Future Remembrance – Fotografie und Bildkunst in Ghana
Titelangaben
| Titel | Future Remembrance – Fotografie und Bildkunst in Ghana |
| Alternativtitel | Future Remembrance – Photography and Image Arts in Ghana |
Allgemeine Angaben
| Land | Deutschland | Produktionsjahr | 1998 |
| Farbe | Farbe |
| Material | Analog Video |
| Sprache | Englisch |
| Untertitel | Englisch |
Beteiligte Personen
| Montage | Abaas Yousefpour |
| Ton | Nancy du Plessis |
| Regie | Tobias Wendl |
| Regie | Nancy du Plessis |
| Kamera | Tobias Wendl |
Beteiligte Firmen
Distribution
| Festivalteilnahmen | Göttingen Ethnographic Film Festival Freiburger Film Forum, 2001 Tage des Ethnologischen Films, München, 2003 |
| Auszeichnungen | 1998 Prix Planète for the documentary Future Remembrance, 17ème Bilan du Film ethnographique, Musée de l'Homme, Paris 1998 Award of Excellence for the documentary Future Remembrance. Film and Interactive Media Festival, American Anthropological Association, Philadelphia 1998 Prize for the Best Anthropological Documentary for Future Remembrance. International Documentary Festival, Pärnu 1998 Premio Communitá Montana Colline del Fiora for the documentary Future Remembrance, Maremma Doc Festival, Pitigliano 1998 Prix Reportage Photographique for the documentary Future Remembrance, Festival du film d'art, Unesco, Paris 1999 Winning Film. Award for the documentary Future Remembrance. Vitas Festival, UCLA Film & Folklore Association, Los Angeles 1999 Winning Film. Award for the documentary Future Remembrance. 26th Athens Film & Video Festival, Athens, Ohio |
Inhalt
| Inhalt | "In the small fishing towns of Ghana, the photo-grapher's studio is the place to go. To get 'snap-ped' - wearing the latest fashion, or posing with a long-lost friend. Carrying the tools of your trade. For 'future remem-brance', to show how that dress was so becoming, how durable the friendship, how you made your living. So that everybody will remember you. Later, the photograph might be used when you are dead, in the creation of a cement tomb sculpture or a hyper-realist life-size painting on your grave. Or the photograph may be sent to a pro-spective spouse, or to a friend overseas to prove how well-off you've become, posed in a room boasting all the accoutrements of com-fortable mo-dern life. Or standing in front of a large sub-urban house with satellite dish, car and dog. A photo could also certify that you have per-formed 'ayefor', the customary rites for woman-hood, entitling you to a proper burial. Photography has a long history in Ghana and is an important part of every-day life. Philip Kwame Apagya, owner of 'P.K.'s Normal Photo Studio' presents his pain-ted back-drops, the well-equipped 'room-divider' which some people think is 'real' and the ex-pen-sive residence which could be theirs! He con-ducts us to the foreign-owned color lab, the most signi-ficant new arrival in Ghan-aian photo-graphy. He takes us to the side-walk 'Wait & Get' photographers in Kuma-si, where an ingenious method of processing pa-per negatives inside the camera permits hurried customers to obtain ID shots within mi-nutes. We visit Yaw Nkrabeah, the 83-year-old Ghanaian who built and brought these simple box-cameras through-out West Africa. The born-again Chris-tian, Kwame Akoto 'Al-mighty', narrates the many dis-turbing events of his painted 'life story'." Quelle: Datenbank Göttingen Ethnographic Film Festival |
Schlagworte
Fassungen
| Standort | Göttingen International Ethnographic Film Festival (Archiv) |
| Ăśber Art, Zustand und Benutzbarkeit der Kopie informiert das Archiv. | |
Quellenangaben
| Angaben zur Quelle | Datenbank Göttingen Ethnographic Film Festival http://www.tobiaswendl.com/awards.html |