IABM has entered into a strategic partnership with AIB, the Association for International Broadcasting. IABM membership comprises 450 broadcast and media technology suppliers worldwide; AIB represents 70 major international broadcasters and has an active community of 27,000 senior executives in media companies in over 160 territories. The partnership brings together both ends of the industry to create opportunities for conversations that will dramatically increase understanding and cooperation across the entire media ecosystem.
Simon Spanswick, chief executive of the AIB, said, “It is important that there is understanding of broadcasters’ needs and requirements in the rapidly changing and constantly evolving media marketplace. IABM’s members are crucial to the production and delivery of programs so it makes sense for there to be conversations between the production and vendor communities. As the AIB’s members face ever more challenges from changing audience consumption patterns, cyber threats and the need to operate more sustainably, dialogue between the two ends of the industry is crucial.”
“IABM members have been keen for us to help promote dialogue, cooperation and understanding between them and end-users and so this partnership will be warmly welcomed both by our members and the wider industry,” said Peter White, IABM CEO. “AIB is the perfect partner for IABM and working together will naturally further both organizations’ aims; at a stroke, we have created an open forum that will foster stronger and deeper relationships between all the industry’s stakeholders across both supplier and end-user organizations.
“AIB has the international reach and knowledge to help IABM members better understand the challenges and opportunities the rapidly changing media landscape is creating,” continued White. “This strategic partnership will benefit IABM members by enabling them to develop new and relevant products and services to meet end-users’ actual rather than perceived requirements. As the relationship between the two associations develops, more and more areas for cooperation will open up for the benefit of everyone.”
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this โ and those many "Babadook" memes โ unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables โ "Bah-Bah-Doooook" โ an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More