Home' Trinidad and Tobago Guardian : October 10th 2013 Contents B1
• Twitter: @GuardianTT • Web: guardian.co.tt
Panasonic, the Japanese
electronics company, is to stop
production of plasma TV screens in
2014, according to reports.
The company will close its plasma
screen factory in Amagasaki and put
it up for sale next year, Nikkei
business daily and Reuters have said.
Panasonic's plasma TV division
made huge losses in recent years.
Other electronics companies, such
as Hitachi and Pioneer, have already
pulled out of the sector.
In its last financial year, Panasonic's
plasma screen division made a loss
of 754 billion yen, following a 772
billion yen loss the previous year.
This is despite the fact that its
plasma TVs are critically acclaimed,
with the European Imaging Sound
Association voting Panasonic's Viera
TX-P60ZT65 European home cinema
TV of the year 2013-2014.
Plasma screens, which use
electrically charged ionised gases, are
praised for their brightness, deep
blacks, and rich colour displays, but
tend to use more electricity than
other screen technologies.
Panasonic 'to quit' plasma TV sector
American filmmaker Shola Lynch is not
impressed with the lack of support the local
film industry gets from television networks.
The daughter of Tobago-born academic Dr
Hollis Lynch, she told the T&T Guardian,
"Shame on the local television stations if
they don t show Caribbean films, or visual
content. It should be a public service. It can
create employment, and this local content
also becomes part of education for Trinis."
Lynch, who was in T&T promoting her
documentary Free Angela Davis and All Polit-
ical Prisoners, which screened during the
2013 T&T Film Festival (TTFF) in late Sep-
tember, believes getting local content on tel-
evision has to be a collaborative effort.
"The thing about being an independent
filmmaker is that you also have to be an
advocate. You have to be an advocate for
your work, then you have to be an advocate
for venues so that other people can see your
"With a festival like this in conjunction
with the cultural institutions here, educational
institutions and the education board, if you
pull your team together, how can the gov-
ernment deny you public time to show your
"It (TTFF) supports the culture. And I am
sure there are corporate entities that will
assist with funding. You really cannot give
up as a filmmaker, because if you do they
The T&T Guardian spoke with Lynch at
Cameras of Diversity for a Culture of Peace,
a conference hosted by Unesco and TTFF
during the festival. She was one of four speak-
ers on a panel about the role of film in society.
Lynch, a former track and field athlete,
said she was so happy the TTFF existed
because it presented a great opportunity to
premiere her documentary in the Caribbean,
especially given her own ties to T&T.
During the panel discussion, Lynch spoke
about her start in the field, and said as a
young filmmaker she had a really hard time
finding any type of employment, as she main-
ly wanted do films about the experience of
people of African heritage, but sponsorship
for these kinds of films was hard to find.
British filmmaker Horace Ove changed the
course of things when he introduced her to
American director and producer of docu-
mentary films Kenneth Lauren Burns. After
that Lynch, then 27, landed her first job in
documentary filmmaking, working with Burns
on a documentary film about American archi-
tect Frank Lloyd Wright.
She teamed up with Burns again in 2000
for the acclaimed documentary series Jazz.
The ten-part, 20-hour-long series on the
history of jazz was well received around the
world. But while Burns envisioned it as the
history of jazz, Lynch s perspective was quite
"As a young person interested in history,
culture and storytelling I saw it as the story
of black and immigrant people from 1890 to
the present, and I approached my research
"What I discovered, collecting stuff is
wonderful...the evidence...the archival stuff,
that as you craft it to tell a story that s how
you communicate it to future generations."
She said much like the griot, the traditional
West-African historian/storyteller, you cannot
just convey information, you must also tell
a good story.
eration, my own generation and future gen-
erations our stories, our history, they had to
be multi-media and they had to be com-
Instead of criticising filmmakers for not
making the type of films she wanted to see,
she challenged herself to do her own film,
choosing a subject that was uncontested ter-
"At the time, being a rookie filmmaker
and a woman, I knew to make a film about
Malcolm X or Martin Luther King, that I
would be perceived as not seasoned enough
or competent enough to do such a film and
tell those stories well enough. So I found a
smaller story---which became a bigger story
in a way the story of Shirley Chisholm," said
Shirley Chisholm became the first African-
American congresswoman in 1969 and was
the first black woman to make a bid to be
President of the United States when she ran
for the Democratic nomination in 1972. Lynch
said this story had to be really compelling
as in most instances people see such stories
as just another "black struggle" story.
• Continues on Page B2
Telling emotional truths
Shola Lynch, second from
left, speaking at a Filmmakers'
Panel during the TTFF at the
Little Carib Theatre.
PHOTO COURTESY TTFF
Links Archive October 9th 2013 October 11th 2013 Navigation Previous Page Next Page