Archiv der Kategorie ‘Equality‘

 
 

Io Capitano – A Hero’s Journey

Die deutsche Fassung findet sich weiter unten

Erscheinungsdatum / Datum of Release UK: 5. April 2024

Director: Matteo Garrone

Nominations / Nominierungen: Silver Lion for Best Director,

Music: Andrea Farri

Languages Wolof, French, Arabic and English

Production: Paolo Del Brocco, Matteo Garrone

Living in the UK and Germany, I’m constantly bombarded with new about political agendas aimed at deterring refugees from reaching Europe, particularly the British Isles. Rarely mentioned in these discussions is the fact that many flee their countries due to wars or the repercussions of post-colonial circumstances, in which European states, especially Britain, have significant culpability through their colonial history, post-colonial trade structures, arms exports, and climate change impacts. This historical and cultural context is essential for understanding the motivations and experiences of the refugees portrayed in the film.

A highly acclaimed film hit theatres just a few days back, telling such a story, with production credits to Italy, Belgium, and France. However, in this cinematic narrative, the two young protagonists, Seydou (Seydou Sarr) and Moussa (Moustapha Fall), still teenagers, aren’t fleeing war or climate catastrophes. Yes, their families are poor but not destitute. They attend school, are loved, live in a supportive community, and have prospects in their homeland. The setting is a vibrant city. Yet, they aspire to go to Europe to become famous musicians and give autographs. As Europeans, we are in the clear with this story, as the two are presented as naïve young people who are presumably overestimating themselves and have been fooled by the music industry. The main character Seydou, or rather the hero, hastily adds that he wants to earn money to support his mother, a narrative detail weakly integrated given their ability to earn startup capital to take them to Morocco with side jobs. Dramaturgically speaking, this argument is accordingly lame.

The film shows the arduous and dangerous journey, on which they are humiliated and tortured, Moussa is even shot, and, in line with the model of the hero’s journey, are faced with various challenges in which the hero grows, and his cousin plays a vital role as his companion. Without him, Seydou would have turned back in time or not travelled at all before having to endure thirst, humiliation and torture. Ultimately, the only salvation is to make it to Europe at all costs. Otherwise, the hero would lose his companion, Moussa. Moussa urgently needs medical help, which – so it is said – would only be available to him on the other side of the Mediterranean. To make this happen, Seydou can actually steer an almost unseaworthy ship as a newly appointed captain across the Mediterranean for more than 24 hours without a break and without falling asleep. 

This last part of the journey is brutally dangerous and probably the most naturalistic part of this filmic narrative. The film ends with confirming what the hero’s journey requires: the male protagonist has grown from a naive teenager into a responsible, strong, talented and self-confident character. Whether, how and where they can go ashore after being discovered by the Italian coastguard has yet to be shown. Here, one could be reminded of FIRE AT SEA (Gianfranco Rosi, 2016), which describes a possible outcome. 

Does the film, despite its hardships, inadvertently encourage young men to pursue risky adventures, offering a glimpse of hope through the dream of becoming successful musicians? The female characters left behind or lost along the way make me questioning the film’s messaging. Despite its superb cinematography and fitting music, the film leaves me somewhat perplexed, seemingly amalgamating conflicting intentions into a compromise of the hero’s journey archetype. Torture versus male camaraderie, women perishing in the desert juxtaposed with soaring through the air, ancestral spirits and religion offering solace and empowerment versus rational thinking, all in pursuit of fame. If the film achieves anything, it reinforces my belief that the hero’s journey archetype, derived not from performing arts but from mythology, perpetuates patriarchal norms, uses belief in God as empowerment, and tends to appeal more to young men, inviting them to embark on risky adventures – they can make it and grow from that challenge.

