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The Center for Indigenous Cultures in Peru is promoting the festival through their blog, and this is how they summarize the event:

Colombia será la sede del XI Festival Internacional de Cine y Video de los Pueblos indígenas a realizarse en Bogotá del 23 al 30 de septiembre y en Medellín del 03 al 06 de octubre del presente año. Con el lema “Por la Vida Imágenes de Resistencia”, el festival tiene como objetivo visibilizar la extinción de los pueblos indígenas, la violación del territorio y a sus sitios sagrados naturales, como un espacio de análisis de la crisis humanitaria que atraviesan los pueblos indígenas.

Videos or films submitted to the Festival should have been made after January 1, 2010 and should not have previously participated in the International Festival of Film and Video of Indigenous Peoples. They should focus on the topics of child labor, ecology, education, history, indigenous medicine, identity, land and territory, political participation, rights of indigenous people's, women and worldview and they can be animation, docu-fiction, documentary, fiction, experimental video, music videos, video art, television programs. Deadline for submissions is May 21st, 2012 and information on where to mail the submissions and application forms can be found on their page.

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According to media reports, this is because a film production house, namely Reliance Entertainment, has (once again) obtained a preemptive ‘John Doe‘ order from the Delhi High Court, prior to the release of some of their upcoming big budget films. The Company insists that this has been done in order to ‘prevent film piracy'.

Vimeo and Pirate Bay facing censorship in India. Graphic by author.

However, there was some confusion about the news because not all ISPs were seen to block access to the aforementioned sites.

On his blog Share Press, blogger Varma provided some more details:

As of now most of the Reliance Communications broadband visitors who try to access the blocked sites are redirected to a custom page saying “The site has been blocked as per instruction from DOT” message when browsing the above file sharing sites.

[…] There has been lots of Govt and private agencies looking for ways to block all illegal site access through internet. Their has been specific orders for all majors ISP’s in the country to block access of users to this website by taking appropriate steps like DNS name blocking on ISP level, IP address blocking via routers, and DPI based URL blocking.

Message that was appearing when trying to access sites like Vimeo on some ISPs like Reliance. Image by Share Press. Used with permission

Twitter has been abuzz with reactions and vehement protests against the blocking of the file sharing sites.

@lleshShah: I can not access #Vimeo.com. The emerging face of #censorship by #Govt of India… http://pic.twitter.com/eT8FRrPD

@ajantriks: has @vimeo been blocked in #india or only i am getting crazy error message? @anjakovacs @jackerhack @zainabbawa @geohacker

@jackerhack: @ajantriks Blocked on Reliance and maybe other networks. Reliance got a court order to block piracy before a film release @vimeo @anjakovacs

 @kaustubh4evr: Vimeo Blocked in India Along with BitTorrent Sites: Censorship, at the behest of movie studios or music labels, … http://bit.ly/LepfJ4

 @mihirfadnavis: Terrorism? Food shortage? Power cuts? Corruption? NO SIR, Vimeo is by far the biggest threat to India!

@varunasingh: @relianceworld Whatever you are doing is pathetic and against the motives of the internet.

@_anshulk: Blocking vimeo is stupid #reliance #censorship #india

@wewakesaynoy: For those of you using Reliance internet: they have blocked TPB, Vimeo & will follow with others. Do you really want an ISP that does that?

@TheBigGeek: @vimeo blocked by #reliance and not by #Bharti and #Tata #VSNL #CRAZY how can a DOT order be only for one ISP :****

The hue and cry over the blocked sites appear to have had an impact. The sites have been unblocked on the Reliance ISP, as this Facebook message by Chai Kadai informs us:

Vimeo is back on for us. Yay! Maybe Reliance Communications got some sense into its head or people found some other ways to download the movie. Whatever the reason. For now, happy to have Vimeo. Still don't understand how they got to block it in the first place.

Some of the tweeple have seconded the information that the sites can now be accessed on the ISP concerned.

@crazyscorpio12: Finally! TPB and vimeo unblocked on reliance india. Whew!

