Against Gamification, Contests, and Voting
April 21, 2013
I learned today on Facebook that Ava DuVernay won the Tribeca Film Institute’s Inaugural Heineken Affinity Award. Kudos! Her wonderful films and ambitious African-American Film Festival Releasing Movement, are much-deserving of this support. Understand: her work, her films, her prize-winning is not what I am against. Prizes like this help independent cinema. So, as a producer myself of two African-American indie features, I say: the more prizes the merrier!
I write, instead, against the social-media based gamification of this award whereby the many, equally deserving African-American filmmakers also up for this prize (Andrew Dosunmu, Cheryl Dunye, Nelson George, Kahlil Joseph, