IABM has announced the results of its biennial election of board directors. IABM was established over 40 years ago by its members and remains controlled by them, and the board is both made up of members and voted for by members. The IABM board is responsible for the overall strategy of IABM, setting, reviewing and changing as necessary the policies of the association, which are then implemented by the IABM team. The members’ board also exercises overall financial control.
The membership of the new IABM members’ board reflects the international make up of IABM’s membership; the newly elected members are:
- Dr Jörg Pohlman – ARRI
- Kevin Usher – Avid
- Nicki Fisher – Clear-Com
- Muriel De Lathouwer – EVS Broadcast Equipment
- Andreas Hilmer – Lawo
- Alison Pavitt – Pebble Beach
- Tim Felstead – SAM
- Esther Mesas – Tedial
- Anna Lockwood – Telstra
- David MacGregor – TSL
The newly voted-in members join five remaining members (elected by the outgoing board for continuity): chair James Gilbert of Pixel Power, past-chair Jan Eveleens of Axon, Marco Lopez of Grass Valley Group, Glenn LeBrun of Imagine Communications and Peter Sykes of Sony. In addition, the chairs of the APAC and North America IABM regional councils – Dennis Breckenridge of Elevate Broadcast and Michael Accardi of CueScript respectively – also have seats on the board. Vice chair Graham Pitman, IABM CEO Peter White and finance director Lucinda Meek complete the lineup.
“The members’ board plays a vital role in the continuing success of IABM, and the new board is a powerhouse of industry knowledge that represents the widest interests of the membership,” said Peter White, IABM CEO. “I’m looking forward to leveraging every ounce of its experience to keep driving the association forward with new ideas and initiatives to deliver ever more value and support for all our members.”
“It was pleasing to have so many nominations, creating a truly international board with members from all over the globe representing so many sectors of the broadcast and media industry,” added Lucinda Meek, IABM finance director. “It is also wonderful to be joined by so many women – a clear reflection of the balance of the industry today.”
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 — and those many "Babadook" memes — 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 — "Bah-Bah-Doooook" — 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