@aditya_bhatt: TPB and Vimeo are unblocked on Reliance now.

However, this appears to be a temporary respite. Until their next big release, that is.

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BattaBox - a Nigerian Conversation - is an online television that captures the genuine rendition of the country and shares with global netizens.

“BattaBox is everything Nigerian - music, film, street-life, news, comedy, cooking and much, much more. ‘For Nigerians, by Nigerians’ - YOU upload your videos, photos, shout-outs, as well as discussing anything in our real-time video chat-room - and we’ll make sure your voice is heard.”

Christian Purefoy

Christian Purefoy (CP), a director in BattaBox gave us a glimpse of this evolving online television. CP has worked in Nigeria for over seven years as a freelance journalist and CNN’s West Africa correspondent.

Nwachukwu Egbunike (NE): What is BattaBox TV?

CP: BattaBox is ‘a Nigerian conversation' - music, film, street-life, news, comedy and much, much more. BattaBox is a video platform that allows anyone to upload videos to share an emotional moment, discuss a hot topic and promote an idea. If you want to make your voice heard, you have a video or photo you want to share, you need a big break for your music video, or you have a great show idea…

NE: Going by the clips on your site, they show an array of mundane but surprisingly, momentous stories of everyday Nigerian life. What and who motivated this idea of video communication?

CP: Nigeria is such a vibrant place that even the most mundane is crackling with energy. We hope the BattaBox platform will enable Nigerians to harness that energy with the huge potential of the internet. With the explosion of mobile phones (and their video cameras!) and the coming of the internet - there are now the tools in the hands of every Nigerian to explore, share and make their voice heard. We hope this will not only bring entertainment but positive change to peoples lives, not just in Nigeria but the diaspora in the rest of the world.

NE: Why Lagos, Nigeria? You could have as well focused on any other part of the globe?

CP: This is a Nigerian company so there's no place like home! No other place on earth has such a vibrant character, everyone has something to say, every street corner has a story to tell - we hope BattaBox will provide the platform to promote and share that energy. And, of course, we believe there is enormous business potential in Nigeria - so there's no where else we'd rather be!

NE: Any plans to get more videos from other parts of the country?

CP:  BattaBox is a Nigeria-wide community, but so far many of our videos are from Lagos. This is simply a technical issue: the internet in Nigeria is concentrated in the big cities for the time-being. It is costly and very slow for anyone in the rural areas to upload videos. We believe this will change rapidly over the next few years and so you will see more videos from outside of the major urban areas. However, we do have plenty of people coming back home ‘from the village' with videos that we're uploading and would love your readers to send in more!

NE: You seem to rely on citizen reporters to make and upload videos. What are the criteria for selecting/accepting videos that are finally hoisted on your website?

CP:  We accept all and any videos - as long as they are not inflammatory. If there are problems (maybe with the video or sound quality) then we try to get in touch with the person and help one-on-one to get it uploaded. This is a new platform in Nigeria so we are happy to help anyone who has an idea but maybe have a few questions ( for example, if they have a series of cooking class videos, etc )

NE: What has been your audience reaction? Bearing in mind that you currently rely on the social media platform.

CP:  Audience reaction has been amazing! Our viewing figures better than we'd hoped, comments and feedback on the videos are great - everyone seems to enjoy any of the videos they watch! - and people stop me when they see me around town to say they love the site. So yes it's a social media platform but people are talking about it in the real world!

NE:  What is your business model? And what is your strategy for being financially sustainable?

CP:  Our business model is advertising - we are relying on our own personal investments and want to grow this business independently and organically. We have not rolled out any advertising yet as we continue to establish ourselves but once we start to make money you can be sure we will be investing straight back into BattaBox and Nigeria!

NE: In your opinion, what is the future of web based citizen media sites in Africa?

CP:  In many ways, the future is already here in Africa. Everyone with a mobile phone able to access and share on citizen media sites allowing them to bypass the traditional state broadcasters - it's already possible. What is needed now is cheaper costs and easier accessibility, and like the explosion of mobile phones we believe this is inevitable and simply a matter of time.
However, security remains a serious issue for any citizen media sites in Africa. Their voices may be online, but people still live in the real world and any government or other intimidation of journalists (online or traditional) must be stopped.

