ve lo avevo gi=E1 spedito? se no ve lo spedisco adesso. nel caso scusatemi...
=E9 tutta colpa dell'arteriosclerosi giovanile.
marina
Contatto : Baudouin Koenig
Baldovino@???
The Dark Side of the Earth
Half of the world's population lives on less than $2 a day. This half of
humanity states that they are powerless, unable to make themselves heard,
vulnerable and fearful.
World Development Report 2000/2001 =AD The World Bank
A series produced by the ALTERdoc collective.
=20
The state of the world
The conclusions drawn in the World Bank's report are unequivocal:
"Extreme poverty rubs shoulders with abundance in the world today. While
many countries are enjoying unprecedented prosperity, 2.8 billion people,
nearly half the world=B9s population, live on less than $2 a day. 1.2 billion
of these have to survive on less than $1 a day. Whereas, in high-income
countries, less than one child in 100 dies before the age of 5, in the
poorest countries, this figure is 5 times higher. Whereas, in rich
countries, less than 5% of children under 5 suffer from malnutrition, this
problem affects up to 50% of children of similar age in the poorest
countries.=20
=B3This state of destitution persists despite living conditions improving mor=
e
in the past century than ever before in the history of humanity.=B2
Based on the first-person testimonies of those principally concerned and on
the evolution in the way we think about poverty, the report goes further
still and includes in its definition of poverty, powerlessness,
vulnerability, fear and the incapacity to make one's voice heard.
The series
ALTERdoc wishes to bring to the attention of the public what we call The
Dark Side of the Earth by exploring the situation highlighted by the World
Bank=B9s report.
To combat the incapacity of the world's poorest inhabitants to make their
voices heard, we intend to produce a series (120 x 2'30"), which sets out t=
o
listen to the half of the world's population living on less than $2 a day.
In the course of our work around the world, we have made a couple of pilots
that are representative of the series as we picture it. Careful not to
wallow in misery, or even pity, we will use the series as an opportunity to
let people speak up. They are free to say whatever they want and put across
their message.
Listening to them gives pause for thought. Enabling them to speak up
shatters a conspiracy of silence.
Our intention is to catch the viewers' attention and arouse their conscienc=
e
as citizens of the world by bringing into their homes the daily reality of
life for half the world's population.
Content, form, message
The films that make up the series will be as many windows on the Dark Side
of the Earth. Glimpses of the lives of people living on less than $2 a day.
We wish to encourage the idea that, as members of the vast family known as
the human race, we are all concerned by what happens and what will happen t=
o
the other half of humanity.
The form of these films is dictated by this idea. We go out to meet the
inhabitants of the Dark Side of the Earth, spend time with them and exchang=
e
ideas.
We then assemble these moments of daily life with respect for the dignity o=
f
the person concerned.
The quality of the meeting and of the film will be born out of our sense of
openness and our ability to encourage dialogue and to listen. We have no
desire to race around the world, tracking down poverty and compiling a long
litany of lamentations. The half of humanity we want to talk to maybe feels
vulnerable, threatened and powerless but they also want to make themselves
heard. That is the driving force behind the series.
Structure
Every day, the powerful image of the earth spinning on its axis, leaving on=
e
half in permanent shadow, will signal a new encounter with The Dark Side of
the Earth.=20
We open with an establishing shot accompanied by a subtitle indicating the
geographic location. The shot tells us we are about to meet someone on his
or her territory. The exchange takes place in the course of that person=B9s
daily life. Nothing stops for us.
The opening dialogue is simple: what do you do? Do you have any children? I=
s
your house far away? What difficulties do you have to overcome each day?
What are your fears, your hopes, your dreams?
Towards the end of the film, a sentence is superimposed on black:
Half of the world's population lives on less than $2 a day.
We go back to the day's contributor, who this time talks directly to the
viewer, the UN secretary general, the head of the World Bank, a local
politician, or whoever he or she wishes, to state an opinion or express a
wish. The contributor thus delivers his or her personal message, calls us
up.
The end credits offer viewers the chance to find out more or participate in
a debate on the subject on the website provided jointly by ALTERdoc and the
broadcasters/coproducers. The film is merely the tip of the iceberg. It
encourages viewers to go a step further via internet: a mirror site will
provide unshown footage, information (about the contributors, if they agree=
,
their families, their region, country and continent), a discussion group an=
d
links to find out even more and, maybe, do something.
