On March 24, 2021, New York Women in Film and Television (NYWIFT) and the National Democratic Institute (NDI) presented the panel discussion “Representation Matters: Ensuring Inclusive Leadership in Politics and the Media.” Originally planned to be hosted at the United Nations in March 2020 as part of the Commission on the Status Women Forum, the event was postponed and viewed online this year.
Thanks to the vision of NYWIFT’s executive director Cynthia Lopez, and NDI’s senior associate & director for Gender, Women and Democracy Sondra Pepera, we organized this incredible panel to discuss the importance of representation and strategies for equity at the intersection of politics and media.
One of the highlights for me was getting to hear from H.E. Hanna Tetteh, the UN Secretary General’s Special Representative to the African Union and Head of the United Nations Office to the African Union who left us with some closing thoughts:
This partnership holds special significance for me because my first job out of college was with NDI, where I helped organize workshops for women in politics in Argentina and Jordan all the way back in the 90s.
Being virtual made it a truly a global presentation – from 4 different time zones. Our participants were in Los Angeles, New York City, Stockholm and Addis Ababa and our audience tuned in around the world. You can read more and watch the recording of the event at the link below.
Marideth Bridges, right, in “How to Dance in Ohio” on HBO.
There’s a story I was told recently about a boy with autism. One summer, his mother took him to the community pool every day, and every day people would avoid him or stop and stare. The mother worried that this would be his life, playing alone at the opposite end of the pool, suffering the gaping of strangers. One day, towards the end of the summer, a girl about eight years old tried to talk to the boy but got silence in return. She marched up to the mother and asked, “Does he have autism?”
The mother replied, “Yes, he does.” With that the girl turned on her heel, returned to the boy and changed her dialogue to make it much more direct. She said, “Get on the float, and I’ll pull you. I’ll throw the ball, and you’ll catch it.” And for 20 blissful minutes, the mother saw her baby boy laughing and playing with another child for the first time all summer. Joyful, hopeful tears ensued.
It is with this story in mind that I watched the documentary “How to Dance in Ohio,” a portrait of young adults with autism preparing for a spring formal dance. (Full disclosure, it was produced by my dear friend Bari Pearlman. ) Well-deserved praise has followed the film since its premiere at Sundance this year, and now it is widely available on HBO. Read More
In cinema, the Long Take is one long uninterrupted shot lasting several minutes and usually requiring careful and complicated choreography. It’s a technique that is almost as old as film itself, yet over the years the technical aspects of the long take have evolved as directors and cinematographers rise to the challenge of pulling off even bigger and better “oners.”
Alejandro Gonzalez Iñárritu’s Birdman, which won an Oscar for best film this year, is a recent example of a long take – in fact the entire movie is intended to have the effect of one long tracking shot. But this is nothing new. Alfred Hitchcock employed same device with his 1948 film, Rope. Hitchcock was limited by the technology of the time. Because reels of film were only 10 minutes long, the director was required to hide the cuts; many of the takes ended on a nondescript surface so the next roll of film could pick up right where the last one left off.
The use of the long take is often a spectacular display of technical acumen, but it also risks breaking the film’s spell with a flashy moment for the filmmaker to shout “look at me!” when it doesn’t serve the story. It is most successfully executed when we don’t realize that it’s happening.
While this is by no means comprehensive, check out a select list of my favorites: Read More
As the Girls’ Season 2 premiere approaches, I feel the need to announce to the world that I love this little show. I don’t know why I feel so protective of a series that is doing quite well. To be critical, I’ve found the episodes are sometimes uneven, and the characters are mostly a homogenous mix of privileged white kids. I don’t know the creator, Lena Dunham, personally, and this is not a show I’ve worked on, nor is it even in my genre. And yet… Read More