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In Großbritannien und der BRD lebend, höre ich jeden Tag von politischen Plänen, Flüchtlinge davon abzuhalten, nach Europa und insbesondere auf die britische Insel zu gelangen. Dass diese vor Kriegen oder durch postkoloniale Gegebenheiten ausgelöste Missstände aus ihren Ländern fliehen, an denen europäische Staaten und insbesondere Großbritannien durch ihre koloniale Geschichte, postkoloniale Handelsstrukturen, Rüstungsexporte und Klimawandel erheblichen Anteil haben, wird dabei selten erwähnt.

Nun gelangte dieser hochgelobte Film ins Kino, der eine solche Geschichte erzählt und für den als Produktionsländer Italien, Belgien und Frankreich angegeben sind. Doch in dieser Filmerzählung fliehen die beiden Jungen Seydou – Seydou Sarr – und Moussa – Moustapha Fall-, noch Teenager, nicht vor Krieg oder Klimakatastrophen. Ja, ihre Familien sind arm, aber nicht verarmt. Sie gehen zur Schule, werden geliebt, leben in einer freundlichen Nachbarschaft und haben auch in ihrem Land eine Zukunft. Gezeigt wird eine vibrierende Stadt. Doch sie wollen nach Europa, um berühmte Musiker zu werden und Autogramme geben zu können. Da sind wir ja fein raus, als Europäer, die ie beiden werden als sind sich vermutlich selbst überschätzende, naive Jugendliche vorgestellt, die der Musikindustrie aufgesessen sind. Die Hauptfigur Seydou, oder besser, der Held, ergänzt noch, wie in einem Nachsatz der Drehbuchautoren, dass er unbedingt Geld verdienen will, um seine Mutter zu unterstützen. Dass dies auch in Senegal möglich wäre, zeigt die Eingangssituation, denn die beiden haben sich das Startkapital, dass sie bis nach Marokko bringt, mit Nebenjobs verdienen. Dramaturgisch gesehen, lahmt dieses Argument dementsprechend.

Gezeigt wird die beschwerliche und auch gefährliche Reise, auf der sie gedemütigt werden, gefoltert, Moussa auch angeschossen, und entsprechend dem Modell der Heldenreise vor unterschiedliche Herausforderungen gestellt werden, an denen der Held wächst und sein Cousin als sein Begleiter eine wichtige Rolle spielt. Ohne diesen wäre Seydou noch rechtzeitig umgekehrt oder gar nicht abgereist, bevor Durst, Erniedrigung und Folter durchlitten werden müssen. Am Ende ist die einzige Rettung, es auf jeden Fall nach Europa zu schaffen, weil der Held sonst seinen Begleiter, Moussa, verlieren würde. Dieser benötigt dringend medizinische Hilfe, die es für ihn nur auf der gegenüberliegenden Seite des Mittelmeeres gäbe. Dafür kann Seydou tatsächlich ein fast nicht mehr seetaugliches Schiff als frischgekürter Kapitän mehr als 24 Stunden ohne Pause und ohne einzuschlafen übers Mittelmeer steuern.

Dieser letzte Abschnitt der Reise ist brutal gefährlich, und vermutlich der realistischste Teil dieser filmischen Erzählung. Der Film endet mit der Bestätigung dessen, was die Reise des Helden erfordert: die männliche Hauptfigur ist vom naiven Teenager zu einem verantwortungsvollen, starken, begabten und selbstbewussten Charakter herangewachsen. Ob, wie und wo sie an Land gehen können, nachdem die italienische Küstenwache sie entdeckt hat, wird nicht mehr gezeigt. Hier könnte man sich an Fire at Sea (Gianfronco Rosi, I 2016) erinnern, der einen möglichen Ausgang beschreibt.

Sollte diese Film abschreckend wirken, wenn am Ende alles gut ausgeht und der Junge sich zu einem bemerkenswerten Mann verwandelt? Der Traum vom erfolgreichen Musiker wird zumindest als Ermutigung an den Begleiter noch einmal erwähnt.

Die beiden jungen Männer also haben vielleicht eine Zukunft, vielleicht werden sie auch erfolgreiche Musiker. Die beiden Hauptdarsteller spielen hier ja auch Varianten ihrer selbst, wie man in den Presseerklärungen und Filmankündigungen lesen kann.