NE:  What is your take about the power of videos for social change in Africa?

CP:  Video, I believe, is the most powerful communication medium. Through video - both recorded but increasingly real-time - people will be able to tell their story themselves, and not rely on a ‘third-party' journalist. This will have a profound effect on empowering social change, not just in Africa but the world. I can't give away all our secrets but hopefully soon start seeing this happening in Nigeria.

NE:  The radio remains the most potent developmental tool, followed by the television. The reason being the spread it has among the rural poor in the continent. Consequently, do you think that the social media can ever match up to these two?

CP:   Don't underestimate the power of the minority who can currently access and afford the internet in Nigeria - the burgeoning middle-class. In Egypt recently, it was this ‘urban middle-class' that used the internet to bring change.
But yes, the internet in Nigeria is still a few years away from having the reach of the radio or television - the infrastructure and costs remain a huge issue. We do however believe social media will surpass the traditional media in both spread and potential to bring change.

NE:  Can we peer into the future of BattaBox?

CP:  We are so excited at the unexpected ways in which BattaBox is being used and growing that we're almost unsure how it will look in the future ourselves! But we hope you will see more people wanting to put up their own shows, voices, jokes, fashion ideas and more. We have lots of ideas and potential in the pipeline - but hope you don't mind if we keep them ‘under our hat' for the moment! But one thing I can tell you is that we'll soon be unrolling our Google+ Pidgin Hangouts!

NE:  Last words…

CP:   Thank you to everyone who is getting involved in BattaBox! We all gather round and watch everytime we get a new video - there's nothing we'd rather be doing.

Written by Nwachukwu Egbunike · comments (0)
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ONO the Robot

Online security is a complex issue that is sometimes hard to understand or to know how to face. Using a lovable animated robot, the Tactical Tech Collective is trying to get more people aware on how to stay safe online through short video animations that can be viewed online or downloaded.

With eight new weekly releases for their new series Survival in the Digital Age, ONO the robot will help us with email security, facebook security, private browsing and more. The first video in the new series is HEY YAHOO! HTTPS MY EMAILS! where how to chose a safe web based email provider. The organization is using crowdsourcing efforts to translate the videos into as many languages as possible.

In 2010, ONO made its appearance explaining the Digital Traces we leave behind and how to keep our personal information and contacts safe when using mobile devices, cameras or the internet. The videos in this past series have been subtitled into many different languages already. Following is the promotional video for this episode, the full length video can be viewed at Onorobot.org.

Through ONO's own eyes, we see how we are constantly tracked through our digital communications. While a lot of the time this might not be harmful for us, we have little control over what we want to keep private and what is available for viewing, recording and information harvesting. This is crucial for activists and journalists who might be under surveillance and whose digital activities can put them in danger. ONO explores some of the ways that people can protect their identity and separate who they are from what they are doing such as: the use of anonymising and circumvention tools and encryption. ONO warns us that we need to know what we are doing when trying more advanced privacy techniques and provides a checklist for the best practises which everyone can implement in our daily use of email, mobile phones and online services.

Following is a preview for the Safe Email episode. Full length here.

With a callout to Global Voices Advocacy Access Denied Map, ONO'S GUIDE TO SAFE SURFING tells people how to stay safe while surfing online, specially when accessing sites that may be blocked. Following the promotional video, full length on the site.

You can learn more about ONO through Facebook, twitter (@onorobot), and more about online security through the Tactical Tech site.

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But cinema-loving Bengalis do not go to movie theaters nowadays and the country's cinema halls are closing one by one, as new shopping malls are being erected in their place. According to reports in the past decade, hundreds of cinema halls have been closed down [bn]. There also used to be approximately 100 cinemas built each year, which has now decreased to 30-40 [bn].

