CICT - ICFT PRESENTS:

​

33° CICT - ICFT AWARD "ENRICO FULCHIGNONI"

​

THE AWARD

​

At its 33rd edition, this Prix can be considered the most significant cinematographic acknowledgment awarded by ICFT-UNESCO to the movie presented at the Venice International Film Festival best representing the values of peace and tolerance promoted by UNESCO.

It is dedicated to the memory of the late ICFT President Enrico Fulchignoni, a distinguished official of UNESCO where he served as Responsible for Culture for long time.

Fulchignoni was a director and a professor at the Sorbonne University.

He was a great promoter of Neorealism in cinema and of rising stars such as Michelangelo Antonioni. Tireless and intrepid launcher of initiatives, Fulchignoni established the Ouagadougou, Damascus, MIFED and Moscow Festivals, as well as the creation of the Escluela Internacional del Cine Latinoamericano in Cuba and of many other events.

It is important to remember Venezia Genti, an official section of the Venice International Film Festival in the 1980s, dedicated to young authors especially from emerging countries.

This Prix constitutes the ideal continuation of his work in this field. The winner of the Prix, who is awarded UNESCO’s “Medaglia Fellini”, will be announced at the Festival during a dedicated press conference, whereas the awarding ceremony will take place at the UNESCO Headquarters in Paris.

Fellini medal

HALL OF FAME

​

• 1989  Un Petit Monastere en Toscane by Otar Ioselani

• 1990  Couvre-Feu by Rachid Masarawi

• 1991  Le cri du coeur by Idrissi Ouédraogo

• 1992  Aguilas non cazan moscas by Sergio Cabrera

• 1993  Kardiogramma by Darzhan Omirbaev

• 1994  Small Wonders by Allen Miller

• 1995  Kolonel Bunker by Kujtim Cashku

• 1996  Strana storia by banda sonora by Francesca Archibugi

• 1997  Civilisées by Randa Chahal Sabbag

• 1998  Tsion, Auto-emancipatie by Amos Gitai

• 1999  Roozi Key zan shodam by Marziyet Meshkini

• 2000  Porto da minha infancia by Manuel de Oliveira

• 2001  11 September by Autori Vari

• 2002  Kamur (Fango) by Dervish Zaim

• 2003  Land of Plenty by Wim Wenders

• 2004  La passione by Giosuè l’ebreo by Pietro Scimeca

• 2005  La Dignidad de los nadies by Fernando Solanas

• 2006  Daratt by Mahamat-Saleh Haroun

• 2007  Corti del cinema marocchino by Autori Vari

• 2008  Birdwatchers by Marco Bechis

• 2009  The Traveller by Ahmed Maher

• 2010  Miral by Julian Schnabel

• 2011  Tahrir 2011 by Various Authors

• 2012  L’intervalllo by Leonardo di Costanzo

• 2013  At Berkleley by Frederick Wiseman

• 2014  Inocente by Dave Lee

• 2015  Beasts of no nation by Cary Fukunaga

• 2016  Hotel Salvation by Shubhashish Bhutiani

• 2017  Human Flow by Ai Weiwei

• 2018  El Pepe, Una Vida Suprema by Emir Kusturica

• 2019  45 seconds of laughter by Tim Robbins

• 2020  Horshid by M. Majid and Scherza con I fanti by G.Pannone

23° ​EUROMEDITERRANEAN CONFERENCE ON CINEMA

​

"Expanded Cinema

from Screens to Platforms in the age of Covid"

​

Italian Pavilion, Friday 10 September 2021

​

AGENDA

​

h.10:00 AM CEST  Proclamation of the winner of the XXXII ICFT-UNESCO Prix “Enrico Fulchignoni”

​

Maurizio Molinari, Director, European Parliament Office in Milan

Pierpaolo Saporito, President a.i., ICFT-UNESCO

Jasmina Bojic, Founder and President, UNAFF Travelling Film Festival, Stanford University – United States

Giacomo Mazzone, Secretary-General, Eurovisioni – Switzerland

Isabelle Danel, President, FIPRESCI – Germany

Georges Dupont, Director General, ICFT-UNESCO

Alessandro Mandelli, Co-Founder iXMedia - Italy

Tony Ojobo, President ICT African Foundation—Nigeria

Rizwan Ahamd, Director, Instructional Media Centre, MANUU—India

Todd Courtney, Producer, CEO Mammoth V. - United States

Manouj Kadaamh, 24Frames Entertainment – India

Salmane Tariq El Allami, Member of the Rihmana Foundation Board – Marocco

Vittorio Giacci, MCM Delegate—Italy

​

​

PRESENTATION

​

Over the past ten years, new and powerful technologies allowed for everyone to produce and share their movies all over the world, in what has become the social media standard. At the same time, Covid-19 closed people in their homes, increasing the number of watched hours of fiction and series within domestic walls with a tremendous selection by streaming platforms.

