The L.A. Film Festival announced its 2018 competition lineup Tuesday, with 40 feature films, 41 short films and 10 short episodic works from around the world screening over the course of the eight-day event.
Of the festival’s films, 42% are directed by women and 39% are directed by people of color.
“Our mission of finding fresh new voices from different geographical and cultural axes remains true,” festival director Jennifer Cochis said in a statement. “These storytellers are united by their ability to transport, impact and inspire audiences with the power of their craft.”
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Since 1888, National Geographic has been sharing the world with its readers, but stories are shaped by those doing the telling—and historically those perspectives have been white and male.
Editor-in-chief Susan Goldberg explains the publication’s need for self-assessment in a recent issue on race, “It hurts to share the appalling stories from the magazine’s past. But when we decided to devote our April magazine to the topic of race, we thought we should examine our own history before turning our reportorial gaze to others.” To do that, National Geographic asked a preeminent historian to survey its coverage.
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The New York Times Reclaim, an alliance of photography groups advocating for diversity in photojournalism, is surveying photographers globally about their experiences.
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Festival issues, including diversity, run much deeper than just the performing lineup.
In the heady optimism of the early Obama years – which coincided with the stateside festival industry’s sixfold attendance boom – the phrase “post-racial” began to creep into the lexicon, and music festivals began promoting themselves as spaces where lofty ideals could be realized. On grassy fields and under big tops, differences of race, gender and sexual orientation are supposedly set aside in pursuit of a diverse, multicultural harmony-via-hedonism. In terms of race, this has proven to be a half-truth. O
Full story: The kids are all white: can US festivals live up to their ‘post-racial’ promise? | Music | The Guardian