Aber, was ist mit den vielen Frauen, die auf dem Weg zurückgelassen werden oder umkommen? Ist dies eine Warnung an die Frauen und eine Ermutigung an junge Männer, es doch zu wagen? Das Ende des Films wirkt eher wie eine Bestärkung, trotz all der schrecklichen Situationen auf dem Weg, dass es machbar ist, Mann an all den schrecklichen wir männergemeinschaftlichen Erfahrungen nur wachsen kann. Seydou hofft, nach der Ankunft endlich seine Mutter anrufen zu können – obwohl es in der Wohnung, die er verlassen hat, kein Telefon gab.

Der Film ist wunderbar gedreht, die Musik passend, dennoch lässt mich der Film etwas enttäuscht zurück – hier scheinen sich widersprechende Intentionen in einem Heldenreisen-Kompromiss vereint zu haben. Folter versus Männergemeinschaft, Frauen, die in der Wüste umkommen, um dann schön durch die Lüfte zu schweben; der Glauben und die Geister der Vorfahren = Religion als Trost und Bestärkung und Heilung versus rationales Denken, und alles das für den Traum berühmt zu werden.

Wenn der Film eines erreicht hat, dann, dass es mich in meiner These bestärkt, dass die Nutzung des Modells der Reise des Helden, das einzige nicht aus der darstellenden Kunst, dem Theater oder Film, abgeleitete Modell mythischen Erzählens eine Bestärkung des Patriarchats, Gottesglauben als Handlungsermächtigung und all das, worüber ich schon mehrfach geschrieben habe, an konservativen Aspekten mit sich bringt – und vermutlich eher mehr junge Maenner einlädt, das Abenteuer doch zu wagen.

K.St., 02/05/2024

International Women’s Day 2022 – thoughts for the day

International Women’s Day 2022 

 

Today, it is International Women’s Day. In my first job, long ago, in a different world, that day gave reason for being provided with flowers and prosecco. The flowers we took home or decorate the office with, the prosecco we drank together with all the other female and male human beings around, that very afternoon. And that was common almost everywhere, flowers and coffee, and perhaps something alcoholic – sparkling wine or advocaat (egg liqueur).  

 

Today, I think of all the brave women who try to rescue their children from war, from illness, from starvation, from fear. All the women who travelled and travel into a new world, foreign countries, hoping to give their children a better future. Many of them will struggle with the new language and requirements. Many of them will not be able to work or live in equal positions as those they left behind. Some of them will take on any kind of work – as cleaners, service, helping hands, to earn enough money for the family. In particular, those from Ukraine, who are leaving their husbands, partners, fathers, sons, and male friends, teachers, mentors, colleagues behind, right now. Yesterday, I heard a sociologist say that it will take the average Ukrainian female refugee about 6 to 8 years to regain a position and income as such they left behind. If.  

International Women’s Day is a day to remember all those women who fought for equality, rights, and acceptance. Equality is not equal to ‘likeability,’ as Chimamanda Ngozi Adichie already emphasised. She wrote also “Teach her to love books;” “it is important to be able to fend for herself.”  

Last Sunday, I went to an award-giving ceremony to honour Dr Hynda K Kleinman, who over 30 years served as the leader of the research laboratory at the US National Institute of Health. After she successfully fought to be allowed to do her PhD at MIT, she published throughout her career 440 scientific papers and obtains many patents for her scientific discoveries. In her speech, she described how she had to fight for her own rights, the rights for women in academia, and how she championed the rights and advancements of women in science. She presented a statistic saying that still only 20% of academics undertaking research are women and these only get smaller and fewer research budgets, as well as less relevant awards than male researchers. Very few, as Marie Curie, Nelly Sachs or Dorothy Crowfoot Hodgkin were awarded a Nobel Price, 58 women : 782 men.  

