, a non-profit dedicated to addressing ingrained industry problems.
In 2019, the local film industry received a total of JPY3.5 billion from the Japanese government, while in France, the CNC allocated some $287 million for the support of film production. They examined how CNC and similar bodies in Korea and the U.K. work to sustain the local industry through training, subsidies and other initiatives. “We thought the central body should govern the money flow and gather some sort of tax from theaters, TV, videos and web VOD to maintain infrastructure and invest for the future,” Funahashi explains.
In April, actor Suiren Midori went public in an interview with the weekly newspaper Tosho Shimbun. She claimed that, seven years earlier, Sakaki had sexually abused her in a private rehearsal session.That month Suiren joined with others with similar experiences and their supporters to form the “Association to End Sexual Abuse in the Film and Moving Image Industry.” The group has since added members, while informally allying itself with A4C.
But the industry now acknowledges that ignoring the issue is no longer an option. On April 27, Eiren released a statement saying, “We believe that any violence, including sexual violence, and all kinds of harassment are never to be tolerated, and we are firmly opposed to these acts.” An observer and participant on Japanese movie sets for more than two decades as a journalist, still photographer, actor and director, American-born Norman England has seen and experienced harassment first-hand,. “Bullying is baked into the culture,” he says, referring to the traditional senpai-kohai relationship, in which the former has absolute authority over the latter: “You get bullied and, when you have a chance, you bully someone else lower.
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