعم اآلخرى، مكونات الفرصة: التمويل من خالل العديد من الفرص: اإلنتاج والتمويل واملنح والزماالت ومبادرات اإلنتاج. ما هي: سايرنيتش هي رشكة أفالم مستقلة تكرس ُجميع أعاملها لصناعة األفالم الفنية والحيوية. وبصفتها منظمة خريية، اإلنتاج والتمويل: تقوم رشكة سايرنيتش بتمويل وإنتاج وتطوير العديد من املشاريع كل عام. ما أنها تُشارك يف التمويل فإن سايرنيتش تساعد ُعىل توسيع اإلمكانيات اإلبداعية يف مجال السينام من خالل تقديم التطوير والتمويل واإلنتاج معبعض رشكات اإلنتاج األخرى باإلضافة إىل املمولني واملستثمرين. واملنح وبعض من مناذج الدعم األخرى. سايرنيتش متنح كل عام ما بني 02 إىل 03 منحة –تشمل عىل أكرث من مليون دوالر من املمكن تقديم منح ترتاوح بني 5000 دوالر إىل 50000 دوالر لدعم أي مرحلة من مراحل تطور الفيلم، من البدأ وذلك ملنح جديدة وحالية. من املمكن منح مبالغ ترتاوح بني 0005 دوالر إىل 00005 دوالر وذلك لدعم أي مرحلة من وحتى اإلنتهاء - اسرتاتيجية التوزيع والجمهور. توفر سايرنيتش دعامً مخصصا ًيتم توزيعه عىل مدار العام لدعم الجمهور. مراحل الفيلم من تطويره حتى اإلنتهاء منه. الزماالت. برنامج زمالة سايرنيتش هو برنامج مخصص ملدة عام كامل مخصص لصانعي األفالم وذلك يف النقاط اإلنتقالية يف حياتهم املهنية. الزمالء يحصلوا عىل فرص لتعميق اتصالهم بعملهم. مع استكشاف ما يعنيه التطوير املهني لهم مع تجربة منذ متى: 2006 األفكار الجديدة. من بإمكانه تقديم الطلب: املنتجون واملخرجون وصانعي األفالم مبادرة املنتجني. تهدف مبادرة منتجي سايرنيتش إىل تعويض املنتجني املستقلني عن عدم االستدامه يف العمل. من أي الدول \ املقاطعات: من جميع أنحاء العامل خاصة بالنساء: ال سايرنيتش هي رشكة أفالم مستقلة تكرس ُجميع أعاملها لصناعة األفالم الفنية والحيوية. وبصفتها منظمة خريية، فإن الرتكيز عىل املجال السمعي والبرصي: نعم سايرنيتش تساعد عىلُ توسيع اإلمكانيات اإلبداعية يف مجال السينام من خالل تقديم التطوير والتمويل واإلنتاج واملنح املنظمة املسؤولة عن التمويل: سايرنيتش وبعض من مناذج الدعم األخرى. تسعى سيرنيتش أيضاإىل ًصناعة أفالم أكرث استدامه من خالل املبادرات الهادفة جهات اإلتصال \ املراجع \ املوقع: http://cinereach.org/submissions والرشاكات االسرتاتيجية. 210 211
›تقدم »سينرياش« الدعم والتوزيع عىل مدار العام ودعم التوزيع III. دعم املهنيني: للمهنني املختارين باإلضافة إىل برنامج مخصص ملدة عام كامل بناء املعرفة لصانعي األفالم يف النقاط االنتقالية يف حياتهم املهنية ‹ 212 213
.1 Shashat شاشات برنامج صانعات النساء الفلسطينيات الشابات
عنوان الفرصة: برنامج صانعات األفالم الشباب الفلسطينيات
ما يدور حوله:يهدف الربنامج إىل متكني النساء من لعب دور قيادي كمنتجني ثقافيني يف فلسطني وأن تكون أعاملهم يفمركز الصدارة لتعزيز مهاراتهم املهنية. من خالل هذا الربنامج املسمى شاشات تساعد الشابات صانعي األفالم يف التقدم إىل املهرجانات السينامئية ومساعدتهم عىل إعداد جميع املتطلبات ، ويوفر الدعم املؤسيس للشابات صانعي األفالم للتقدم بطلب للحصول عىل الوظائف واملنح أو الدراسات. وعالوة عىل ذلك ، يسهل هذا الربنامج سفر صناع األفالمللمشاركة يف املهرجانات السينامئية الدولية ويرسل أفالمهم إىل النقاد والباحثني لتعزيز دراسات أعاملهم.
منذ متى: 2005 - حتى اآلن. من ميكنه التقديم: املنتجون من أي مقاطعة / منطقة : فلسطني محددة للنساء: نعم الرتكيز عىل القطاع السمعي البرصي: ال املنظمة املسؤولة: شاشات املوقع: http: //www.shashat.org/en/article/1023/Bio 214 215 رؤية الصناعة برنامج صانعات األفالم الشابات الفلسطينيات )شاشات( هو برنامج تم تأسيسه وتنفيذه من قبل شاشات ، وهي منظمة غري حكومية مقرها يف رام الله ، فلسطني ، والتي ّج تروللسينام النسائية كعامل للتحول االجتامعي يف املجتمع الفلسطيني ، وللمرأة كقائدة مبدعه للثقافة الشعبية الفلسطينية.
بعد اختبار نطاق أوسع مبا يف ذلك التدريب األسايس واملهني ، تم تحديد هدف برنامج التوجيه الخاص بهم باعتبار وجود أفكار أبداعية لدى النساء املهمشات ، لذا تم تزويدهن بحقيبة مهنية ، حقيبة ، للذهاب مع العامل والتعرف عىلأبواب الصناعة. وبالتايل ، يتناول الربنامج الشابات صانعات األفالم من املجتمعات املهمشة يف الضفة الغربيةوقطاع غزة. وتتمثل القيمة اإلضافية للربنامج يف أن الشابات صانعات األفالم يف األفالم التي تحمل رسالة اجتامعية يقدم لهن أيضا ًدعامً مهنيايفمجال ًإنتاج الجودة من خالل متويل اإلنتاج وتقديم املنح املبارشة لهن.
إنهبرنامج متكامل. يف الواقع ، ال يقترص األمر عىل تقديم املساعدة لصانعات األفالم الشابات يف التقدم إىل املهرجانات 360 السينامئية من خالل مساعدتهم يف إعداد جميع املتطلبات والتقدم للوظائف واملنح أو الدراسات ، ولكن ًأيضا تسهيل ›درجة : إنه برنامج متكامل‹ السفر للمشاركة يف املهرجانات السينامئية الدولية. عالوة عىل ذلك ، يف أعقاب املهرجانات أو املبادرات ، من املتوقع أن يرسل الربنامج مجموعات من أفالمه إىل النقاد والباحثني لتعزيز دراسات أعاملهم من أجل إعطاء رؤية أكرب ألعاملهم.
تمتصميمهذا الربنامج للتأثري عىل املدى الطويل و التغلب عىل منطق تدخالت املرشوع عىلاملدىالقصري. وهو مبني عىل فهم عميق للجذور االجتامعية والديناميكيات االجتامعية ، باإلضافةإىل فهم الديناميات االجتامعية األساسية واالحتياجات الحقيقية للمجتمع املستهدف.
يف مرحلة التصميم ، ثبت أن تحليل االحتياجات واالختيار املستهدف أمر حاسم يف جعل سينام املرأة مقبولة ومقيّمة عىل مستوى القاعدة الشعبية يف جميع أنحاء فلسطني. وبالفعل ، فقد استند إىل مالحظة أولية للديناميات الفعلية ، حيث يُنسب الفضل يفمعظم األحيان إىل املرأة كمديرة يف إنتاج أقسام اإلعالم ، إال أن املهام الفعلية أقرب إىل دور أمني من صانع األفالم. وعالوة عىلذلك ، فقد استفاد من العالقات مع الربامج األخرى التي تديرها املنظمة ، يف لعبة تآزرية ، مثل “مهرجان األفالم النسائية يف برنامج فلسطني” ، “أفالم للجميع” ، “تعزيز قدرة برنامج قطاع صناعة األفالم الفلسطيني “و” برنامج السينام الثقافية “. 216 217
IV. الهياكل االجتامعية والشبكات 218 219
رؤية الصناعة 1. DOC SOCIETY . – جود بيتش Good Pitch Doc Society جود بيتش هو مرشوع دوك سوسايتي بالرشاكة مع مؤسسة فورد وبرنامج األفالم عنوان الفرصة: جود بيتش الوثائقية ملعهد صندانس. مزيج الفرصة: بناء املعرفة يف الشبكات
مؤسسة Society هي Docمؤسسة أفالم غري ربحية تدعمها مؤسسة بريسا ومؤسسة فورد وأكرث من 50 منظمة ًوأفرادا عىل فكرة الفرصة: تجمع رشكة Good Pitchبنيصانعي األفالم الوثائقية واملؤسسات ، واملنظامت غري الحكومية ، مستوى العامل. منذ عام 2005، كانت مهمتها هي إقامة عالقات صداقة مع صانعي األفالم الكبار ، ودعم األفالم الرائعة ، والناشطني ، وخرباء األعامل الخريية ، وصانعي السياسات ، والعالمات التجارية واإلعالم حول القضايا االجتامعية والبيئية ورشاكة الرشاكات الجديدة ، وبناء مناذج أعامل جديدة ، وتبادل املعرفة الجديدة وتطوير جامهري جديدة عىل مستوى العامل. الرائدة– لتشكيل التحالفات والحمالت التي تناسب جميع هؤالء الرشكاء ،والجيدة لألفالم والجيدة للمجتمعات.
يحتوي هذا الربنامج عىل مجموعة كبرية من األهداف: لتزويد أفضل األفالم الوثائقية املستقلة يف العامل ، لربط صناع منذ متى: 2011 – حتى اآلن التغيري بأفالم قوية ميكنهم نرشها يف عملهم ، إلقامة رشاكات جديدة بني صانعي األفالم وصانعي التغيري من املجتمع من ميكنه التقديم: املنتجون ، صانعي األفالم املدين، لفتح استثامر جديد وجامهري جديدة لألفالم الوثائقية ، لربط صناع التغيري بأفالم قوية ميكنهم نرشها يف عملهم من أي مقاطعة / منطقة : يف جميع أنحاء العامل ، لبناء شبكة “جيدة” عاملية من صانعي األفالم وصانعي التغيري ، إلثراء حياة األفراد ، لتحويل املجتمعات وتحسينها. محددة للنساء: ال يركز هذا الربنامج عىل تبادل املهارات وبناء القدرات. الرتكيز عىل القطاع السمعي البرصي: نعم املنظمة املسؤولة: Doc Society يجلب جميع املشاركني شيئًا ًفريدامن نوعه: املعرفة الخبرية ، والوصول إىل العضويات والقوائم الربيدية االتصاالت / املراجع / املوقع: https://goodpitch.org/the_big_idea ، الحمالت وكسب التأييد ، واالتصال بصانعي السياسات أو قادة الرشكات ، ومصادر التمويل الجديدة. 220 221
.2 AN أفريكاينا أرترييال نيتورك املغرب
عنوان الفرصة: أفريكاينا أرترييال نيتورك املغرب
فكرة الفرصة:شبكة أرتينيال عبارة عن شبكة ديناميكية للمجتمع املدين األفريقي ، والنشطاء الثقافيني ، ورجال األعامل ، واملؤسسات، واملنظامت غري الحكومية ، واملانحني النشطني يف القطاعات اإلبداعية والثقافية يف إفريقيا. تعمل شبكة أرترييال كمنظمة غري ربحية قامئة عىل األعضاء وتعمل يف جميع أنحاء القارة باللغتني اإلنجليزية والفرنسية ، وترتأسها لجنة توجيهية منتخبة متثل املناطق الخمس يف القارة. إن مجاالت الرتكيز األساسية الخمسة لشبكة أفريكاينا أرترييال نيتورك لدعم الفنون هي الدعوة )من خالل مرشوع أرت ووتش أفريكا( ، وبناء القدرات ، والوصول إىل األسواق ، وإدارة املعرفة ونرش املعلومات.
