By Nemanja Milosevic
For a very long time the original programming of European TV stations had suffered from the dominance of US made TV content, and the discrepancy was mostly caused by the differences in budget. For a very long time, TV shows were seen as being of lesser quality in comparison to movies, and more successful actors would usually avoid appearing on a regular TV show. That recently changed, as several TV shows from the US got acclaim from critics and general praise by the audience, thus the status of TV shows slowly evolved. There has been more creativity involved in making a show and at the same time the level of production and artistic direction of some TV shows improved so much that they could compare to those of movies that usually appear in film festivals. There have been several established movie directors who directed shows and some award-winning actresses and actors who had major roles in some shows (the latest example being Nicole Kidman and Meryl Streep in Big Little Lies).
While all this was happening in the US, Europe started catching up, now that TV shows had a better reputation and an established market among a much wider audience. The European television program was traditionally based on imported content (films and sit-coms), adapted reality and game shows; and the only difference would be whether this content would be presented in a dubbed or original version. The original programming was usually national, it would rarely cross borders and every country had its own type of shows they specialized in. Except for football matches and reality show adaptions (a reality show Big Brother started in the Netherlands, but has experienced a worldwide success, as the rights for the production of the show were sold in many other countries, resulting in the show airing in almost every European country), there was no other content that was ‘pan-European’. That recently changed with the emergence of streaming platforms, such as Netflix and Amazon Prime. These services bought rights for many European original shows and for the first time made them available with subtitles in English and other languages, all across the globe. Continue reading “The Rebirth of European TV”
By Huiyu Chuang
For many young people around the world, Europe is not too unfamiliar as a travel or study destination. In the context of globalization, regardless in geography, economy, politics, art and popular culture, our lives more or less intertwine with others’. As Euroculture students, we should have no problem adapting into this melting pot. I thought to myself, what would it be really like to live in Europe and with European students?
For many Asian families, being 25 years old when you start exploring the world is not too late of an age, especially after studying very hard to graduate from university and working in a company for some years, yet still unsure of what kind of life experience one really wants to have. Unlike me, almost all the classmates I met here have lived a cross-cultural life and possess study/volunteer experiences during their university education. Many of them have “dual identities” and regard themselves proudly as European, no less, or even more, than their nationalities. When these two kinds of people meet, culture shock is inevitable.
As a foreign student, I would like to share my observations on the culture of hanging out and making friends during my time in Strasbourg. Continue reading “A Perspective on the Culture of Hanging Out”
By Nemanja Milosevic
The period between late November and early March is generally known as a film award period, during which we have the opportunity to follow several national European ceremonies (most notably the BAFTA in the United Kingdom, the Goya Awards in Spain, the Deutscher Filmpreis in Germany and the Cérémonie des Césars in France). However, there is only one ceremony that helps us recapitulate all the movies produced and made in Europe during the year: the European Film Awards (EFA). The annual award ceremony started in 1988 and it changes the host city every other year, while during the year in between the event takes place in Berlin; this system was introduced in order to give equal representation to all parts of Europe. This year the award was given in Seville, Spain on December 15, 2018.
The main award, the European Film of the Year, was given to the Polish film Zimna Wojna (Cold War). The movie got 5 awards overall, just one less than the all-time record holder, The Ghost Writer, by Roman Polanski. Besides the awards at the EFA, its director Paweł Pawlikowski previously got an award at the Cannes Film Festival. The movie set in the 1950s tells us about a love story intertwined with the political and social landscape of the time, about love torn between identity, longing, and ambition. Continue reading “European Film Awards: What makes them European?”
By Nikhil Verma
What is Europe?
If you honestly think about it, could you pinpoint it out? If yes, where does Europe end or most importantly where does it start? Is Europe an ideology or does the idea of Europe ends with its dynamic borders?
Uri, Schwyz, and Unterwalden – these ‘Cantons’ laid down the foundation of the modern-day concept of ‘Culture’. You may wonder – How exactly has that evolved?
Well, ‘Cantons’ – the administrative division of states – make up nowadays’ confederation of ‘Switzerland. “Bundesbrief” – the oldest constitutional document of Switzerland documents the alliance of these three ‘Cantons’. In one of these ‘Cantons’, the birth of a prolific intellectual would take place – Jacob Burckhardt was born in the Canton of ‘Basel’ in 1818, he later wrote the 19th century’s masterpiece – ’The Civilization of the Renaissance in Italy’. Published in 1860 and then revised in 1867, it was a sensational description of the Italian Renaissance.