The same is true for women in film and tv. Still, only a few women are trusted with directing although a few got great projects during the recent years. For example, 166 films by women were released accounting for 30% of all UK film releases this year. However, this figure was up just a single percentage point from 2020 (29%). (1) In the US, women are accounted for 17 % of directors working on the top 250 films, down from 18 % the year prior. In the top 100 films, the percentage of women directors also decreased from 16 % in 2020 to 12 % in 2021. 

 

Women and Hollywood give this statistic:  (2)

 

1) Women account for 50% of moviegoers. (MPA 2019) 

2) On the top 100 grossing films of 2019, women represented: 

  • 10.7% of directors 
  • 19.4% of writers 
  • 24.3% of producers 
  • 70.4% of casting directors 

(Inclusion Initiative) 

3) On the top 250 grossing films of 2019, women comprised 6% of composers. This represents no change since 2019. (Center for the Study of Women in Television and Film) 

4) Kathryn Bigelow and Chloé Zhao are the only women to ever win the Academy Award for Best Director. Only seven women have ever been nominated (Lina Wertmüller, Jane Campion, Sofia Coppola, Bigelow, Greta Gerwig, Zhao, and Emerald Fennell). Campion is the only woman to be nominated in the category more than once (in 1994 for “The Piano” and 2022 for “The Power of the Dog”). 

5) In 2018 “Mudbound’s” Rachel Morrison became the first woman ever nominated for the Academy Award for Cinematography. 

6) 43 of 2019’s top 100 films featured a female lead or co-lead. (Inclusion Initiative) (what but not always give the female character agency about the story, from a dramaturgical point of view. Kst) 

7) 68% of all female characters were white in the top 100 films of 2019. 20% were Black, 7% were Asian, and 5% were Latina. (Center for the Study of Women in Television and Film) 

8) On the top 500 films of 2019, movies with at least one female director employed greater percentages of women writers, editors, cinematographers, and composers than films with exclusively male directors. (Center for the Study of Women in Television and Film) 

9) DIVERSITY SELLS: 

  • In 2018, films with casts that were 21-30% minority enjoyed the highest median global box office receipts. In 2019, this honor went to films with casts that were 41-50% minority. 
  • Films with casts that were 41-50% minority were released in the most international markets, on average, in both 2018 and 2019. 

(UCLA) 

10) During the 2019-2020 TV season: 

  • Women accounted for 30% of all creators, directors, writers, producers, executive producers, editors, and directors of photography working on broadcast network, cable, and streaming programs 
  • The number of women creators (28%) marked a historic high 
  • 94% of the programs considered had no women directors of photography, 76% had no women directors, 81% had no women editors, 73% had no women creators 
  • 20% of female characters were Black, 5% were Latina, and 8% were Asian 

(Center for the Study of Women in Television and Film)

Thus, I would like to encourage all my fellow female colleagues and students to continue or intensify their active engagement in research and practice to get your voice heard. To get role models shown, to give an understanding of experiences of life from the female perspective, it needs to get stories told from our perspective. That approach is not only related to women working in the creative industry, but we are also telling stories priming the minds of audiences, about life and roles, gender, and power structures.  

 

Let’s support, encourage, and recognise each other, together with the group of female members of staff, together as a group of male and female colleagues. Research allows an understanding and interpretation of relevant aspects of our world, and we need female voices heard as much as male voices. Therefore, dear academics, please make sure to use as many films directed by women as you can access, and make sure you use as many academic publications written by women as by the always preferred male authors. That would be already a great start, and feasible for everyone.  

 kerstin stutterheim, 8.3.2022

 

(1) https://www.southampton.ac.uk/news/2018/10/calling-the-shots-for-women-in-film.page

(2) https://womenandhollywood.com/resources/statistics/

(3) www.europarl.europa.eu%2FRegData%2Fetudes%2FBRIE%2F2019%2F633145%2FEPRS_BRI(2019)633145_EN.pdf&clen=1494198&chunk=true