فكرة الفرصة : منذ : 2016 – حتى اآلن من ميكنه التقدم: صانعي األفالم ، واملجتمع املدين ، ورجال األعامل ›يركز هذا الربنامج عىل مهارات من أي مقاطعة / منطقة : املغرب محددة للنساء: ال املشاركة وبناء القدرات. يجلب الرتكيز عىل القطاع السمعي البرصي: نعم املنظمة املسؤولة: أرترييال نتورك جميع املشاركني ًشيئا ًفريدا‹ جهات االتصال / املراجع / املوقع اإللكرتوين: http://www.arterialnetwork.org/network/morocco/news 222 223 رؤية الصناعة أفريكاينا أرترييال نيتورك املغرب: أنشئت أفريكاينا يف مايو3102 وتضع يف مركز تأمالتها املكون األفريقي للهوية املغربية وتوجهاته ، بهذا املعنى ، بعثت سلسلة من اإلجراءات لتعزيز الفنون والثقافات يف أفريقيا من خالل التكوين ، واإلبداع ، والتعاون اإلنتاج والنرش.
وهدفهاهو جمع الرؤى اإلفريقية املختلفة بروح موحدة وحول إفريقيا القامئة عىل التضامن ، وتقريب الحركات املامثلةمن الشباب يف أفريقيا ، وتسهيل التنقل والتبادل الفني إلثراء بعضها البعض ، مع املشاركة النشطة يف حاميةالرتاث التقليدي والتعبريات الثقافية ، التي تكمن أهميتها يف تطوير االتجاهات املعارصة والحرضية.
بفضل هذه الرشاكات والتعاون الفني والثقايف بني املغرب ودول الجنوب ، تساهم أفركاينا يف تنمية الصناعات الثقافية واإلبداعية من خالل اإلنتاج املشرتك والرتويج والنرش. ›وهدفها هو جمع الرؤى اإلفريقية يحفزبرنامج العمل عىل مضاعفة املشاريع التي تتناول التفاعالت الفنية والحوار بني الثقافات بني املغرب وقارته. املختلفة بروح موحدة وحول إفريقيا القامئة عىل التضامن‹
224 225
V. الجوائز واملكافأت 227 خاص بالنساء 226 .2 EWA .1 جائزة EWAيف مهرجان استقبال املرأة يف منتدى األفالم Cartier عنوان الفرصة: جائزة EWAيف مهرجان استقبال املرأة يف منتدى األفالم كارتيية – جوائز مبادرة املرأة من كارتيية
ما الذي يدور حوله:الدعوة مفتوحة ألي فيلم روايئ )خيايل أو وثائقي( يف أي مرحلة من مراحل التطور من جميع أنحاء عنوان الفرصة:جوائز مبادرة املرأة من كارتيية العامل، ولكن برشط أن يتم استيفاء أحد املعايري التالية: أن يكون للموضوع ذو أهمية خاصة عند النساء، أن تدور حبكة 2006 وقصة الفيلم حول شخصيات نسائية قوية باإلضافة إىل أن يكون مخرج الفيلم امرأة. تقديم الطلب يتم فقط من خالل ما يدور حوله: جوائز مبادرة املرأة من كارتيية هي مسابقة لخطة األعامل الدولية التي قد تم إنشائها يف عام ُ 180 رشكة اإلنتاج. من اجل تحديد ودعم وتشجيع املشاريع املقامة من جانب سيدات االعامل. ومنذ بداية تأسيسها فقد أخرجت من أصحاب األعامل النسائية الواعدة وأبرزت 64 من الفائزين. املشاريع التي يقع اإلختيار عليها سوف تتنافس للحصول عىل جائزة قدرها 4000 يورو.
منذ متى: 2006 - حتى اآلن منذ متى: 2018 من بإمكانه تقديم الطلب: املنتجون من بإمكانه التقديم: أصحاب املشاريع من أي الدول \ املقاطعات: من جميع أنحاء العامل من أي الدول \ املقاطعات: من جميع أنحاء العامل خاصة بالنساء: نعم خاصة بالنساء: نعم الرتكيز عىل املجال السمعي والبرصي: نعم الرتكيز عىل املجال السمعي والبرصي: ال املنظمة املسؤولة عن التمويل: كارتيية املنظمة املسؤولة عن التمويل: مركز السينام يف رصبيا، شبكة التلفزيون )EWA( للمرأة األوروبية https://www.cartierwomensinitiative.com جهات اإلتصال \ املراجع \ املوقع: اإلتصال \ املراجع \ املوقع: http://www.ewawomen.com/en/calendar/ewa-award-at-fest-forward-women-in-film-pitch-forum.html 228 229
.3 .4 IWMF EC املفوضية األوروبية – جائزة لورنزو ناتايل لإلعالم جائزة الشجاعة يف الصحافة
عنوان الفرصة: جائزة لورنزو ناتايل لإلعالم عنوان الفرصة: جائزة الشجاعة يف الصحافة
ما هي:تتميز جائزة ناتايل بالتقارير املتميزة )عىل اإلنرتنت، أو من خالل املطبوعات أو األعامل السمعية والبرصية( وذلك ما هي: تقديم التقارير من مناطق عدم االستقرار واإلضطهاد والرصاعاتاملشارون يف برنامج » جوائز الشجاعة يف الصحافة« عن قضايا التنمية مثل القضاء عىل الفقر واألبعاد اإلقتصادية واإلجتامعية والبيئية للتنمية املستدامة. يعرضوا أنفسهم للخطر من أجل فتح النافذة عىل القضايا العاملية الحرجة. اإلنجاز الجديد يف الحياة هو وضع معايري الجائزة تشمل فئتني من األعامر: 21 إىل 26 عام، باإلضافة إىل 72 عام، سوف يكون هناك فائز من كل فئة ومن كل منطقة: جديدة للصحفيات من أجل تشجيع األجيال القادمة يف املستقبل من املراسلني يف العثور عىل أصواتهم. هذة الجائزة يتم أفريقيا: حيث العامل العريب والرشق األوسط. أسيا واملحيط الهدي وأمريكا الالتينية ومنطقة البحر الكاريبي وأوروبا. سوف منحها لهؤالء النساء الاليت يعملن بشكل غري عادي وذلك من أجل مساعدتهم يف مواصلة أعاملهن دون تعب. يتم اختيار فائز كبري من بني الفائزين من األقاليم، كام سوف يتم منح جائزة إضافية للعمل الذي يركز عىل القضاء عىل العنف ضد النساء. منذ متى: 1990 – حتى األن من بإمكانه تقديم الطلب: الصحفيون منذ متى: 2005– حتى األن من أي الدول \ املقاطعات: من جميع أنحاء العامل من بإمكانه تقديم الطلب: الصحفيون خاصة بالنساء: نعم من أي الدول \ املقاطعات: من جميع أنحاء العامل الرتكيز عىل املجال السمعي والبرصي: نعم خاصة بالنساء: نعم املنظمة املسؤولة عن التمويل: املؤسسة اإلعالمية الدولية للمرأة )IMWF( الرتكيز عىل املجال السمعي والبرصي: نعم جهات اإلتصال \ املراجع \ املوقع:/https://www.iwmf.org/awards/courage-in-journalism-awards املنظمة املسؤولة عن التمويل: املفوضية األوروبية جهات اإلتصال \ املراجع \ املوقع: https://ec.europa.eu/europeaid/lnp_en 231 غري ذلك 230
.1 .2 SS PriMed مسابقة كتابة السيناريو عنوان الفرصة: PriMed عنوان الفرصة: مسابقة كتابة السيناريو ما هي: مهرجان PriMed هو عبارة عن مهرجان دويل للسينام الوثائقية والبحوث املتوسطة وهو مفتوح أمام جميع مكونات الفرصة: التمويل والجوائز املخرجني واملنتجني واملوزعني الذين يساهمون من خالل أفالمهم وبرامجهم من أجل فهم دول حوض البحر املتوسط بشكلأفض ومبعاين أوسع، مام هي عليه يف السواحل األطلسية للبحر األسود. يجب أن تكون األعامل السمعية والبرصية ما هي:رأس املال هو فرصة ليك تكون كاتب سيناريو ومنتج. سوف يتم تقديم األفالم الفائزة إىل مهرجانات األفالم التي يتم تقدميها عن الثقافة والرتاث والتاريخ واملجتمعات والحياة لكالً من الرجال والنساء الذين يعيشون يف البحر املشهورة عامليا، باإلضافةً إىل عرضه عىل لجنة التحكيم الحائزة عىل جوائز األوسكار باإلضافة إىل رشكات اإلنتاج والوكالء األبيض املتوسط ، وتهدف هذة املسابقة التي تقام ُكل عام إىل تشجيع ومكافأة الربامج التي تكون جودتها اإلبداعية كبرية واملسؤولني. فريق صناعة األفالم سوف يحظى بالدعم الكامل من املوظفني طوال عملية اإلنتاج مبا يف ذلك املعدات سواء يف املحتوى أو يف األشكال الفنية. وخدمات اإلنتاج األخرى.
منذ متى: 1994 – حتى األن منذ متى: 2016– حتى األن من بإمكانه تقديم الطلب: املنتجون واملوزعون واملديرون من بإمكانه تقديم الطلب: كاتب السيناريو من أي الدول \ املقاطعات: من جميع أنحاء العامل من أي الدول \ املقاطعات: من جميع أنحاء العامل خاصة بالنساء: ال خاصة بالنساء: ال الرتكيز عىل املجال السمعي والبرصي: نعم الرتكيز عىل املجال السمعي والبرصي: نعم املنظمة املسؤولة عن التمويل: PriMed املنظمة املسؤولة عن التمويل: برنامج كتابة السيناريو جهات اإلتصال \ املراجع \ املوقع: http://primed.tv/?lang=en جهات اإلتصال \ املراجع \ املوقع: https://chickeneggpics.org/programs/#accelerator-lab 232 233
VI. املنارصة و التوعية 234 235
رؤية الصناعة 1. WGLG WGLG لدي قصة: WGLGهي رشاكة بني القطاعني العام والخاص بني الوكالة لدي قصة األمريكية للتنمية الدولية ، ومؤسسة فورد ، وخدمة التلفزيون املستقلة التي تعمل (I Have a Story) بالتعاون مع منظمة كري. منظمة النساء والفتيات التي تقود العامل يؤمن بالقوة التي تنتج من مشاركة قصص النساء الشجاعات اللوايت يرفضن قبول الوضع الراهن. عنوان الفرصة: I Have a Story لدي قصة
وهذا هو السبب يف أن WGLGتقوم بتنظيم أفالم وثائقية قوية يصنعها بعض أفضل صانعي األفالم يف العامل يف قرى املدن ما يدور حوله:تسعى حملة “لدي قصة” إىل زيادة الوعي والفهم للصور النمطية املتعلقة بنوع الجنس والفصول الريفية. وكام هو موضح يف الصورة التالية ، فإن منهج مجموعة عمل WGLG يتضمن عدة خطوات: مجموعة مختارة والعنف القائم عىل نوع الجنس ، وتشجيع الناجني من العنف من النساء عىل طلب الدعم. تستخدم الحملة من النساء ، وإنشاء مناذج تغيري محددة للسياق وأهداف تأثري اجتامعي وتصميم إسرتاتيجية لحملة التأثري االجتامعي. وبالتايل نهجمقارنة النظراء إلجراء عملية مراقبة سهلة وميرسة ، تكملها وسائل اإلعالم االجتامعية وإنتاج املحتوى ،يتم تدريب صانعي األفالم ويتم فحص سلسلة من ثالثة أفالم ألفراد املجتمع. متثل هذه املرحلة بداية محادثات مذهلة املحيل،لتشجيع االنفتاح حول العنف املبني عىل النوع االجتامعي وتشجيع العمل اإليجايب للحد من ومتكن من تطوير خطط عمل املجتمع. وأخريا، ًيتم توليد قصص ناجحة لها تأثري عىل التحول الذي تقوده املجتمعات املحلية. حدوثه.