Darashiko blogs on cinema regularly. Here he shares the latest state of the Bangladeshi film industry [bn]:

Shyamoli Cinema Hall is just a memory. A 14-story shopping mall is being built in its place. Image courtesy Wikipedia

The Bangladeshi cinema industry is going through its worst time. In 1990-91 the number of cinema halls were around 1230. But in 2010 the number has decreased to 742. Out of 44 cinema halls in Dhaka 33 are surviving. Huge building were erected in their place. Big names like, Gulistan, Shyamoli, Naz, Lion, Star, Shabistan, Tajmahal cinema etc. went into oblivion. With Lack of quality script and mediocre performance the cinema industry managed releasing of 100 movies per annum. In 2010 the number was 63, one of the lowest in the decade. Its getting much worse. In 2011, in first six months only 19 cinemas were released and only 300 million Taka (US $3.6 million) was invested. Newspaper reports say that this year only 45 films will be produced and the next year it would be only 30.

But why are movie theaters being closed down? Why are audiences not going to movie theaters? Megh Roddur writes [bn] about it:

Of course I want to go to the movie theaters to watch movies. It hurts but the truth is that most of the movies are not of my taste. Why should I watch a movie full of weird costumes and blunt themes. Why should I go and watch repeating stories? Why should I go and watch copycats and gross copypaste movies?

The building behind the sculpture was once the famous Gulistan Cinema Hall. Now its a clothes market. Image by Ranadipam Basu. Used with permission.

A guest blogger at Sachalayatan reminisces about his childhood memories of going to cinemas with family. The blogger blames the film distributors for lack of viewers in movie theaters:

Now we don't watch movies in Theaters with family. I would not blame low quality pictures. I would place the blame on the environment of the movie theaters. There are a few good movies still being produced. Still we cannot go with the family to watch them in this environment.

Lekhajoka Shamim cites three reasons for the demise of this industry:

The low quality of the local cinema, indecent movies and the environment of the movie thater are the causes of lack of movie viewers.

Once the thought of going to movie theaters was an exciting thing. Many had keen interest. Russel Ashraf tells one such story:

Me and my uncle went to see the movie “Aguner Poroshmoni”. We thought that there would be no rush and went a few minutes before the start. But alas, we saw that the queue was extended to the road. What to do! Waited in the queue for the tickets and manged a seat in front of the screen. I could not move my neck for three days in pain.

To save the film industry and bring more viewers in movie theaters, the government decided to remove the ban on Indian cinema (it should be noted that Indian movies have been banned here since 1965). This move attracted sharp criticisms online.

Balaka cinema hall besides Dhaka New market. Image from Wikipedia by Ragib Hasan

Nazrul Islam says in a post in Amrabondhu blog:

Not from the hatred of Hindi language films, the government has to back down from such wretched decision to save a dying industry.।

But there are also those who favor import of movies:

One blogger (Fahmidul Haque) says:

To me its a right of a citizen to be able to watch local and international movies of different tastes. Lets not limit this right with the debate of saving of local industry by stopping the import of Indian movies.

Due to much criticism the government decided to reverse the decision to withdraw ban from the Indian movies.

Kallol Mustafa has specific suggestions on how to revive the local film industry:

We need government institution support, financial responsibility, institutionalization of the industry and mandatory show of international movies (not only Indian) in a week each month in every theater.

Written by পান্থ রহমান রেজা (Pantha) · Translated by Rezwan · View original post [bn] · comments (0)
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Multimedia web channel TodoLoQueHay (All There Is) [es] from Colombia recently posted a short visual journey in the Emberá-Chamí indigenous reserve previously known as Christendom, whose inhabitants are now trying to make known by its ancestral name instead: Karmata Rua.

At the reserve, located between the towns of Andes and Jardin, recording a short documentary for the channel, Daniel Quintero took the opportunity to capture the short, almost wordless, video:

Estando allí, Daniel Quintero usó su tiempo para apuntar su cámara y capturar colores, actividades y gestos de los habitantes de este resguardo que cuenta alrededor de 150 años de existencia y hoy acoge a cerca de 1600 personas.

This post is part of our special coverage Indigenous Rights.

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How does an American movie find a place in the French social debate?