​

On one side, this enables to enrich the knowledge of the history of cinema, reopening the great archives of the majors and relaunching the restoring of movies. On the other side, it became clear that entire geographical areas, cultures and productions, remain left out from this process. For example, the Mediterranean area – a crossroads of three continents, cradle of great religions and civilisations reverberating global cultures – records an unambiguous polarisation towards the Northern part, thus emarginating valid productions from the global market.

​

Analysing this very particular moment of transition to envisage new scenarios, and implementing those alliances that allows for festivals infrastructures to expand access to non-hegemonical countries and cultures is the goal of the XXIII Euromediterranean Conference on Cinema, organised by ICFT in partnership with OCCAM, the UN-Affiliated Observatory on Digital Communication.

In the mid-seventies, when a number of factors created an objective competition between cinema and television – including the end of television monopolies, the birth and proliferation of private and commercial channels, technological innovations that made personal registration and sell of personal works on electronic devices possible, audio-visual piracy – two regulatory paths opened. One was for cinema to close in an anachronistic protection of its reality, basically self-imposing limitations. The second one was to carry out synergic and collaborative strategies, as should have been natural among parties of the same audio-visual universe. Unfortunately, the first path was initially undertaken, inevitably generating a situation of submission rather than balance, thus progressively leading cinema to be a subject to the television system.

​

The risk for a similar mistake seems to reappear today with internet and digital platforms, which are the only ones able to manage and develop cinematographic and audio-visual productions. Moreover, since these structures are created in a multinational perspective, an additional factor is that of a pronounced unbalance to the detriment of national identities and cultures, an ineliminable requirement in terms of democracy and expressive independence that must be recognised to every subject, without neither hegemonies nor exclusions.

The proposal from ICFT is to put this consideration at the core of the XXIII Euromediterranean Conference. The hypothesis to be developed by the different speakers is that of assessing conditions and perspectives for collaboration and active cooperation between the lands of film communication and those of digital communication, between cinemas and platforms.

​

Starting from the undisputable fact that this relation is already in place at the productive level (the celluloid, the camera, the moviola, the projector are already just a memory), it is reasonable to state that relations can be developed on a supply- and business-level, without losing anything in technological, economic and financial terms, but rather increasing these elements and integrating them through equally fundamental values such as social aggregation and cultural pluralism.

​

The Conference has taken place in a hybrid form at the Italian Pavilion and online.​

Click here to watch the Conference

HISTORY OF THE CONFERENCE

​

The Euromediterranean Conference on Communication was created in 1995 by the European Parliament and UNESCO’s International Council on Film and Television. It was born as a result of the 1995 Barcelona Declaration under the High Patronage of the President of the Italian Republic and has always seen a concrete support from the European Parliament Office in Milan. The Conference aims at creating a network and a series of projects finalised to the realisation of a Euro-Mediterranean integration, as well as the socio-economic development of the region. It represents one of the most prestigious cultural events of the Venice International Film Festival and an opportunity for a dialogue among the different stakeholders in the fields of culture, communication and ICTs.

In over twenty years, almost 1300 speakers attended, representing governments, international organisations – such as the United Nations, the European Union and the Council of Europe – public and private institutions, foundations and NGOs, directors and experts. They elaborated and implemented interventions and projects of great relevance, including:

​

• The creation of new film festivals in Tirana, Ohrid, Zagreb, Beirut, Izmir, Khouribga, Gaza, Damascus, Cairo, Tripoli, Kalamata, Menorca, Hammamet, Marrakech, Antalya, supporting UN peacekeeping action and leading to the birth of the International Council of Mediterranean Cinematic Manifestations (MCM);

• The establishment of the Permanent Conference of the Mediterranean Audiovisual Operators (COPEAM), an organisation currently representing 42 Euro-Mediterranean public televisions with an audience of over 350 million viewers;

• The participation to the UNESCO Mediterranean Programme, with various projects in eight countries;

• The development of the Euromed Audiovisual programme with the European Commission;

• The realisation of regional projects within the Infopoverty Programme at the United Nations and the organisation of an Africa/Euromediterranean Session in collaboration with the European Parliament at the Infopoverty World Conference that takes place every year at the UN Headquarters;

• Several seminars at the UN World Summits on the Information Society (WSIS) and the creation of the ICT Villages of Borj Touil in Tunisia and Meis el Jabal in Southern Lebanon, supporting the education of Palestinian refugees;

• The creation of the annual ICFT-UNESCO Prix “Enrico Fulchignoni”, awarded to the movie that best promotes the values of peace and tolerance at the Venice International Film Festival;

• The support to the European Parliament’s Lux Prix, awarded to the movies that best reflect the European values and multiculturalism and that contribute to the promotion of the debate of the process of Euro-Mediterranean integration;

• The development of an “e-Service Platform for the Mediterranean” for transferring health, education, agricultural and business skills from research centres for remote diagnosis and therapy, crop management, job creation;

• The launch of the World Health & Food Security e-Center, that gathers 21 scientific societies as e-service providers supporting the Platform;

• The launch of the eMedMed project for the development of health security in the Mediterranean, presented at the French Senate as Best Med Programme and validated by the Union for the Mediterranean.