“I Have a Story”عبارة عن حملة حساسة للمرأة تستخدم منوذج مراقبة الحياة املنزلية واملنصات عرب اإلنرتنت لتوفري مساحة منذ متى: - حتى اآلن آمنة وحميمة ملناقشة قضايا مثل العنف القائم عىل املرأة. أوالً ، تهدف هذه الحملة إىل زيادة الوعي والفهم للقوالب النمطية من أي مقاطعة/ منطقة : األردن ، يف جميع أنحاء العامل الجنسانية والعنف القائم عىل نوع الجنس ، وثانيا ًتهدف إىل تشجيع الناجيات من العنف القائم عىل النوع االجتامعي لطلب الدعم. محددة للنساء: نعم الرتكيز عىل القطاع السمعي البرصي: نعم تستخدم الحملة ًا نهجمقارنة النظراء لتسهيل عمليات الفحص ، تكملها وسائل اإلعالم االجتامعية وإنتاج املحتوى املحيل املنظمة املسؤولة: النساء والفتيات التي تقود العامل (Women and Girls Lead Global) ، لتشجيع االنفتاح حول العنف املبني عىل النوع االجتامعي وتشجيع العمل اإليجايب للحد من حدوث هذا العنف. جهات االتصال / املراجع / املوقع اإللكرتوين: /http://www.womenandgirlslead.org/impact/jordan
يتمثلأحد األهداف الرئيسية لهذه الحملة يف خلق تجارب إعالمية شخصية ملشاهدي التلفزيون لزيادة املعرفة وتغيرياملواقف حول أهمية األدوار املنصفة والشاملة للنساء والفتيات ، مبا يف ذلك املناصب القيادية. والثاين هوزيادة االهتامم العام ، والوعي حول أدوار النساء والفتيات يف املجتمع ، مع الرتكيز عىل القضايا التي تم تحديدهامحليا باعتبارها األكرث أهمية للتقدم ، وتشجيع بيئة متكينية لتمكني املرأة. ًوأخريا ، تهدف هذه الحملة ً اإىلحشد أيضالرجال والنساء التخاذ إجراءات لخلق املزيد من الفرص االجتامعية واالقتصادية والسياسية للنساء والفتيات ، من خالل ربط النساء ًأيضامبوفري الخدمات وتضخيم الرسائل ليك تصل إىل جمهور أكرب.
يوجد مستودع للقصص حول العامل )بنغالديش ، الهند ، جوردا ، كينيا ، بريو( ، متاح عىل اإلنرتنت عىل الرابط التايل: http://www.womenandgirlslead.org/our-impact/
236 237
.2 WEK )ويك( املساواة
عنوان الفرصة: املساواة
ما يدور حوله:إن الهدف من هذا املرشوع هو تجاوز هذه الصور الثالث ، واالهتامم بأصوات النساء ، ووجهات نظرهن الشخصية ، وحياتهن اليومية ، وآفاقهن الفردية ، ومشاعرهن ، ووضعهن يف الكالم: مبعنى آخر ، االستامع إىل “وجهات نظرهم حول العامل”.
منذ متى: 2012 - حتى اآلن ›تهدف هذه الحملة إىل زيادة الوعي من أي مقاطعة / منطقة : مرص محددة للنساء: نعم والفهم للقوالب النمطية الجنسانية الرتكيز عىل القطاع السمعي البرصي: نعم املنظمة املسئولة: مشهد االنوثة املرصية (Womanhood egyptian kaleidoscope) والعنف القائم عىل النوع االجتامعي ، و جهات االتصال / املراجع / املوقع: http://www.womanhood-egyptian-kaleidoscope.com/what-s-the-project )...( يف تشجيع الناجني من العنف القائم عىل النوع االجتامعي لطلب الدعم‹
238 239 رؤية الصناعة فيلم “مشهد االنوثة املرصية” هو فيلم وثائقي تفاعيل ، وهو اإلنتاج الذايت الذي قامت به هذه املنظمة الغري هادفة للربح. بني عامي 2014 و 2015، حني التقى املخرج السيناميئ فلورا بافارد ، املولود يف مرسيليا لكنه نشأ بني القاهرة والواليات املتحدة وفرنسا مع 15 امرأة مرصية.
وقدكانت هذه النساء هن املؤلفات واملمثالت واملدونات وصانعات األفالم والعامالت يف املجال اإلنساين واملوسيقيات واملصورات واألطباء النفسيات والباحثات والطالبات واملعلامت أو الكاتابات. إن املعايري التي سيتم اختيارها للمرشوع هي املعايري التالية: العمل عىل مسألة النوع االجتامعي وتعزيز دور املرأة وتقدميها من قبل مشاركني آخرين. النساء املختارات الخمس عرشة اللوايت ولدن يف الفرتة بني 1931 و 1995، لديهن أمر مشرتك: مواجهة مسألة الجنس يف نشاطهن االجتامعي. ›هن املؤلفات ، املمثالت ، واملدونات املساواة هي مرشوع يهدف إىل االهتامم بأصوات املرأة ووجهات نظرهن الشخصية وحياتهن اليومية وآفاقهن الفردية وصانعات األفالم ، العامالت يف املجال وعواطفهن: أي ، بعبارة أخرى ، االستامع إىل “رؤى العامل”. يجمع هذا املرشوع سبع ساعات من الشهادات التي تم تقسيمها إىل 80 مقطع فيديو ًصغريا وثائقيًا تفاعليًا ًواحدا ًمتاحا منذ مايو 2017. يتم تقديم عرضني مختلفني: األول حول أربعة مواضيع اإلنساين واملصورات و واملوسيقيات رئيسية )النشاط ، النوع االجتامعي ، الصوت والغرب( واآلخر هو حول ثالثة مواضيع رئيسية أخرى )الثورة ، الجيل والفضاء العام(. ميتلك هذا املرشوع بعداً أرشيفيا:فمن ًخالل املقابالت التي أجراها هؤالء األشخاص يتساءلون عن الصور النمطية الحالية املفروضة األطباء النفسيني ، الباحثني ، عليهم. تحليل أدوار النوع االجتامعي يف العملية الثورية، فهي تعكس أدوارها االجتامعية ونضاالتها السياسية يف لحظة معينة. الطالبات ، املدرسني أو الكتاب‹ تشري تلك الشهادات إىل تاريخ ما بعد االستعامر ، وتظهر أن األنرثوبولوجيا البرصية تقدم وسائل جديدة لنقل تلك الروايات. 240 241
VII. قصة أمرأة 242 243 عىل الرغم من مرور عرش سنوات عىل دخولها القطاع السمعي البرصي ، ما زالت سلمى تعرتفبأشكال املقاومة ضد دور املرأة ، خاصة يف األدوار الفنية. عىل سبيل املثال ، أثناء تصوير فيلم يف الجزائر كان ًا مدعوممن قبل متدرب ذكر وعىل الرغم من أنها كانت الخبرية ، شعرت بأنه بدا ًمرتددايف أخذ نصائحها وتعليامتها ألنها كانت شابة.
بعدبعض التجارب املثرية لالهتامم عىل الرغم من خطورتها يف مجال األفالم الوثائقية ، حصلت عىل فرصة للعمل يف أفالم قصرية وطويلة ، وهو الشئ الذي كانت شغوفة به منذ بداية دراستها.
عىلسبيل املثال ، عملت كمهندسة صوت ، يف فيلم » Or Noir « ، وهو فيلم لجانجاك أنوود الذي صوره يف تونس وقطر يف العامني 2010 و 2011 ، و فيلم » femmes entre hier et demain «من قبل سعد الرشايبي يف املغرب عام 2010.
فيامبعد، اصبحت حامل ، وكان عليها أن تتوقف ملدة عام. بعد الوالدة ، تلقت سلمى ثابت بعضالعروض ، لكن ظروف الحياة أجربتها عىل االختيار بني االستمرار يف مسريتها املهنية كفني صوت وإحضار ابنتها معها دامئا اثناء التصوير أو أن تكون زوجة وأم. سلمى ثابت هي مديرة تنفيذية ومهندسة صوت تعيش يف تونس. شغفها بالقطاع السمعي البرصي تم إشعاله يف سن مبكر من خالل حب أبيها لصناعة األفالم. تم من ناحية كان خيار إيقاف مسريتها صعباً ، ومن ناحية اخري أُتيحت لها الفرصة ترسيخهذا الشغف من خالل الدراسات الرسمية ، مبا يف ذلك شهادة يف الهندسة إلعادةتوجيه حياتها املهنية إىل منطقة اإلنتاج. لذلك ، انضمت إىل رشكة اخوانها الصوتية يف بلجيكا يف )INSAS(وهو املعهد الوطني االعيل للفنون املرسحية . لالنتاج : رشكة إنتاج Ulysson يف عام 2016 ، وتم تعيينها مديرة تنفيذية. إن االختيار بأن تصبح مهندسة صوتية تطلب الكثري من الصرب والتضحية ، وفقا لسلمى ، ما هو مفقود حقا يف تونس هي فرص التعليم، وخاصة لإلنتاج. حيث يتعني والفضائل التي مكنتها من التعامل مع العديد من تحديات الصناعات يف عامها عىل صانعي األفالم الطموحني الذهاب إىل الخارج للعثور عىل فرص شاسعة و مثرية لالهتامم. الدرايس. عىل الرغم من أن الهندسة الصوتية ال تتناسب مع طموحاتها عىل وجه التحديد، إال أنها تساهم يف تشكيل مسارها النهايئ بشكل مشرتك مع اصولها .
ومنذذلك الحني ، سافرت سلمى دوليا وبلغات متعددة مبا يف ذلك اللغة العربية واإلنجليزية والفرنسية واإليطالية وعملت يف فرنسا وامتد عملهاإىل دول تشمل اململكة املتحدة واألردن وتونس ولبنان واملغرب.
وقد عملت مع صانع أفالم جنسية والذي خلق بيئة صعبة بالنسبة لها كإمرأة عربية تقوم بعملها بفعالية. 244 245 ، حيث عملت بجد يف Berlinale Talent Campus ثم يف عام 4102 ، شاركت يف برنامج محطة doc.يف بداية مسريتها املهنية ، واجهت مجموعة كبرية من العقبات: كانت فرص التدريب وجمع األموال من املشكالت الرئيسية ، ومن ثم فإن غياب شبكة حقيقية داخل الجزائر ال يشجع عىل الوصول إىل املعلومات حول كيفية الحصول عيل املنح .
أظهرت جميع ورش العمل والربامج التي شاركت فيها مدى قوة رسد القصص ومدى أهمية ذلك بالنسبة للمنتج إلتقان ما يريد القيام به. يف عام 2017 ، أخرجت فيل ًام وثائقيًا ا ًقصريعن املرأة يف السياسة يف الجزائر وبدأت املرشوع الثقايف B إ ىل C، وهو عبارة عن منصة ملواهب السينام يف الجزائر.