Surprising as it may be, the answer lies in the fact that the film has an all-black cast. French cinema is often pointed at for not fairly displaying all components of the country's multiethnic population. Although the recent success of the movie Les Intouchables, which earned French African actor Omar Sy the Cesar award for Best Actor in 2012, caused great pride and hope among French nationals from Africa and the Caribbean, it was not to be the turning point for a deep and lasting change.

Movie Poster for "Think Like a Man"

Martinican blogger Bondamanjak is very cynical after this tainted victory, as he explains [fr] that Omar Sy's award nomination did not come all naturally, but was rather due to the great number of viewers in theaters.

Et la France comme un seul homme oublie que Omar Sy ne figurait pas sur la liste des nominés aux Césars […] Il a fallu que ‘Intouchables' touche la barre des 19 000 000 d'entrées que ça râle un peu beaucoup pour que ce flagrant délit de mauvais scénario soit reconnu par l'immonde monde du cinéma français. Mais qu'on se rassure, cette récompense n'est qu'une opportuniste goutte d'eau dans un désert qui avance.

How can racial profiling in cinema be explained?

Martinican blog People Bo Kay reposts a note published [fr] on the Facebook page of Negro News, entitled “France does not want all-black couples in movies”. This analysis, which has now gone viral, develops ideas about communalism and politics in France, which are supposed to explain the rejection of the movie.

Il faut rappeler qu'il y a dans l’État français, une stratégie socio-politique qui tend à prôner le métissage plutôt que la valorisation des communautés. Dans la comédie ‘Think like a Man', les couples noirs sont mis en avant.

According to this note, the other explanation to the blocking of African-American films in France (despite their profitability) is that:

À noter, les films de l'acteur et producteur noir Tyler Perry ne sont jamais programmés dans les salles françaises ou alors ils sortent directement en DVD. Pourtant ce producteur a pour habitude de dominer le box-office américain avec des films comme ‘Why did I get Married' et “For Colored Girls”. La société française dans toute son hypocrisie ne veut surtout pas diffuser des films de producteurs noirs qui gagnent des millions de dollars en faisant passer un message positif pour la diaspora africaine grâce à leurs films.

In the same vein, other French Afro-Caribbean netizens, like the collective of female bloggers at La Scandaleuse condemns [fr] how some well-known French movie magazines and websites have openly underrated the movie and its cast:

Première.fr ne comprend pas comment un film avec une majorité d’acteurs noirs peut-être premier du box office! Ne connaissant aucun acteur, ils se permettent alors d’écrire «cette comédie au pitch classique et sans tête d’affiche (le chanteur Chris Brown est le nom le plus connu du générique).» Faut il vous faire la filmographie de tous les acteurs ? Non car cela est votre travail !

This lack of knowledge about African-American actors, even when they are world-famous, echoes, according to La Scandaleuse, a French trend:

Mais peut-être que dans un pays comme la France où on a du mal à faire tourner des acteurs noirs, la surprise ne peut-être que grande face au succès de «Think Like a Man» ! Qui, d’ailleurs, n’est pas présenté comme un film afro par ses acteurs ni par son réalisateur, c’est un film universel, ce qui explique son succès au box office!

African diaspora-oriented Afrik.com weighs in by adding [fr]:

Si l’article de Première.fr semble certainement mal documenté, c’est avant tout un exemple parmi d’autres du refus des diffuseurs et du milieu du cinéma français de miser sur des films dans lesquels la majorité des acteurs sont noirs ou même de miser sur leur éventuel succès. Sous couvert de logiques économiques frileuses, ce «genre» de films, qu’ils soient américains ou français, n’existent quasiment pas dans les salles françaises.

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African Men. Hollywood Stereotypes was written by medical students Gabriel, Benard and Derrick; human resource management student Brian and MamaHope.

They said, “If people believed only what they saw in movies, they would think we are all warlords who love violence.” They, like Mama Hope, are tired of the over-sensationalized, one-dimensional depictions of African men and the white savior messaging that permeates our media. They wanted to tell their own stories instead, so we handed them the mic and they made this video.

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