Identifier
Created
Classification
Origin
09DUSHANBE855
2009-07-16 13:04:00
UNCLASSIFIED
Embassy Dushanbe
Cable title:
HOLLYWOOD IN TAJIKISTAN: L.A. MOVIE WORKER SEES FLEDGLING
how-toVZCZCXRO9061 RR RUEHLN RUEHSK RUEHVK RUEHYG DE RUEHDBU #0855/01 1971304 ZNR UUUUU ZZH R 161304Z JUL 09 FM AMEMBASSY DUSHANBE TO RUEHC/SECSTATE WASHDC 0546 INFO RUEHDBU/AMEMBASSY DUSHANBE 1157 RUCNCIS/CIS COLLECTIVE RUEHBUL/AMEMBASSY KABUL 0183
UNCLAS SECTION 01 OF 02 DUSHANBE 000855
SIPDIS
E.O. 12958: N/A
TAGS: KPAO SOCI TI
SUBJECT: HOLLYWOOD IN TAJIKISTAN: L.A. MOVIE WORKER SEES FLEDGLING
TAJIK FILM INDUSTRY FIRST HAND
DUSHANBE 00000855 001.2 OF 002
UNCLAS SECTION 01 OF 02 DUSHANBE 000855
SIPDIS
E.O. 12958: N/A
TAGS: KPAO SOCI TI
SUBJECT: HOLLYWOOD IN TAJIKISTAN: L.A. MOVIE WORKER SEES FLEDGLING
TAJIK FILM INDUSTRY FIRST HAND
DUSHANBE 00000855 001.2 OF 002
1. (U) Summary: Jon Green, a film industry worker from Los
Angeles, met with local movie enthusiasts on a recent trip to
Dushanbe. Green's discussions yielded insights on local
culture, the effects of endemic corruption on the development of
fledgling industries, and Tajiks' impressions on America and its
movies. End summary.
NO "SATURDAY NIGHT AT THE MOVIES" IN DUSHANBE
2. (U) Green met with a local film makers' organization,
comprised of several artists of varying ages, at the American
corner in Dushanbe. Members of the organization screen their
films at Dushanbe's only cinema, but the government has recently
decided to take the building for its own use. Police have
ordered the group to remove their film equipment from the
facility. The reason for the government takeover is unclear.
The group currently has no alternative public venue for
screening films.
3. (U) The cinema in Dushanbe screened commercial films as well
as amateur projects. Most commercial films shown at the cinema
came from India and China. The film makers remarked that there
is hardly any market for movies in Tajikistan because people
have so little money. The government does not promote the film
industry in the country because it does not perceive any
potential financial or cultural benefit from doing so.
WHO ARE TAJIKISTAN'S FILM MAKERS?
4. (U) Green noticed that the local film making community was
almost evenly split between old artists-- many of whom took
inspiration from Soviet-era films-- and their younger, more
commercially-minded counterparts. The older film makers prefer
to engage in film making as a hobby rather than as a way to earn
money or expose the outside world to Tajikistan's culture. The
younger ones, however, were interested to hear Green describe
how movies are marketed in the United States, and expressed a
desire to show their films outside Tajikistan. These young
artists stated that many administrative roadblocks exist that
prevent them from sending their work abroad.
5. (U) Young film makers expressed a particular interest in
Hollywood-style themes for their movies, eschewing Tajik
cultural influences. Several times, Green asked group members
why they relied on Hollywood for creative inspiration instead of
seeking to promote Tajik cultural awareness through the films
they produce. While some seemed receptive to this idea, most
continued to indicate an affinity for Hollywood blockbusters
despite expressing dismay at the violence those films often
portray.
LOST IN TRANSLATION?
6. (U) Several of the group's members chided the United States
for its "violent culture" as portrayed in popular Hollywood
movies. They linked this violent behavior to America's "desire"
to launch wars in Iraq and Afghanistan. However, many members
expressed a liking for violent films.
7. (U) Green's interpreter noted that many pirated American
films (which are often subtitled in Russian and widely available
throughout Tajikistan) are not accurately translated. He told
of a locally available version of the popular children's movie
"Shrek" in which the subtitles contain numerous profanities not
present in the original film.
REFLECTIONS
8. (U) Green expressed doubt that a Hollywood film could be
DUSHANBE 00000855 002.2 OF 002
filmed in Tajikistan any time soon. The same administrative
roadblocks that hinder film makers from sending their work
outside Tajikistan would hinder American companies from
producing inside the country. Corruption and poor governance
are major deterrents to such activity.