This series requires time to be spent on the shoot. The quality of the
meeting depends on it.
NOTE: the two pilots differ deliberately in terms of form. The one shot in
the Sahara is closer to the idea we have of the general structure for the
series. The one shot in Nepal, which we believe to possess notable
qualities, does not =AD through the manner in which it was shot =AD have a
message after the superimposition.
Production
We would like to be able to coproduce the series with public service
broadcasters, particularly through the learning channels of AITV.
We would also like to set up a network, which would enable us to stretch
beyond the members of ALTERdoc to make the series a collaborative work
involving filmmakers across the globe.
ALTERdoc
Our objective is to encourage the production, funding, development and
broadcast =AD on TV, cinema or internet =AD of work that we value as necessary
in order to gain a better understanding of what is at stake culturally,
socially and economically in the world today.
Absolutely convinced of the poetic and political power of the moving image,
we reject the neo-liberalist idea according to which any necessary image
will eventually be produced by the market. Given the law of the market and
the mercantile concerns that frequently determine its judgement of what is
necessary or not, we want to give people who never get the chance the
opportunity to speak up and be listened to. Our aim is to bring two distant
worlds closer. That is how we see our purpose as an audiovisual NGO.
We also intend to twin this work with concrete action on the ground: beside=
s
production and distribution, the ALTERdoc collective is looking to provide
training and establish research and creative workshops.
Initial productions
26' documentary shot in Hebron and the occupied territories. December 2000.
Broadcast on LCI.
Coproduction of a unique video-conference between the World Economic Forum
in Davos (Switzerland) and the World Social Forum in Porto Allegre (Brazil)=
.
January 2001. Broadcast live by Globo News, TV Educativa and TV Cultura
(Brazil) and a dozen other channels around the world. A 30' version was
broadcast on ARTE and can be seen on
www.madmundo.tv. A 52' version for the
same channel is in preparation.
Executive Production: Patrice Barrat/Article Z
The first pilots for The Dark Side of the Earth series of portraits on the
theme: half the world's population lives on less than $2 a day.
Upcoming projects
Rescuing Kurdish visual history and helping "domestic" production.
Writing and filmmaking workshops with Rwandan authors and screenwriters (in
collaboration with the FEMIS).
ALTERdoc
Chair: Jean-Pierre Mabille (producer at INA)
Treasurer: Adrienne Fr=E9jacques (ARTE distribution and publishing)
Secretary: Aliocha Maldavsky (Doctor of History)
Founding members:
Gonzalo Arijon. 44. A first life in Uruguay, then a second, based in France=
,
going out to meet people and the world with a camera in hand. Convinced of
the force of pictures and of the vital role of dialogue and memory, I am
always concerned to give an ethical and political vision of the subjects I
deal with.
Three examples:
The World According to my Brother. The meeting, in the Colombian bush, 20
years on, of two brothers and two worlds. 52'. PDJ/France 3.
The Cost of Blood Spilled. What's it like to be 30 in Somalia? 80'.
ARTE/Point du Jour.
For Those Eyes. A film about identity, truth, memory and love across the
River Plate. Numerous international prizes. Theatrical release in Montevide=
o
and Buenos Aires. 60'. Point du Jour/France 2.
Laurence Jourdan. 45. After a career as a Political Analyst with a
particular leaning for International Affairs, I turned towards journalism
ten years ago. With the Balkans, where I shot several films, as my
speciality, I work mainly on subjects linked to human and minority rights
all over the world. Besides working for various production companies, I als=
o
contribute to the written press, notably Le Monde Diplomatique.
Some of my films:
- Operation Caravan Children. 26'. Point du Jour/ARTE. The persecution o=
f
Gypsies by the Swiss authorities, which continued until 1972.
- 20 in Serbia. 26'. Point du Jour/ARTE. A few months before the fall of
Milosevic, a look at a student opposition movement: Otpor.
- Raging Tuberculosis. 26'. Point du Jour/ARTE. An epidemic in Russia,
the scale of which threatens international public health, through inexisten=
t
or inequitable healthcare provision.
- Skopje, one media, one people/Dakar, bush reporter/St. Petersburg,
scraping the barrel: 3 programmes in the series The World's Media. La 5/Mah=
a
Production.
Jean-Christophe Klotz. 39. Documentary filmmaker. Having spent a dozen year=
s
covering the world's hotspots for various French TV channels and production
companies, I have now taken a step back from TV journalism to take a more
creative and in-depth look at subjects that particularly concern me.