أنفقت 5 سنوات يف العمل عىل مرشوع دون أي تقدم وكان هذا اوقتً واستهالكًا للطاقة ، لذا فقد أدركت أن جمع األموال داخل الجزائر وخارجها كان هو املشكلة الرئيسية. لهذا السبب ، قررت البدء يف العمل عيل حل ذلك وإيجاد حلول داخل الجزائر. دريفا ميزيرن حاولت إيجاد موارد مالية داخل الجزائر ، من خالل إرشاك القطاع الخاص ، ألن التمويل العام مل يعد كافيا، ًومع التخفيضات يف امليزانيات أصبح الوضع غري محتمل. كانت مستوحاة من دريفاميزيرن هي مخرجة ومديرة ثقافية تعيش يف الجزائر. بعد دراستها يف األدب منصة مشابهة مثل DOC Society و Méditerranée audiovisuelle و Transartis. اإلنجليزي وفنون الجرافيك ، عملت يف اإلعالن كمصممة جرافيك ملدة 7 سنوات ، حتى عام 2010، لكنها فجأة أدركت أن ما أرادت فعله هو رسد القصص. كان الهدف الرئييس األول هو السينام واملواهب السمعية البرصية صانعي األفالم واملنتجني والكتاب ومشغيل الكامريات ومهنديس الصوت واملحررين ، إلخ. الفئة الثانية هي الرشكات يف عام 2011 ، قدمت أول أفالمها الوثائقية القصرية » I lived in the absence twice« « والتي الخاصة يف جميع القطاعات االقتصادية. بقدر ما يتعلق األمر بتمويل Fas ، ساعد معهد Goethe تم عرضها يف العديد من املهرجانات السينامئية يف جميع أنحاء العامل والتي فازت ًأيضا بها بجوائز. يف املرحلة األوىل من مركز B إىل C ، مع 0003 يورو ، للعمل مع مجموعة من 51 ًشخصا. الذي «Drifa and the lonely whale» يف عام 2102 ، بدأت بتطوير فيلمها الوثائقي الطويل تقوم بتحريره يف الوقت الحايل ، يف حني كانت تعمل كصانعة أفالم. بدأت حياتها املهنية كمخرجة بعد العديد من اللقاءات واالستشارات ، ساعد معهد جوته الجزائر مرة أخرى يف وقت الحق عىل بفضل مبادرة حبيبة جاهن ، يف ورشة عمل بجاية ديوك ، ورشة وثائقية إبداعية يف رشق الجزائر. تغطية جزء من تطوير املنصة مبنحة قدرها 2000 يورو. منذ البداية ، كان الهدف من املرشوع هو أن يكون مستقالً ، وهذا هو السبب يف أنها مل تقم بإجراء اتصاالت مع الحكومة يف تطوير برنامجها. ساعدتها الورشة الوثائقية اإلبداعية يف رشق الجزائر والتي تسمى » Documentary Campus« يف اكتشاف عمل أقرانها يف بلدان الرشق األوسط وشامل أفريقيا وأوروبا ،وتعلم أهمية املنتج يف دعم مرشوع الفيلم. فيام بعد ، شاركت يف Docmed ، وهو برنامج مدته عام واحد للمنتجني يف بلدان الرشق األوسط وشامل أفريقيا ، والذي يتمثل هدفه الرئييس يف مساعدة املنتجني عىل تعلم كيفية بناء مرشوع قوي للسوق الدولية. 246 247 وبعد سنوات من الدراسة والعمل يف الخارج، فقد عادت علياء إىل وطنها وهي إحرتافية وذو خربة ومهنية كبرية، وقد واجهت العديد من العقبات. أوالً، فقد كان عليها أن تتغلب عىل الصدمة الثقافية لها باإلضافة إىل املفاهيم السابقة لها عن فلسطني. ويف الوقت نفسه، فقد تعرضت ملقاومة حتى يتم قبولها كخبرية. مل يتم تشويه سمعتها فقط بسبب كونها وحيدة ، ولكن كان يتم النظر إليها أيضا ًعىل أنها مهاجم محتمل قادم للوطن.ويف نضالها من أجل اإلدراك واإلعرتاف اإلجتامعي باإلضافة إىل اإلحرتام يف املجتمع الفلسطيني، فقد إكتشفت بأن هناك العديد من املستويات واألبعاد إللغاء التقييم الخاص بخربتها. وبينام هي تقوم بالتقدم نحو الظهور عىل الشاشات فقد كان يُشاع بأنها تأمل فقط يف أن تكون مخرجة أفالم ، لذلك فقد قررت تعليق مسريتها الفنية وذلك من أجل كسب ثقة وقبول عند اآلخرين. لقد كان هذا القرار عىل وجة الخصوص صعب عليها نظراألن ًهذة املعايري وتضارب املصالح ال تنطبق عىل املسؤولني اآلخرين يف املنظامت الثقافية والذين هم أيضامن ًالفنانيني واملهنيني يف مجالهم.
عالوة عىل ذلك، وعىل الرغم من أن الشاشات تعترب ُمنصة قوية للتطوير املهني أمام علياء أرصوغيل الكثريمن النساء الشابات، إال أنه ال يزال هناك بعض املقاومة لإلقرار بأهميتها. حقيقة حصولهم عىل التقدير الكامل بسبب ما حققوه هو أن يتم النظر إليهم عىل أنهم »عقلية علياء أرصغيل هي مخرجة أفالم وفتاة أكادميية ومتخصصة يف الثقافة. ولدت يف عكا، ثم صغرية« وذلك نتيجة للموارد املحدودة يف البالد. وفقاملا ًتراه علياء، فإن عدم اإلحساس بعد ذلك إنتقلت للعيش يف الواليات املتحدة األمريكية ويف عام 1997 عادت إىل فلسطني. باملجتمع هو ما يُضعف املرأة الفلسطينية. النصيحة العامة التي تُقدمها دامئاً للنساء إهتاممعلياء بالنساء والسينام يعود إىل مرحلة دراستها الجامعية، حيث حصلت عىل اآلخريات هو أن تسعى دامئا لتحقيقً رؤيتها الخاصة، وال تتآثر بآراء اآلخرين باإلضافة الدكتورة يف هذا الوقت والتي قد ركزت عىل » كتابة التاريخ الوطني عىل أجسام النساء يف إىلأن تسمع صوتها وتقوم بتعريف نفسها بشكل أفضل مع اإلميان بقوتها الخاصة. السينام املرصية«. كام أنها قامت بإلقاء محارضات دولية عن القضايا املُتعلقة فيام يأيت بعد االستعامر والجنس والهوية الوطنية والسينام يف العامل العريب، لقد شاركت أيضا ًيف التنظيم واملشاركة يف مشاريع مختلفة تتعلق بالسينام العربية، مثل مهرجان » التحرير والعزلة يف السينام الجزائرية« ومهرجان األفالم يف بوسطن واإلحتفال املئوي بالسينام العربية يف نيويورك.
علياء هي أحد املؤسسني لسينام الشاشات النسائية – وهي منظمة غري حكومية تقوم بالرتكيز عىل السينام النسائية والتداعيات الثقافية واإلجتامعية لتمثيل املرأة. ومنذ عام 2005، فقد أنتجت املنظمة 82 فيم قصري و10 مهرجانات سينامئية باإلضافة إىل الجوالت الخاصة بها يف الضفة الغربية والقدس وقطاع غزة. عروضها اإلنتاجية الشخصية تتضمن 7 أفالم – املعيشة املمزقة و حي مش عيش وحبل الغسيل وغريهم. نشاط علياء املدهش ودفاعها عن الثقافة قد رشحها للعديد من الجوائز من وزارة الشؤون الفلسطينية و وزارة الثقافة الفلسطينية. 248 249
جوانب تطورها الشخيص، وذلك بداية من تعليمها املبكر. أثناء إنجذابها للفن، فقد إنتهى بها األمر بعد مسار أكرث إحرتاما ًوقد حصلت عىل الدرجة العلمية يف الطب وذلك من أجل أن تُثبت دور املرأة ورؤيتها الذي قد تسبب بها كالً من عائلتها والبيئة الخاصة بها. بعد ذلك، وكونها شخصية عصامية وفنانة منتجة ذاتياً، فقد كانت تُعاين من التعرض للعداء وسوء الفهم من املجتمع بشكل عام ومن الرجال بشكل خاص والذين ال يؤمنون تلقائياً بقدرة النساء عىل التعامل مع املهام اإلدارية أو القيام بإجراء أبحاث عالية الجودة. ولذلك، فإن نجاحها يف الغالب يتبعه صورة للمرأة الحديدية العصامية التي ليست بحاجة إىل رشيك أو أصدقاء أو رشكة. وباملثل يف املجال االكادميي املُتصلب يف الغالب والذي ال يُرحب بأي مظاهر أنثوية ، يتم النظر إىل أعاملها يف الغالب عىل أنها متناقضة دون النظر إىل حقيقة أنها فنانة. وبالنسبة لها، فإن ذلك يُتيح لها القدرة عىل كتابة مقاالت عن الحياة الحقيقية للفنانيني، حتى تقوم بتسليط الضوء عىل ما يتعرض له الفنانون ليس فقط من إطار نظري. فريوز كرواية
وعالوة عىل ذلك، فإن رشكات اإلنتاج تتعامل معها عىل أنها فنانة بسيطة ويجب عليها أن تواجه فريوز كرواية هي كاتبة وفنانة ومنتجه وعاملة يف اإلنرثوبولوجيا باإلضافة إىل أنها ناشطة من إحتاملية الدخول يف صيغة فنية معينة تقترص يف الغالب عىل جنسها. وقد تم تكرار هذا األمر مرص. بعد أن قامت بإنها دراستها يف الطب، فقد قررت أن تقوم بإتباع شغفها وحبها باملوسيقى بشكل مامثل يف موقعها يف سوق العمل واملهرجانات وفرص الحفالت املوسيقية. » ال يتعلق وقامت بإنشاء فرقة موسيقية خاصة بها وذلك حيث أنها كانت منتجة ومؤلفة لألغاين وملحنه األمر فقط بكونك إمرأة مرفوضة، ولكن باإلضافة إىل ذلك، فإن املراة التي تُريد أن تجعل يف نفس الوقت. وبجانب ذلك، فقد تقدمت بطلب الحصول عىل درجة املاجستري يف الدراسات رؤيتها الخاصة للفن والتي ال تكون أنثوية وال ذكورية ولكنها تكون رؤية فنية« ُملخص فريوز. الثقافية بالجامعة األمريكية يف القاهرة. لقد عملت عىل تأثري ودور واألفالم الشعبية عىل اإلدراك والوعي الطبقي للمجتمع، باإلضافة إىل النظام السيايس والحياة اإلجتامعية يف مرص وذلك من أجل فرضية املاجستري الخاصة بها وحتى تستمر يف استكشاف تأثري الثقافة الشعبية من وجهة نظر الجنسني وذلك من خالل التعاون مع املؤسسات الثقافية الدولية. لقد قامت أيضاً بإنتاج والتمثيل يف فيلمني وثائقيني مثل الفيلم املرصي عن راقصة البالية املعروفة تحية كاريوكا.
ويف إطار مرشوع سومثدويا، فإن فريوز كراوية تعمل عىل مسلسل تلفزيوين يتناول صورة املرأة والتفاعل والعالقة بني الجنسني، باإلضافة إىل العالقات األرسية من خالل رصد العنف وتقييمه والحوادث والقوالب النمطية والحوارات العميقة باإلضافة إىل مجموعات البحث والرتكيز واإلنرثوبولوجي.