9. (U) Comment: The prevalence of pirated American films in
Tajikistan is a clear violation of international copyright law,
but the films are one of the few means by which Tajiks are able
to gain regular exposure to Western culture. Green's meeting
with Dushanbe's small film community offers an interesting
glimpse into how some Tajiks may be primarily exposed to
American cultural influences. His outreach also revealed
another opportunity for engagement, through the January 2010
International Visitor multi-regional program on U.S. film
production. The Public Affairs Section will nominate one of the
local filmmakers to participate. End comment.
JACOBSON
SIPDIS
E.O. 12958: N/A
TAGS: KPAO SOCI TI
SUBJECT: HOLLYWOOD IN TAJIKISTAN: L.A. MOVIE WORKER SEES FLEDGLING
TAJIK FILM INDUSTRY FIRST HAND
DUSHANBE 00000855 001.2 OF 002
1. (U) Summary: Jon Green, a film industry worker from Los
Angeles, met with local movie enthusiasts on a recent trip to
Dushanbe. Green's discussions yielded insights on local
culture, the effects of endemic corruption on the development of
fledgling industries, and Tajiks' impressions on America and its
movies. End summary.
NO "SATURDAY NIGHT AT THE MOVIES" IN DUSHANBE
2. (U) Green met with a local film makers' organization,
comprised of several artists of varying ages, at the American
corner in Dushanbe. Members of the organization screen their
films at Dushanbe's only cinema, but the government has recently
decided to take the building for its own use. Police have
ordered the group to remove their film equipment from the
facility. The reason for the government takeover is unclear.
The group currently has no alternative public venue for
screening films.
3. (U) The cinema in Dushanbe screened commercial films as well
as amateur projects. Most commercial films shown at the cinema
came from India and China. The film makers remarked that there
is hardly any market for movies in Tajikistan because people
have so little money. The government does not promote the film
industry in the country because it does not perceive any
potential financial or cultural benefit from doing so.
WHO ARE TAJIKISTAN'S FILM MAKERS?
4. (U) Green noticed that the local film making community was
almost evenly split between old artists-- many of whom took
inspiration from Soviet-era films-- and their younger, more
commercially-minded counterparts. The older film makers prefer
to engage in film making as a hobby rather than as a way to earn
money or expose the outside world to Tajikistan's culture. The
younger ones, however, were interested to hear Green describe
how movies are marketed in the United States, and expressed a
desire to show their films outside Tajikistan. These young
artists stated that many administrative roadblocks exist that
prevent them from sending their work abroad.
5. (U) Young film makers expressed a particular interest in
Hollywood-style themes for their movies, eschewing Tajik
cultural influences. Several times, Green asked group members
why they relied on Hollywood for creative inspiration instead of
seeking to promote Tajik cultural awareness through the films
they produce. While some seemed receptive to this idea, most
continued to indicate an affinity for Hollywood blockbusters
despite expressing dismay at the violence those films often
portray.
LOST IN TRANSLATION?
6. (U) Several of the group's members chided the United States
for its "violent culture" as portrayed in popular Hollywood
movies. They linked this violent behavior to America's "desire"
to launch wars in Iraq and Afghanistan. However, many members
expressed a liking for violent films.
7. (U) Green's interpreter noted that many pirated American
films (which are often subtitled in Russian and widely available
throughout Tajikistan) are not accurately translated. He told
of a locally available version of the popular children's movie
"Shrek" in which the subtitles contain numerous profanities not
present in the original film.
REFLECTIONS
8. (U) Green expressed doubt that a Hollywood film could be
DUSHANBE 00000855 002.2 OF 002
filmed in Tajikistan any time soon. The same administrative
roadblocks that hinder film makers from sending their work
outside Tajikistan would hinder American companies from
producing inside the country. Corruption and poor governance
are major deterrents to such activity.
9. (U) Comment: The prevalence of pirated American films in
Tajikistan is a clear violation of international copyright law,
but the films are one of the few means by which Tajiks are able
to gain regular exposure to Western culture. Green's meeting
with Dushanbe's small film community offers an interesting
glimpse into how some Tajiks may be primarily exposed to
American cultural influences. His outreach also revealed
another opportunity for engagement, through the January 2010
International Visitor multi-regional program on U.S. film
production. The Public Affairs Section will nominate one of the
local filmmakers to participate. End comment.
JACOBSON