Recent films:
- Amnesty Against Amnesia. 52'. France 2/CAPA. Exploring Amnesty
International as the movement celebrates its 40th anniversary.
- The Children's Republic. 26'. TF1/Point du Jour. An experiment in
political and social emancipation carried out by an Indian NGO with a group
of working children in Rajasthan.
- A Trip to the Caucasus. 43'. ARTE/Point du Jour. A documentary
travelogue across the Caucasian Mountains from the Black Sea to the Caspian=
.
An episode in the series "Voyage, Voyages".
- Dr. Williams' Elves. 26'. ARTE/Point du Jour. An enlightening encounte=
r
with children suffering from Williams Syndrome, a genetic disease which is
leading to a re-evaluation of mental disabilities. Society Award at the
Scoop Festival in Angers, 1998.
Baudoin Koenig. I am writing this from Ramallah thinking back to my early
years behind a camera in the Palestinian camps of Beirut in August 1982.
Still the same driving force: receive, assemble, give. With the sole concer=
n
of offering an insight into this world that we share for better and for
worse.
Some of my films:
The Children of the Mine. 26'. ARTE. May 2001.
From The Gulf to Kurdistan: God's Lost Country. 90'. ARTE.
Sarajevo-Belfast: War at 18. 60'. ARTE.
Macedonia: the frontiers of discord. 60'. ARTE.
Belfast Lessons. Series Channel 4.
Another Day in Sarajevo. Series ARTE/BBC. BAFTA Award.
Jos=E9 Maldavsky. As a trained journalist, at the age of 55, I have spent ove=
r
30 years travelling the world in the modest hope of allowing "those who hav=
e
no voice to make themselves heard". Born in Chile, this phrase was driven
into me during Pinochet's dictatorship by all those for whom resistance was
synonymous with the defence of human rights. A citizen of the world by the
force of circumstance, I have made many films and reportages for French TV
and contributed to the written press, in particular Le Monde Diplomatique
and Analisis magazine in Chile.
Some of my films:
Job-Trotters. 52'. La 5.
Oranges in Exile. Spain. 26'. ARTE.
Patria o Muerte. Cuba. 26'. TF1.
The Pisagua Missing. Chile. 26'. TF1/KRO. Nominated for a "Sept d'Or".
Another Day in Sarajevo. Series ARTE/BBC. BAFTA Award.
A War of Two Parts. 52'. Swiss TV.
Alberto Marquardt. 48. Argentinean. After spending four years in jail as a
political prisoner, I arrived in France in the 80s. After film school, I
worked as a cameraman for various French networks. My first film, Sister
Alice, a documentary about a French nun kidnapped by the forces of
Argentina's military junta, was coproduced by France 3 and was given a
theatrical release in Paris and Buenos Aires.
Jos=E9 Reynes. 50. Graduate of the Insitut des Arts de Diffusion in Brussels.
Filmmaker and cameraman. For the last 12 years, I have been an active membe=
r
of the Native Video project in Latin America (Mexico, Brazil, Bolivia, etc)=
,
working as consultant and teacher under the aegis of the Amiens Festival an=
d
the Lussas Documentary General States. I presented the movement's
application to the European Commission for a 4-year subsidy.
President of the Jury at the Festival "Every Voice Against Silence" in
Mexico City in 1999. Documentary filmmaking has been my passion for the las=
t
25 years.=20
Some of my films:
Route 66 By Bike. 52'. Les Films de l'Escapade. Canal +/France3.
Louisiana Blues. 52'. Agat Films/ARTE.
Super Barrio. 26'. Les Films du Village/TF1/France3.
Angola Ano Zero. Feature film. Portuguese Film Fund/RTP.
Settling Nomads in Somalia. 52'. Telepress.
Belleville Is A Book. 74'. Io Production.
Serge Gordey. Filmmaker/Producer. I have been working in TV for 20 years
and, retrospectively, a number of threads seem to have tied together my
career: numerous films set in the world of work (Life on the Line and
Districts in the series "Roots" for Anabase/France3; Brigitte & Thomas in
the series "Vis-=E0-Vis" for Point fu Jour/ARTE); films and programmes dealin=
g
with the transition from war to peace (Another Day in Sarajevo and Belfast
Lessons for Point du Jour) and a political and educational determination to
contribute to the emergence of independent media in war zones such as the
Balkans over the last years.
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