Burckhardt’s vision that ‘Renaissance’ was the beginning of the modern world would later be expanded into modern politics, economics and aspects of modern society. His ideas encapsulated the idea of social, political, and cultural transformation in Europe. Burckhardt is thus known as the father of the notion of ‘Culture’ and its developments since the 19th century. Today, the stern look of his portrait on the Swiss franc is reminiscent of the path-breaking work for the cultural history of Europe and modernism. Continue reading “Why the Idea of Europe Matters”
By Agnese Olmati
A small strip of land in the middle of the Mediterranean, 205 km off the Sicilian coast and 113 km away from Tunisia. Lampedusa, the southernmost point of Italy, has become popular in the recent years as the symbol of the humanitarian crisis in the Mediterranean. Today, even if its name is no longer on the front pages, the island is still at the core of migration flows through the Central Mediterranean route and still serves as lifebuoy for many. According to statistics, the death tolls and number of arrivals have decreased in the past couple of years, but people continue to land in Lampedusa – and die in its surrounding sea. Estimations show that 2016 was the deadliest year, with 4,587 dead or missing at sea and 500 arriving in Italy by sea per day, compared to only 61 since June 2018 till today.
However, this is not a positive signal meaning that the Italian and European migration policies are giving the expected results. In fact, 19% of those who have tried to leave Africa last September died or went missing, a percentage that has never been registered before. Past scenarios in which the island, with its 6,000 Lampedusani, was hosting 10,000 people on its small territory are not likely to happen again. Lampedusa is not facing any serious problem in welcoming and hosting migrants in its hotspot, where their process for seeking international protection starts and where they normally spend just two days before being transferred to the mainland.
However, the migratory phenomenon is still profoundly affecting Lampedusa and those who live there. Different people and places around the isle can show what living on an island on the European border means, with all its peculiarities and paradoxes. Continue reading “Lampedusa: A Tragedy with a Plot Twist”
By Nikhil Verma
The Hidden Indian ‘Apartheid’
In October 2015, two three-year-old kids were set on fire and torched inside a house along with eight adults of the same family in the Indian town of Ballabgarh, Haryana. 
Similarly, in 2010, a polio-stricken teenage girl was torched while she was sleeping, her elderly father who went to save her was also locked by an upper-caste mob until both of them were charred to death. The spokes of the rusty handicap tricycle which was meant to assist the polio-ridden condition of the obliterated girl laid darkened in the corner. These are not excerpts of stories from Auschwitz, these are everyday stories from Modern India – so-called progressive India.
These are narratives of caste-based violence and atrocities which occur without any fear of prosecution in India. In both stories, the perpetrators belonged to ‘Upper-Caste groups” i.e. the ‘Caste Elites of India’, whereas both the families on the receiving end belonged to the most socially stigmatised community of Indian society – “The Untouchables” which are now mostly recognized as “Dalits”. The word ‘Dalit’ means ‘broken’ or ‘oppressed’ (recognized as Scheduled Castes & Scheduled Tribes under the Indian Constitution).
In India, such heinous crimes against ‘Dalits’ are not an exception but rather a norm. Moreover, such crimes are committed with impunity which is made evident by the conviction rate which stands at 5.3%. ‘Dalits’ cover almost one-fifth of the Indian population with 200 million people which is bigger than the combined population of Germany and France. Such a large population experiences caste discrimination in forms of sexual assault, physical violence, forced prostitution, manual scavenging, and denial of most basic human rights. This is tribalism of the highest order and the international community is not paying enough attention to it.
Despite the fact that caste discrimination is outlawed in India since 1947, it is omnipresent in India and the situation is not showing any signs of progress as the crimes against Dalits have increased by 66% and the rapes of ‘Dalit’ women doubled between 2007 and 2017, according to the Ministry of Home Affairs. Continue reading “Why the “I” in “India” Stands For “Identity””
Towards a new generation of cultural funding
by Marje Brütt
The cultural and creative sector is the third biggest employer in the European Union being only excelled by the construction and the food sectors. Besides their rather underestimated economic importance, culture and creativity build bridges between people and positively influence various areas, e.g. education, well-being or democracy. Consequently, culture contributes to the objectives of the European integration. Therefore, it is necessary to foster our cultural and political identity, to preserve our diversity and increase the intercultural dialogue as it is mentioned in Article 167 of the Treaty of Lisbon.