لقد واجهت فريوز كراوية العديد من التحديات طوال مسريتها الفنية واألكادميية. تبحث فريوز كراوية دامئاعن ًتوضيح للصورة الحقيقية لدور املراة يف املجتمع. يف الواقع، فإن السياسة العامة والنموذج الراسخ واألصيل يف العالقات بني الجنسني يف مرص قد أثرت عىل كل جانب من 250 251
فيلم بعنوان »طريق الحرير« ثم قامت بعد ذلك بالبدأ يف فيلم » الفتاة حافية القدمني« يف الرأس األخرض مع املغنية سزاريا ايفورا. وقد إنتقلت إىل باريس ومتت خطبتها للمرة الثانية، ولكنها قد هربت قبل أن تُصبح االمور جادة للغاية، ثم بعد ذلك قد إنتقلت إىلرسيالنكا حيث متكنت هناك من القيام بعمل مكثف مع تلفزيون آسيا الصغري وتدريب الشباب باإلضافة إىل العمل مع اطفال الشوارع والفتيات الاليت يتم اإلتجار بهم.
عندما خضع والدها لعملية جراحية ثالثية، فقد شعرت بأنها بحاجة إىل أن تكون بالقرب منه والعودة إىل بريوت. ومن خالل تشجيع عمتها، والتي تُعترب وكيل موزع ألفالم بلجيكية مشهورة، فقد متكنت من إنشاء رشكة توزيع لألفالم، ثُم بعد ذلك قامت بتأسيس أول مرسح للسينام يف أوروبا . املنظمة الخاصة بها قد عرضت دائرة كاملةمن تقديم خدمات السينام مثل الرتكيب، اإلنتاج ، اإلخراج والتوزيع والتي دميا الجندي قدسمحتلها بكسب املزيد من الخربة الواسعة يف صناعة العديد من األفالم. دميا الجندي هي مخرجة ومنتجة وكاتبة لبنانية. لقد درست الفلسفة يف الجامعة ثم بعد ذلك لكونها إمرأة، فإن دميا تواجه تحديات يف كالً من أوروبا وموطنها. عىل سبيل املثال، لقد إنتقلت إىل بروكسل وذلك من أجل دراسة تحرير النص يف INSAS. مل تكن ترغب يف العودة كان لديها بعض التجارب السيئة مع املنتجني الذين قد قاموا بالتعامل معها بطريقة غري إىل بريوت التي قد دمرتها الحرب، لذلك فقد قررت البقاء يف أوروبا بعد التخرج. تخصصها مقبولة. ويف نفس الوقت يف لبنان، فقد كان لكالً من الدين والقانون تأثري كبري عىل املجتمع النادر يف تركيب أرشطة األفالم مقاس 35 ملم قد وفر لها فرصا ًممتازة يك تعمل مع التلفزيون املدين والسينام. أحد الدالئل التي تشري ُإىل حقوق املرأة املحدودة عندما قامت دميا بتسليط البلجييك يف قسم األفالم الوثائقية، ولكن قامت دميا برفضهم جميعاً وذلك من أجل الحصول الضوء عىل سياسة حديثة العهد يف الدول العربية والتي تقوم بتربئة الرجل الذي يغتصب عىل الخربة يف تركيب األنواع املختلفة من األفالم ثم بعد ذلك تستقر يف صناعة األفالم بنفسها. فتاة ولكن برشط أن يتزوجها. وبالرغم من أنها تعترب لبنان واحدة من الدول النادرة التي إنها تتذكر عمها املخرج اللبناين الشهري و الذي يُقيم يف باريس ، وقد توقع لها يف هذا الوقت تشعر فيها بأنها حقا ًإمرأة حرة، فقد تم حرمانها ألول مرة من الجنسية اللبنانية ألمها أن تكون يف مكانة ُمرشفة يف السينام وذلك بسبب عدم إهتاممها أوخوفها من االستقرار املايل. وذلك لسنوات عديدة وكان من الرضوري عليها أن تحصل عىل جنسية والدها السوري. عىل الرغم من كل ذلك، إال أنها تقوم باستخدام كل هذة التجارب السلبية دامئا ًيف عملها لقدقامت بتحرير وصناعة األفالم يف مختلف املجاالت مبا يف ذلك األفالم الوثائقية والخيال و وتدريبها يف جميع انحاء العامل من أجل توصيل أفكارها للجميع وتحولها إىل يشء ذو قيمة. الرتكيب الصويت باإلضافة إىل اإلعالنات البلجيكية والعربية واألوروبية حتى األفالم الوثائقية األفريقية التي ليست لها ميزانية مالية. واحد من هذة املرشوعات تم القيام به من دورة املياة وذلك بسبب الحامسة فقط يف إنشاء املرشوع. الفيلم األول لدميا بعنوان » بيننا إثنان..« قد بدأ برسالة حصلت عليها من أختها وبدأت يف هذا الحني مهنتها كمخرجة. وقد متكنت من جمع 150 ألف يورو يف ثالثة أشهر وإكتشفت موهبتها يف جمع التربعات ثم بعد ذلك فقد قررت أن تكون منتجاً أيضا. ًومبا أن فيلم » بيننا إثنان....« قد ذهب إىل الكثري من املهرجانات الدولية السينامئية ، فقد تواصل معها منتجون بلجيكيون ثم قامت بعمل 252 253 أفضل املامرسات: إجراء أظهرته األبحاث والخربات لتحقيق نتائج مثىل والتي تم تحديدها أو اقرتاحها كمعيار مناسب للتبني عىل نطاق واسع. املصدر: https://www.merriam-webster.com/dictionary/best%20practice مرسد املصطلحات
يبدو أنه ال يوجد توافق يف اآلراء حول ما يشكل مامرسة افضل ، وكيفية تعريفه ، أو حتى ما نسميه. )...( مقرتح أدوات مفاهيمية أساسية للتنقل يف الخطاب حول النوع االجتامعي يف القطاع السمعي البرصي بيندكسني وجوشتينري 2003 تعريفًا واحدا ًمفيدا، يشري إىل أن املصطلح “متعلق باملبادرات الناجحة أو املرشوعات النموذجية التي تساهم مساهمة متميزة ودامئة ومبتكرة يف قضية مطروحة” )ص 677(. ويواصلون قائلني: “]أفضل الدعوة: فعل أو عملية دعم قضية أو اقرتاح. املامرسات[ بشأن ما هو يعمل وال يعمل يف مواقف وسياقات مختلفة بطريقة تراكمية و متطابقة للمعرفة “ )بيندكسني املصدر: https://www.merriam-webster.com/dictionary/advocacy وجوشتينري 2003 ، الصفحة 678(. كام انهم يالحظون أن مصطلح “أفضل” له قيمة ملهمة قوية ، و “الغرض من وصف ونرش مامرسة ناجحة ، ووصفه الدعوة هي مجموعة من األنشطة املنظمة املصممة للتأثري عىل سياسات وإجراءات اآلخرين لتحقيق بأنه ]أفضل مامرسة[ ، هو جعل عمل إرشادي ملهم ، خاصة فيام يتعلق مبتخذوا القرار )بيندكسني وجوشتينري 2003 ، التغيري الصفحة 678(. املصدر: لذا ، فإن أفضل املامرسات تحمل وظيفة ثالثية: 1( تحديد املبادرات الناجحة التي تعالج قضايا مهمة ، 2( تعلم ما يعمل .https://www.womankind.org.uk/docs/default-source/resources/briefings/sections-1-and-2 وال يعمل يف حاالت مختلفة ، و 3( املبادئ التوجيهية امللهمة التخاذ القرار. pdf?sfvrsn=4 املصدر: جينينغز ، إدوارد )2007( أفضل املامرسات يف اإلدارة العامة: كيف نعرفها؟ كيف ميكننا استخدامها؟ اإلدارة العامة 9/2007 الدعوة هي العملية املستندة إىل أدلة موضحة ، للتأثري بشكل مبارش وغري مبارش عىل صانعي القرار وأصحاب املصلحة والجامهري ذات الصلة لدعم وتنفيذ اإلجراءات التي تسهم يف إعامل حقوق الطفل واملرأة. أفضل املامرسات لتحقيق املساواة بني الجنسني: تشري عبارة “أفضل املامرسات” إىل تراكم وتطبيق املعرفة حول ما ينجح املصدر: https://www.unicef.org/evaluation/files/Advocacy_Toolkit.pdf وماال ينجح فيام يتعلق بتعزيز املساواة بني الجنسني وعدم التمييز ضد املرأة يف مختلف املواقف والحاالت . فهي الدروس املستفادة عيل حدا السواء وعملية التعلم املستمر ، وردود الفعل ، والتفكري والتحليل.)املصدر: إدارة األمم القطاعات السمعية البرصية: يغطي القطاع السمعي البرصي صناعات األفالم والبث والفيديو والوسائط املتعددة. املتحدة للشؤون االقتصادية واالجتامعية. متاح عىل املوقع: )املصدر: او. ديباندى و جي. شيرتيت )2001( الصناعة السمعية البرصية األوروبية: نظرة عامة ، أوراق قطاع بنك http://www.unpan.org/Directories/UNPAGlossary/tabid/928/Default.aspx االستثامر األورويب(
املجتمع املدين:يشري املجتمع املدين إىل جميع أشكال العمل االجتامعي الذي يقوم به أفراد أو مجموعات ال ترتبط الجوائز واملكافأت: مبلغ مايل أو تقديري لإلنجازات التي ُمتنح لشخص ما بعد قرار رسمي. بالدولة وال تدار بواسطة الدولة. يشمل املجتمع املدين جميع الهياكل التنظيمية )منظامت املجتمع املدين( التي يقوم املصدر: قاموس كامربدج عىل اإلنرتنت أعضاؤها بخدمة املصلحة العامة من خالل عملية دميقراطية ، ويقومون بدور الوسيط بني السلطات العامة واملواطنني. +https://dictionary.cambridge.org/dictionary/english/award?q=awards
فاملنظامت واملجموعات التي تنارص تعزيز املساواة بني الجنسني والدفاع عن حقوق اإلنسان للمرأة واحرتامها تشكل بناء الوعي:“الوعي” هو معرفة أو فهم موضوع أو قضية أو موقف. عىل نطاق أوسع ، هي حالة الوعي بيشء ما. عنرصا حيويا من عنارص الحكم ، حيث يفرتض بها أن تجعل من هم يف السلطة مسؤولني. برامج التوعية هي برامج هدفها الرئييس جعل األشخاص عىل دراية بالقضايا االجتامعية والجنسانية غري املعروفة أو )املصدر: إدارة األمم املتحدة للشؤون االقتصادية واالجتامعية. مرسد مصطلحات اإلنرتنت( املخفية. املصدر: قاموس ماكميالن https://www.macmillandictionary.com/dictionary/british/awareness اإلنتاج املشرتك: اتفاقية اإلنتاج املشرتك هي عقد تم إدخاله يف وقت مبكر يف االنتاج وانحرص يف مشاركة متكررة من 254 255 برنامج األمم املتحدة اإلمنايئ( املنتجني املشاركني يف كل من املسائل الفنية واإلنتاجية واملالية. العقد سوف يحدد الحد األدىن لهذه املشاركة: النص وخطة اإلنتاج وامليزانية و خطة التمويل كجزء من العقد التمويل: األموال املضمونة لغرض معني ، مثل مرشوع أو رشكة ناشئة أو حدث أو نشاط من قبل حكومة أو منظمة. املصدر: قاموس كامربيدج https://dictionary.cambridge.org/dictionary/english/funding وطبقا للرشوط التعاقدية املطبقه ، فإن اإلدارة املشرتكة وملكية الحقوق تكون بني املنتجني املشاركني . )املصادر: (Elaboration from National Occupational Standards (undated الجنس: يشريالجنس إىل األدوار والسلوكيات واألنشطة والصفات التي يعتربها مجتمع معني يف وقت معني مناسبًه للرجال SFHMH63: العمل مع األشخاص واألشخاص اآلخرين املهمني لتطوير الخدمات يف تحسني صحتهم العقلية( والنساء. باإلضافة إىل الصفات االجتامعية والفرص املرتبطة بالذكر واالنثي والعالقات بني النساء والرجال والفتيات والفتيان ، التمكني:يشري إىل زيادة القوة الدينية و السياسية و االجتامعية واالقتصادية لالفراد و املجتمعات .