Panel Discussion: Third Cinema in the Era of Channel Four

Raven Row

A panel discussion as part of 'PerAnkh – The June Givanni PanAfrican Cinema Archive'.

<h1><strong>Third Cinema in the Era of Channel 4</strong></h1><h2>With Imruh Bakari (chair), Gaston Kaboré, Hudda Khaireh, Rod Stoneman and Parminder Vir</h2><p>The first ten years of Channel 4 (1982–92) fundamentally transformed British film and television, and also witnessed the emergence of a Black British independent cinema. This intergenerational panel brings together key individuals who were part of that moment, with creative professionals who have encountered and reframed the complex legacies of Black British independent media production.</p><p>T﻿he discussion will take place in Raven Row&#x27;s lower gallery space, which is wheelchair-accessible from Frying Pan Alley.  Please contact Rhian Smith at rhian@ravenrow.org with any questions about event accessibility.</p><p></p><p>Image: <em>Big George Is Dead</em>, 1987 (dir. Henry Martin). Courtesy of the BFI National Archive</p>

<h1>B﻿iographies</h1><p></p><h2>I﻿mruh Bakari</h2><p><strong>Imruh Bakari</strong> (Director, JGPACA) is a filmmaker and writer. Born in St. Kitts, he has lived in the UK and East Africa since the 1960s. From 1999–2004 he was Festival Director of the Zanzibar International Film Festival (ZIFF), and a member of the Advisory Council of the Pan-African Federation of Filmmakers (FEPACI) from 2012–15. His published works include <em>African Experiences of Cinema</em> (eds. Imruh Bakari and Mbye Cham, BFI, 1996), ‘Memory and/in the Mirror: FESPACO, a platform for a Global Africa?’ (<em>Journal of African Cinemas</em>, vol. 14, no.1, 2022), and poetry collections including <em>The Madman in this House </em>(Smokestack Books, 2021). His film and television credits include <em>African Tales</em> (2005/2008), <em>Blue Notes and Exiled Voices </em>(1991) and <em>Riots and Rumours of Riots</em> (1981). He currently lectures in Film Studies at the University of Winchester. </p><p></p><h2>G﻿aston Kaboré</h2><p><strong>Gaston Kaboré</strong> is a film director from Burkina Faso. He trained as a cinematographer in Paris at the École Supérieure d’Études Cinématographiques (ESEC) and completed a degree in history at the Sorbonne University. He served as the Secretary General of the Pan-African Federation of Filmmakers (FEPACI) from 1985-1997. In addition to numerous documentaries, his films include Wend Kuuni (1982), winner of the Silver Tanit at Carthage Film Festival 1982 and of the César Award for Best French Language Film in 1985, and Rabi (1992), which won the Jury prize at Carthage Film Festival in 1992 and was shown at the first New York African Film Festival in 1993. His 1997 film Buud Yam was selected for ‘La quinzaine des réalisateurs’ at Cannes Film Festival and went on to win the Grand Prize at FESPACO. Kaboré is also the founder of IMAGINE, a film training centre in Ouagadougou that offers residencies and workshops for African artists.</p><h2></h2><h2>H﻿udda Khaireh</h2><p><strong>Hudda Khaireh</strong> is an independent researcher, lecturer and artist with a background in Public International Law. Her practice focuses on the position of Black people globally and has shared work at Tate Exchange, Tate Modern and Uncommon Space at Tate Britain, Printroom Rotterdam, Chisenhale Gallery and DIY Cultures. Hudda is a part of the Black Feminist artist-collective, Thick/er Black Lines as well as an associate of OOMK Zine and Numbi Arts where she is also Project Manager. Khaireh is a member of the working group establishing the Somali Museum UK.</p><p></p><h2>R﻿od Stoneman</h2><p><strong>R﻿od Stoneman </strong>is Emeritus Professor at the National University of Ireland, Galway and a Visiting Professor at the Universities of Exeter and the West of England. He was the Director of the Huston School of Film &amp; Digital Media, NUIG, Chief Executive of Bord Scannán na hÉireann / the Irish Film Board and previously a Deputy Commissioning Editor in the Independent Film and Video Department at Channel 4 Television in the United Kingdom. In this role he commissioned, bought and provided production finance for over 50 African feature films. His 1993 article 'African Cinema: Addressee Unknown', has been published in 6 journals and 3 books. He has made a number of documentaries, including Ireland: The Silent Voices, Italy: the Image Business, 12,000 Years of Blindness and The Spindle. He is the author of <em>Chávez: The Revolution Will Not Be Televised</em>, <em>A Case Study of Politics and the Media</em>; <em>Seeing is Believing: The Politics of the Visual and Educating Filmmakers: Past, Present and Future</em> with Duncan Petrie.</p><p></p><h2>P﻿arminder Vir</h2><p><strong>Parminder Vir OBE</strong> is an expert on African entrepreneurship and partnership development, an award-winning film and television producer, and an advocate for arts and culture. Parminder began her career in 1979 working with the Minority Arts Advisory Service and Commonwealth Institute where she programmed the first Festival of Black American Independent Cinema in 1982. Since then she has enjoyed a distinguished career as a film and television producer with the BBC, Carlton Television, as well as being the CEO of her own production company, Formation Films, She was appointed to head the Race Equality Unit in the Arts and Recreation Department of the Greater London Council, and has served as non-executive director on numerous government boards including the Department of Culture and Sports. From 2014–2021 she served as the CEO and Advisory Board Member of the Tony Elumelu Foundation where she designed, structured, and implemented the 7 Pillars of the Pan-African Entrepreneurship Programme. She currently serves as the Executive Director of Wazima Health, Advisory Board Member of Mamamoni Limited, and Narrative Advisor at Mustard Venture Agency. She is a recipient of the Order of the British Empire (OBE) for services to the broadcasting and film industry.</p><h2></h2>

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Panel Discussion: Third Cinema in the Era of Channel Four

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