In order to give credit to the cultural sector and to support its further development, the European Union launched Creative Europe in 2014 as the EU’s funding programme for the cultural, creative and audiovisual sectors. As such it is in place for seven years (2014-2020) and consists of two sub-programmes that used to exist independently before: MEDIA and CULTURE. While MEDIA is dedicated to the audiovisual sector and helps promoting audiovisual works, CULTURE covers funding for all other cultural and creative areas including amongst others performing and visual arts, literature, music, street art and cultural heritage. In total, 1,46 billion Euros are foreseen for the whole programme meaning for the whole seven years and all participating countries. Related to the amount of participating countries, this amount can change throughout the years. In addition to the 28 EU Member States, interested European countries can associate with Creative Europe and thereby increase the programme’s budget. In the past years, the list of participating countries grew continuously up to 41 countries in 2018, including amongst others Tunisia, Georgia, Ukraine, Albania and Armenia, boosting the intercultural exchange in the European neighbourhood. Simultaneously, countries can also leave the group as it was the case with Turkey in autumn 2016 and could be happening again with the upcoming Brexit in 2019. Continue reading “The Future of Creative Europe”
By Maeva Chargros
Besides reading all days long, summer holidays are also a perfect occasion to visit some museums… or enjoy some festivals. I had been willing to go to the Rencontres d’Arles for years: I finally managed to go there last month! This festival allows you to stroll through the streets of this centuries-old city while visiting various photography exhibitions. Art photography, photoreportage, experimental, contemporary art, light and sound, video artworks, you name it! If you’re a visual art enthusiast, Arles is definitely the place to go to during the summer! Here is a very small excerpt of what can be seen during this year’s edition (open until September 23!), as well as some comments about two other exhibitions I’ve been to, both in Villeneuve-lès-Avignon.
Continue reading “From Hope to Labyrinth: Summer Exhibitions Review”
By Maeva Chargros
“It wasn’t built to be a viral campaign or a hashtag that is here today and forgotten tomorrow. It was a catchphrase to be used from survivor to survivor to let folks know that they were not alone and that a movement for radical healing was happening and possible.” (Huffington Post)
Me Too. Two words that seemed brand new last year (in 2017), when Twitter, Instagram, Facebook and many other (social) media were submerged with the now famous and symbolic ‘hashtag’. The most disturbing part of this ‘movement’ (or ‘phenomenon’ as it is sometimes called) might be its lack of “newness”. Unfortunately, there was nothing unusual, nothing unfamiliar about it… except maybe its scope, and of course its prolonged effects. So, where did this Me Too movement really originate from? What can be said about it, one year later? But most importantly, how can we respond to this movement within the academic world? Though such questions would definitely deserve a couple of books each (at least!), I decided to try and gather some answers. Continue reading “Me Too: A Temporary Social Media Phenomenon?”
By Maeva Chargros
Any decent human being knows this very basic fact: extreme temperatures exist so you can read without feeling too bad for not doing what you were supposed to do. In my case, I put the “extreme temperature” boundaries around +25°C and -25°C. When the weather gets warmer or colder than these, my brain automatically switches to the “non-stop reading” mode. Therefore, this summer’s heatwave gave me the very pleasant opportunity to drift away from Central European topics, back to my earlier shores for a few days. Let me introduce you to three amazing Nordic writers!
FINLAND & ESTONIA: Norma, Sofi Oksanen.
It is hard to be concise and objective when mentioning this writer whose novel Purge (Puhdistus in Finnish, Puhastus in Estonian) literally changed my life forever – and for the better. Sofi Oksanen is a Finnish-Estonian writer who likes to draw humanly touching portraits of women and their – usually complicated – past, present, and future endeavours. In Norma, we meet a young woman whose mother just killed herself without giving any warning sign of such psychological despair before this fateful morning. She struggles to understand what happened during the last few days of her mother’s life and starts realising the story behind this violent death dates back to decades, even centuries ago – and involves four different continents. Continue reading “Summer Exists So You Can Read”