فتمكني النساء و يشريالجنس أيضا إىل الروابط بني النساء ووالروابط بني الرجال. هذه السامت والفرص والعالقات مبنية اجتامعيا ويتم الفتيات يهتم باكساب النساء و الفتيات القوة والتحكم يف حياتهم الخاصة . وهذا ينطوي عيل زيادة الوعي وبناء الثقة تعلمها من خالل عمليات التنشئة االجتامعية. بالنفس و توسيع الخيارات وزيادة التمكن و السيطرة عيل املوارد و االجراءات الالزمة لتحويل الهياكل و املؤسسات التي تعزز و تديم التمييز الجنيس و عدم املساواة . إنها سياق ، محدد بالوقت وقابل للتغيري. يحدد الجنس ما هو متوقع ، ومسموح به وله قيمة يف الرجل واملرأة يف نظام يكمن جوهر التمكني يف قدرة الشخص عىل التحكم يف مصريه. هذا يعني ان متكني النساء ال يجب ان يكون فقط بان معني .يوجد يف معظم املجتمعات اختالفات وعدم مساواة بني النساء والرجال يف املسؤوليات املوجهه اليهم ، واألنشطة يكون لديهم قدراتهم متساوية )مثل التعليم والصحة( واملساواة يف الوصول إىل املوارد والفرص )مثل األرض والعاملة( املضطلع بها وصوال ايل التحكم يف املصادر باالضافه ايل فرص اتخاذ القرار. ، ولكن يجب أن يكون لديهم أيضا الوكالة الستخدام هذه الحقوق والقدرات واملوارد والفرص املتاحة التحاذ الخيارات الجنسهو جزء من السياق االجتامعي الثقايف األوسع ، كام هو الحال يف غريها من املعايري املهمة للتحليل االجتامعي والقرارات اسرتاتيجية )مثل ما يتم توفريه من خالل الفرق القيادية و املشاركة يف املؤسسات السياسية( . الثقايف مبا يف ذلك الطبقة ، العرق ، الفقر،املستوي ، املجموعة العرقية )العنرصية(، التوجة الجنيس، العمر، إلخ. )املصدر: هيئة األمم املتحدة للمرأة ،وهيئه OSAGI لتعميم الجنس – مفاهيم وتعاريف ( تكافؤ الفرص للنساء والرجال: يشري هذا املفهوم إىل عدم وجود عوائق أمام املشاركة االقتصادية والسياسية واالجتامعية عىل أساس الجنس ونوع الجنس وغري ذلك من الخصائص. هذه الحواجز غالبا ماً تكون غري مبارشة ، يصعب متييزها التمييز بني الجنسني:أي متييز أو استثناء أو تقييد متصل بأساس الجنس وله تأثري أو غرض من إعاقة أو إبطاال العرتاف وتتسبب بها وتحتفظ بها ظواهر هيكلية ومتثيالت اجتامعية أثبتت أنها مقاومة خاصة للتغيري. يستند تكافؤ الفرص كأحد باملرأة أو متعتها او حريتها أو مامرستها بغض النظر عن حالتها االجتامعية ، ﻋﻰﻠ أﺳﺎس املساواة بني اﻟﺮﺟﺎل واﻟﻨﺴﺎء ،بعيدا أهداف املساواة بني الجنسني إىل األساس املنطقي القائل بأن مجموعة كاملة من االسرتاتيجيات واإلجراءات والتدابري عن حقوق اإلنسان والحريات األساسية يف املجاالت السياسية واالقتصادية واالجتامعية والثقافية واملدنية أو أي مجال رضورية إلصالح عدم املساواة املتجذرة واملستمرة. آخر. )املصدر: األمم املتحدة ، 1979. “اتفاقية القضاء عىل جميع أشكااللتمييز ضد املرأة. املادة 1( )املصدر: مرسد ملستخدمي تعميم منصة للمساواة بني الجنسني http://eige.europa.eu/gender-mainstreaming/concepts-and-definitions) املساواة بني الجنسني:يشري هذا إىل املساواة يف الحقوق واملسؤوليات والفرص بني النساء والرجال والفتيات والفتيان. املساواة ال تعني مساواة النتيجة: يشار إليه أحيانا عىل أنه “مساواة موضوعية” ، ويشري إىل فكرة أن تكافؤ الفرص قد ال يكون كافيا أن النساء والرجال سوف يصبحون نفس الشىئ ولكن حقوق ومسؤليات وفرص النساء والرجال ، لن تعتمد عىل ما إذا لتصحيح الظلم التاريخي للمرأة وحرمانها. بسبب مواقفهم املختلفة يف املجتمع ، قد ال يكون النساء والرجال قادرين كانوا يولدونذكر أم أنثى . عىل االستفادة من الفرص املتكافئة بنفس القدر. ويف بعض الحاالت ، ميكن أن يكون لتكافؤ الفرص تأثري سلبي عىل رفاه املساواة بني الجنسني تعني أنه يجب ان تؤخذ كل من مصالح واحتياجات وأولويات كل من النساء والرجال يف االعتبار املرأة ، إذا كانت املرأة متارس الوقت والطاقة لالستفادة منها دون أي نتيجة. من أجل ضامن أن تسفر تدخالت التنمية ،مع االعرتاف بوجد اختالفات متنوعة بني النساء والرجال. املساواة بني الجنسني ليست قضية املراة لكن يجب مراعاه عن املساواة يف النتائج بني النساء والرجال ، من الرضوري تصميمها عىل أساس التحليل الجنساين. وبالتايل ، فإن املعاملة والتعهد الكامل واحرتام الرجل مثل املراة. “املتساوية” ال تعني “نفس املعاملة”. وينظرإىل املساواة بني املرأة والرجل عىل أنها قضية حقوق إنسان وكرشط مسبق ومؤرش التنمية املستدامة ااملتمركزة عىل )املصدر: حزم التعلم واملعلومات املتعلقة بتعميم مراعاة املنظور الجنساين التي أعدها برنامج األمم املتحدة اإلمنايئ - 256 257 http://www1.aucegypt.edu/src/engendering/definitions.html اإلنسان. )املصدر: هيئة األمم املتحدة للمرأة ، هيئة OSAGI لتعميم الجنس - املفاهيم والتعاريف( زيادة الوعي بالقضايا التي تتعلق بالنوع االجتامعي:هي العملية التي تهدف إىل رؤية كيفية تاثري القيم و املعايري املوجودة الحاليه عيل صور واقعنا ، واستمرارية االفكار النمطية وآليات الدعم )إعادة( إنتاج الالمساواة. فهو يتحدى حقوق امللكية بني الجنسني: املصطلحات املفضلة داخل األمم املتحدة هي املساواة بني الجنسني ، وليست حقوق امللكية القيم واملعايري الخاصه بالنوع االجتامعي عن طريق رشح مدى تأثريهم والتعرف عىل االراء التي تاخذ يف االعتبار وتشارك بني الجنسني. حقوق امللكية بني الجنسني يشري إىل تفسري العدالة االجتامعية ، وعادة ما تقوم عىل التقاليد والعرف والدين يف صنع القرار . باإلضافة إىل ذلك ، يهدف رفع الوعي إىل تحفيز الحساسية العامة تجاه القضايا التي تتعلق بالنوع او الثقافة والتي تكون يف معظم األحيان عىل حساب املرأة. مثل هذا االنصاف فيام يتعلق بالنهوض باملرأة قد ثبت أنه االجتامعي غري مقبول. )املصدر: مجلس أوروبا )1998(. تعميم مراعاة املنظور الجنيس : اإلطار املفاهيمي ، املنهجية وعرض املامرسات الجيدة. خالل مؤمتر بكني يف عام 1995 تم االتفاق عىل أن مصطلح املساواة سيتم استخدامه. وقد أكدت لجنة CEDAW مؤخرا التقرير النهايئ ألنشطة فريق األخصائيني بشأن التعميم يف توصيتها العامة 28: دعى “تُالدول حرصيا استخدام مفاهيم املساواة بني املرأة والرجل أو املساواه بني الجنسني وعدم استخدام مفهوم حقوق امللكية بني الجنسني يف تنفيذ االلتزمات مبوجب االتفاقيه”. تعميم مراعاة املنظور الجنيس :هو االعتبار املنهجي املنتظم يف االختالف بني ظروف وأوضاع واحتياجات املرأة والرجل ويستخدم هذا املفهوم األخري يف بعض الواليات القضائية )السلطات القضائيه( لإلشارة إىل املعاملة العادلة للنساء والرجال يف جميع السياسات والنشاطات. تعميم مراعاة املنظور الجنيس هو )إعادة( تنظيم وتحسني وتطوير وتقييم لعمليات ، طبقا الحتياجات كل منهم. قد يتضمن املعاملة املتساوية، أو املعاملة التي تبدو انها مختلفة لكن تعترب متكافئه من السياسات ، ولذالك منظور املساواة بني الجنسني تم دمجه يف جميع السياسات عىل جميع املستوياتويف جميع املراحل، حيث الحقوق والفوائد وااللتزامات و الفرص . عن طريق املمثلني الذين يشاركون عادة بشكل طبيعي يف صنع السياسات. إن تعميم املنظور الجنيس هو عملية تقييم )املصدر: هيئة األمم املتحدة للمرأة ، و هيئه OSAGI لتعميم مراعاة الجنسني - املفاهيم والتعاريف( تابعة الي عمل مشرتك فيه النساء والرجال ، متضمن اللوائح أو السياسات أو الربامج ، يف جميع املجاالت وعىل جميع املستويات. فهي طريقة ليك تجعل مخاوف و تجارب النساء وكذالك الرجال التي تشكل بعدا متكامل ال يتجزأ من الهوية هي الجنسية:الشعور العميق للخربة الداخلية و الفردية للجنس لكل شخص التي ميكن او ال ميكن ان تتطابق تصميم وتنفيذ ومراقبة وتقييم السياسات والربامج يف جميع املجاالت السياسية واالقتصادية واالجتامعية بحيث تستفيد مع نوع الجنس وقت الوالدة متضمنا االحساس الشخيص لالنسان )والذي قد يتضمن تعديل مظهر الجسد أو وظيفته املرأة والرجل عىل قدم املساواة ، حيث ال ترسخ عدم املساواه . الهدف النهايئ هو تحقيق املساواة بني الجنسني. ﺗﻌﻣﯾم طبيا او جراحيا او بطرق اخري اذا تم اختيارة بحرية( والتعبريات األخرى لنوع الجنس ، مبا يف ذلك املالبس والكالم ﻣراﻋﺎة اﻟﻣﻧظور اﻟﺟﻧﺳي ھو اﺳﺗراﺗﯾﺟﯾﺔ ﺗﮐﻣﯾﻟﯾﺔ وﻟﯾﺳت ﺑدﯾ ً ال ﻋن اﻟﺳﯾﺎﺳﺎت واﻟﺑراﻣﺞ اﻟﻣﺳﺗﮭدﻓﺔ اﻟﻲﺗ ﺗرﮐز ﻋﻟﯽ اﻟﻣرأة ، والسلوكيات. وﺗﺷرﯾﻌﺎت اﻟﻣﺳﺎواة ﺑﯾن اﻟﺟﻧﺳﯾن ، واآللﯾﺎت اﻟﻣؤﺳﺳﯾﺔ ﻟﻟﻣﺳﺎواة ﺑﯾن اﻟﺟﻧﺳﯾن ، واﻟﺗدخالت اﻟﻣﺣددة اﻟﻲﺗ ﺗﮭدف إﻟﯽ ﺳد )املصدر:اللجنة االوربية )2012(,االشخاص الشواذ:التمييز عىل أسس الجنس ، التمييز عىل أسس الجنس ،الهوية الجنسية اﻟﻔﺟوه بني الجنسني . والتعبري عن الجنس.الشبكة األوروبية لخرباء القانون يف مجال املساواة بني الجنسني(
املصادر: املفوضية األوروبية. االتصال “إدماج تكافؤ الفرص بني النساء والرجال يف جميع سياسات وأنشطة املجتمع؛ مراعاة الفروق بني الجنسني )السياسات(: السياسات والربامج التي تأخذ بعني االعتبار الخصوصيات التي تتعلق بحياة كل مجلس أوروبا )1998(. تعميم مراعاة املنظور الجنساين: اإلطار املفاهيمي واملنهجية وعرض املامرسات الجيدة. التقرير من النهايئ ألنشطة فريق األخصائيني بشأن التعميم. النساء والرجال ، التي تهدف إىل القضاء عىل عدم املساواة وتعزيز املساواة بني الجنسني ، مبا يف ذلك املساواة يف توزيع شعبة اإلحصاءات يف األمم املتحدة - شعبة اإلحصاءات يف األمم املتحدة. الربنامج العاملي إلحصاءات النوع االجتامعي املوارد ، وبالتايل تعالج و تاخذ بعيد االعتبار البعد الجنيس. .)املصدر:اللجنة االوربية 100)1998(كلمة من اجل املساواة :فهرس رشوط املساواة بني الرجل واملراة- املساواة بني التوازن بني الجنسني:يستخدم عادة يف اإلشارة إىل املوارد البرشية واملشاركة املتساوية للنساء والرجال يف جميع مجاالت الرجل واملراة( العمل أو املشاريع أو الربامج. يف سيناريو املساواة بني الجنسني ، من املتوقع أن مشاركة النساء والرجال تكون نسبيه مع حصتهم من تعداد السكان. ومع ذلك ، ففي العديد من املجاالت ، تشارك املرأة أقل مام يتوقعه الناس عىل أساس التوزيع الوعي الجنيس : هو القدرة عىل رؤية املجتمع من منظور الدور الجنيس لكل منهم وفهم كيف يؤثر ذلك عىل احتياجات الجنيس بني السكان )قلة متثيل املرأة( ، يف حني يشارك الرجال أكرث مام كان متوقعا )زيادة متثيل الرجال(.)املصدر: شعبة املرأة مقارنة باحتياجات الرجال. اإلحصاءات يف األمم املتحدة - الربنامج العاملي إلحصاءات النوع االجتامعي. املصدر: صندوق األمم املتحدة للمرأة -، إدارة الحكم االقتصادي. متاح عىل: 258 259 املصدر: اسرتاتيجية املساواة بني الجنسني التابعة ملجلس أوروبا للفرتة 2014-2017 ، الصفحة 9 ، https://rm.coe.int/CoERMPublicCommonSearchServices/DisplayDCTMContent?documentId=0 السياسات الجنسية : تنقسم السياسات الجنسية إىل ثالث فئات حسب درجة إدراكها ومعالجتها لقضايا النوع او 9000016805e55e الجنس. -السياسات املراعية للمنظور الجنيس : تعرتف السياسات املراعية للمنظور الجنيس بأن النساء وكذلك الرجال عنارص التدريب عىل النوع االجتامعي: عملية ميرسة لتنمية الوعي والقدرات بشأن القضايا املتعلقة بالرجل واملرأة، إلحداث فاعلة يف التنمية وأنهم عادة ما يكونون مقيدين بطريقة مختلفة عن الرجال. قد تختلف احتياجاتهم ومصالحهم تغيري شخيص أو تنظيمي من أجل املساواة بني الجنسني. “إن الهدف العام للتدريب املبني عىل النوع اإلجتامعي هو وأولوياتهم يف بعض األحيان ويف بعض األحيان تتعارض. ميكن تقسيم سياسات الوعي باالعتبارات الجنسيه إىل التعريف بالجنسني عىل أنه نوع من التحليل )يف مقابل الوصف( ، لإلشارة إىل اختالف احتياجات ومصالح النساء والرجال نوعني من السياسات: تستخدم مناهج سياسات محايدة جنسية معرفة االختالفات بني الجنسني يف سياق معني ومتثيلهم غري املتكافئ ، ولزيادة الوعي وتقليل التحيز بني الجنسني الذي شكل ترصفات األفراد واملؤسسات. “ الستهداف وتلبية االحتياجات العملية لكل من النساء والرجال. السياسات املحايدة تجاه النوع االجتامعي ال تزعج ينطوي هذا النوع من التدريب االجتامعي بشكل عام عيل العالقات القامئة بني الجنسني. ﺗﺳﺗﺧدم اﻟﺳﯾﺎﺳﺎت اﻟﺧﺎﺻﺔ ﺑﺎﻟﻧوع االجتماعي ﻣﻌرﻓﺔ اﻟﻔروق ﺑﯾن اﻟﺟﻧﺳﯾن ﻲﻓ ﺣﺎﻟﺔ ﻣﻌﯾﻧﺔ لالستجابة لالحتﯾﺎﺟﺎت اﻟﺟﻧﺳﺎﻧﯾﺔ اﻟﻌﻣﻟﯾﺔ ﻟﻧﺳﺎء أو رﺟﺎل. هذه السياسات ال تعالج التقسيم الحايل للموارد •توعيه املشاركني باألدوار واملسؤوليات املختلفة وغري املتساوية للمرأة والرجل يف أي سياق معني. واملسؤوليات. • النظر يف الطرق التي تؤثر عيل التدخالت اإلمنائية ، وتتأثر بالفوارق وعدم املساواة بني النساء والرجال . •تزويد املشاركني باملعرفة واملهارات لفهم الفروق بني الجنسني وعدم املساواة يف سياق عملهم ، وتخطيط وتنفيذ - السياسات التي ال تفرق بني الجنسني : تفشل السياسات التي ال تفرق بني الجنسني يف التمييز بني االحتياجات سياسات وبرامج ومشاريع لتعزيز املساواة بني الجنسني. املختلفة للنساء والرجال يف صياغتها وتنفيذها. ومن ثم ، فإن هذه السياسات متحيزة لصالح العالقات القامئة بني الجنسني ومن ثم فمن املرجح أن تستبعد املرأة أو تزيد من عدم املساواة القامئة بني املرأة والرجل. )املصدر: التحليل الجنيس، برنامج األمم املتحدة اإلمنايئ ( - سياسات إعادة التوزيع بني الجنسني: تهدف إىل تحويل التوزيع الحايل للموارد واملسؤوليات من أجل خلق عالقة فجوة األجور بني الجنسني:هو الفرق يف النسبة املئوية بني متوسط دخل الرجال والنساء يف الساعة ، باستثناء اجر العمل أكرث مساواة بني النساء والرجال. قد يتم استهداف النساء والرجال أو قد يتم استهداف مجموعة واحدة فقط من اإلضايف. إن الفجوة يف األجور بني الجنسني معقدة - وتشمل العوامل الرئيسية: فروق رأس املال البرشي: أي االختالفات قبل التدخل القضايئ . وتركز سياسات إعادة التوزيع بني الجنسني بصورة رئيسية عىل املصالح االسرتاتيجية الجنسية ، يف املستويات التعليمية والخربة العملية ؛ العمل بدوام جزيئ وأمناط السفر والفصل املهني. وتشمل العوامل األخرى: ولكن ميكنها التخطيط لتلبية االحتياجات الجنسية العملية بطريقة تنطوي عىل إمكانية تحويلية )توفري بيئة داعمة مامرسات تصنيف الوظائف ، وأنظمة التقييم ، والتمييز يف األجور لتمكني املرأة الذايت(. املصدر: مكتب املساواه يف اململكة املتحدة ،/http://www.equalities.gov.uk التعلم: عملية فهم يشء ما بدراسته أو تجربته. املصدر: التنقل بني الجنسني: إطار وأداة للتنمية القامئة عىل املشاركة ، فاينيو ماتيال، A.، 1999، املصدر: قاموس كامربيدج http://www.siyanda.org/static/undp_genderanalysis.htm https://dictionary.cambridge.org/dictionary/english/learning
تعترب املعرفة أساسية ألي مناقشة للتعلم وميكن فهمها عىل أنها الطريقة التي يطبق بها األفراد واملجتمعات معنى الصورة النمطية للجنسني: “متثل الصورة النمطية املتعلقة بالجنسني عائقا ًخطريا ًأمام تحقيق املساواة الحقيقية بني التجربة. وميكن بالتايل أن ينظر إليها عىل نطاق واسع عىل أنها املعلومات والفهم واملهارات والقيم والسلوكيات املكتسبة الجنسني وتقوي التمييز الجنيس. الصور النمطية للجنسني هي أفكار مسبقة يتم من خاللها تعيني الذكور واالناث من من خالل التعلم. وعىل هذا النحو ، ترتبط املعرفة ارتباطا الً ينفصم بالسياقات الثقافية واالجتامعية والبيئية واملؤسسية حيث الخصائص واالدواراملحددة بشكل تعسفي حسب جنسهم. ميكن للصورة النمطية الجنسية أن تحد من تنمية التي يتم إنشاؤها وإعادة إنتاجها. يفهم التعلم هنا ليكون عملية اكتساب هذه املعرفة. إن التعلم عملية ونتيجة لهذه املواهب والقدرات الطبيعية للفتيان والفتيات والنساء والرجال ، وتجاربهم التعليمية واملهنية ، وكذلك فرص الحياة العملية ؛ومامرسة فردية باإلضافة إىل مسعى جامعي. التعلم هو حقيقة متعدده األوجه يحددها السياق. ما الذي ،بشكل عام وتعد الصورة النمطية املتعلقة باملرأة هي سبب املواقف والقيم العميقة ، والقواعد والتحيزات ضد النساء. تكتسبو املعرفة وملاذا أين ومتى وكيف يتم استخدامها يف متثيل أسئلة أساسية لتنمية األفراد واملجتمعات عىل حد سواء. وهي تستخدمُ لتربير وصون العالقات التاريخية لقوة الرجال عىل النساء ، وكذلك املواقف املتحيزة جنسياً التي تعوق )املصدر: إعادة التفكري يف التعليم: نحو تحقيق منفعة عامة عاملية؟ اليونسكو ، 2015( تقدم املرأة “. 260 261 أهداف دراسات النساء تشمل: الفئات هياملهمشة: مجموعات مختلفة من األشخاص لديهم ثقافة وطريقة للكالم وتاريخ واحداث معينة معرضني - استكتشاف عن النساء :عن طريق طرح أسئلة جديدة وقبول مالحظات النساء وتجاربهن عىل أنها حقيقية وذات لخطر التمييز املتعدد بسبب التفاعل و االختالط بني الصفات واملميزات الفرديه املختلفة او بسبب االسس ، مثل الجنس معني أو النوع أو السن أو العرق أو الدين أو االميان بشئ او االعتقاد به، أو الحالة الصحية أو اإلعاقة أو امليول الجنسية أو - تصحيح املفاهيم الخاطئة عن املرأة وتحديد الطرق التي من املمكن ان تقوم املنهجيات التقليديه بتشويه معرفتنا الهوية الجنسية أو التعليم أو الدخل أو الذين يعيشون يف مناطق جغرافية مختلفة. إن االنتامء إىل هذه الجامعات أو -وضع نظريات عن مكانة املرأة يف املجتمع واالسرتاتيجيات املناسبة للتغيري حتى مجرد فهمك و ادراكك انك تنتمي إليها يزيد من خطر عدم املساواة فيام يتعلق بالحصول عىل الحقوق واستخدام -دراسة مدى تنوع النساء من حيث الطبقة ، والعرق ، والتوجه الجنيس ، واملتغريات األخرى مع الجنس. الخدمات والسلع يف مجاالت متنوعه ، مثل الوصول إىل التعليم والتوظيف والصحة واملساعدات االجتامعية واإلسكان و االيواء ، الحامية ضد العنف املنزيل او املحيل أو املؤسيس ، والعدالة. عىل الرغم من أن دراسة النساء هي البداية النطالق النساء ، من خالل الكشف عن الطرق التي تتشكل بها االدعاءات )املصدر: قاموس مصطلحات املساواة بني الجنسني - املعهد األورويب للمساواة بني الجنسني ) تبادل املعلومات أو االجتامعية والثقافية والهياكل و االسس حسب الجنس ، ومن خالل ايضا الدراسات النسائية التي تقوم بدراسة الرجال الخدمات بني األفراد أو املجموعات أو املؤسسات. والعامل من حولنا. املصدر: www.merriam-webster.com/dictionary/networking
فهي تعترب متعدده التخصصات ، تدمج و توحد االفكار من خالل العديد من الخربات ووجهات النظر املختلفة. الشبكة:هي اسلوب و عينة من الروابط طويلة االمد او الدامئة ايل حدا ما بني العقد ، حيث ان هذه العقود تقوم وباالستفادة من العمل البحثي العلمي يف كل تخصص أكادميي تقريبًا وكذلك من عمل الحركة النسائية “الشعبية” ، فإن برشح و توضيح مجموعات ووحدات تنظيمية مختلفة قد تكون الروابط أحادية أو ثنائية االتجاه ، ومتثل انتاج و الدراسات النسائية لها ميزة ونظريات متطورة ومنهجيات خاصه بهم . تدفق املنتجات )السلع والخدمات( ، وتقاسم املوارد ، وعالقات حقوق امللكية أو أشكال اخرى للسيطرة، ونظم التعاون واالتصال. املصدر: نظرية املساوة بني الجنسني . )املصدر: غران سلفادور .، 1999 ,الشبكة الداخليه ,لندن ,روتليدج (. http://feminism.eserver.org/about/overview.html يعتمد منوذج الشبكة عيل العالقات املتبادله القامئة عىل الثقة واملعاملة باملثل كطريقة لصياغة العمل الجامعي. )املصدر: ;كيست , روبني ل 6002 حاله الخلط ,اوضاع ادارة السوق و الشبكه : دور الحكومه يف تكثيف مجاالت السياسات .
اإلنتاج:هو النشاط املسؤل عن تنظيم األمور العملية والفعليه واملالية املتعلقة بإعداد فيلم أو مرسحية أو برنامج تلفزيوين أو إذاعي. يف القطاع السمعي البرصي ، تشري عملية اإلنتاج إىل املراحل )املراحل( املطلوبة لتكمل انتاج كل مايخص االعالم والصحافه ، من الفكرة إىل النسخة الرئيسية النهائية. ميكن أن تنطبق العملية عىل أي نوع من أنواع إنتاج الوسائط مبا يف ذلك األفالم والفيديو والتلفزيون والتسجيل الصويت. املصدر : قاموس كامربيدج https://dictionary.cambridge.org/dictionary/english/production, https://www.mediacollege. com/glossary/p/production-process.html
دراسات نسائية :هي دراسات متت من قبل النساء تركز عىل األسئلة والنظريات والتحليالت التقليدية التي تهتم بتعزيز دور املرأة وتضعه يف االعتبار ، وتتبني هذه الدراسات النسائية )كمجال( املنظور العلمي والنقدي تجاه تجارب النساء. 262 263 di, Chercheuses de l’Osservatorio di Pavia.
.Femmes et radio au Maghreb, From 2010 to 2013, Sahbi Ben Nablia. Unesco .13 املراجع الببليوجرافية
14. Gender Equality in the Media Sector, 2018, European Parliament DIRECTORATE GENERAL FOR INTERNAL POLICIES - POLICY DEPARTMENT C: CITIZENS’ RIGHTS AND CONSTITUTIONAL ) اللغوية واإلصطالحية( AFFAIRS, WOMEN’S RIGHTS & GENDER EQUALITY- STUDY PE 596.839 1. African American Women and Sexuality in the Cinema, 2002, Norma Manatu. 15. Gender in the Film Industry, 2014, Stephen Follows Film Data and Education. 2. Arab Media from a gender perspective: Trends and Operational Tools, 2009, Center of Arab Women for Training and Research (CAWTAR). 16. Heya TV: A feminist counterpublic for Arab women? 2007, Matar D. - Heya Tv.
3. Assessment of media development in Palestine, 2014, UNESCO & BIRZEI UNIVERSITY’S MEDIA 17. Image des femmes dans les médias algériens, 2015, Mena Media Monitoring (MMM) en par- DEVELOPMENT CENTER. tenariat avec la ligue algérienne de défense des droits de l’homme (LADDH).
4. Boxed In 2015-16: Women On Screen and Behind the Scenes in Television, 2016, San Diego 18. It’s a Man’s (Celluloid) World: Portrayals of Female Characters in the Top 100 Films of 2015, State University Center for the Study of Women in Television and Film. 2015, San Diego State University Center for the Study of Women in Television and Film.
5. Community Radio and Empowerment of Women among Pastoralist Communities in Nor- 19. It’s a Man’s (Celluloid) World: Portrayals of Female Characters in the Top 100 Films of 2016, thern Kenya, 2015, University of Nairoibi. 2016, San Diego State University Center for the Study of Women in Television and Film.
6. Content And Representation Of Women In The Arab Media, 2002, UN Women Watch. 20. La situation des femmes dans le monde arabe, 2010, Département fédéral des affaires étran- gères. Politorbis. 7. Contribution à la lutte contre les stéréotypes fondés sur le genre et à la promotion de la cul- ture de l’égalité hommes-femmes à travers les médias audiovisuels, 2014, Haute Autorité de 21. Les femmes et le cinéma dans le monde arabe, 2017, Janine Euvrard. la Communication Audiovisuelle. 22. Mass Media: The Image, Role, and Social Conditions of Women A collection and analysis of 8. Egyptian Film and Feminism: Egypt’s View of Women Through Cinema, 2015, Cinesthesia. research materials, 1979, MiekeCeulemans Guido Fauconnier of the Department of Commu- nication Science Catholic University of Leuven. 9. Ellas hacen cine arabes, 2013, IEMed. 23. Media coverage of women political participation in Algeria, Morocco and Tunisia, 2009, Cen- 10. Etude comparative des politiques des régulateurs membres du REFRAM en matière d’égalité ter of Arab Women for Training and Research (CAWTAR). homme-femmes, 2011, Bertrand LEVANT au sein de la direction des Etudes & Recherches du CSA de la Fédération Wallonie-Bruxelles. 24. Media use in the Middle East : A six Nations survey, 2016, NorthernWestern University in Qatar. 11. Femmes et Médias au Maghreb, From 2010 to 2013, Sahbi Ben Nablia. Unesco. 25. Mending the gender gap Advancing tomorrow’s women leaders in financial services, 2013, 12. Femmes et presse écrite au Maghreb, From 2010 to 2013, Monia Azzalini et Manuela Malchio- Price waterhouse cooper. 264 265 26. MINISTERE DE LA SOLIDARITE NATIONALE, DE LA FAMILLE ET DE LA CONDITION DE LA FEM- 39. The Education of the Filmmaker in Africa, the Middle East, and the Americas, 2013, Alia Ara- ME, 2015, REPUBLIQUE ALGERIENNE DEMOCRATIQUE ET POPULAIRE. soughly, Shashat, Palestine Nicholas Balaisis, Trent University, Canada Anton Basson, South African School of Motion Picture Medium and Live Performance, South Africa Gerda Dullaart, 27. MODERNIZATION AND WOMEN IN TUNISIA: AN ANALYSIS THROUGH SELECTED FILMS, 2006, South African School of Motion Picture Medium and Live Performance, South Africa Armi- MIDDLE EAST TECHNICAL UNIVERSITY. da de la Garza, Xi’an Jiaotong-Liverpool University, China Scott MacKenzie, York University, Canada Christopher Meir, University of the West Indies, Trinidad and Tobago Toby Millerk, 28. MOROCCAN CINEMA UNCUT: LOCAL PERSPECTIVES, TRANSNATIONAL DIALOGUES, 2016, City University of London, UK Hamid Naficy, Northwestern University, USA Osakue Steven- Transnational MoroccanCinema. son Omoera, Ambrose Alli University, Nigeria Rod Stoneman, National University of Ireland, Galway Keyan Tomaselli, University of KwaZulu-Natal, Durban George Yúdice, University of 29. Negotiating Dissidence: The Pioneering Women of Arab Documentary, 2017, Stefanie Van de Miami, USA. Peer. 40. The Relationship between Feminism and State Policies for the Elimination of Violence 30. Next Generation Diversity: Developing tomorrow’s female leaders, 2013, Price waterhouse against Women: The National Strategy for the Elimination of Violence against Women as an cooper. Example, 2015, Nazra.
31. Palestine in Film: A guide and an annoted filmography, 2012, Marvin Wingfield - Ameri- 41. Thumbs Down 2016: Top Film Critics and Gender, 2016, San Diego State University Center for can-Arab Anti-Discrimination Committee. the Study of Women in Television and Film.
32. Palestinian Women Filmmakers in the New World Diaspora, 2015, The American University in 42. Turn up the volume: empowering women through media Lessons from BBC Media Action’s Cairo. governance programming, 2016, Josephine Casserly, BBC Media Action.
33. Présentation des résultats de l’étude Femmes et Médias en Algérie, 2017, Gouvernement 43. UN Understanding Masculinities:The International Men and Gender Equality Survey (IMA- algérien, ONU Femmes and Gouvernement belge. GES), 2017, UN Women.
34. REFLEXIONS SUR LE TRAITEMENT MÉDIATIQUE ET LES PRATIQUES JOURNALISTIQUES DES 44. Visions of Struggle in Women’s Filmmaking in the Mediterranean, 2010, Flavia Lavosa. VIOLENCES FAITES AUX FEMMES, 2015, Association tunisienne des femmes démocrates. 45. Women and the Big Picture: Behind-the-Scenes Employment on the Top 700 Films of 2014, 35. Regional Training Kit for Trainers on Building Capacities of Service While Working on GBV 2014, San Diego State University Center for the Study of Women in Television and Film. Elimination, 2009, Center of Arab Women for Training and Research (CAWTAR). 46. Women in Arab media: present but not heard, 2010, Lebanese International University. 36. Screens and Veils: Maghrebi Women’s Cinema, 2011, Indiana University Press. 47. Women in Independent Film, 2015-16, 2016, San Diego State University Center for the Study 37. Situation des femmes au Maroc 20 ans après Beijing, Etat des lieux et recommandations, of Women in Television and Film. 2015, L’Association Démocratique des Femmes du Maroc. 48. Women Survivors of Violence: Where to Go? Problems Facing Shelters for Women in Egypt 38. The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 100, 250, and and Gaps in Responses to Needs of Women Survivors of Violence, 2016, Nazra. 500 Films of 2016, 2016, San Diego State University Center for the Study of Women in Televi- sion and Film. 266 267
Photographic references Page 193: Picture courtesy of Hind Meddeb
Page 201: Picture courtesy of “Gate#5”
Page 212: Picture taken during the SouthMed WiA’s First Field Activity in Tunis, 5-9 November 2017
Page 217: Picture taken during the SouthMed WiA’s First Field Activity in Tunis, 5-9 November 2017
Page 225: 1 Picture courtesy of Urban Film Festival 2 Picture courtesy of Cinephilia Production 3 Picture courtesy of UN Migration Agency 4 Picture courtesy of Journées Cinématographiques de Cathage
Page 233: Picture taken during the SouthMed WiA’s Workshop in Barcelona 16-18 April 2018
Page 241: Picture courtesy of “Guardians of time lost”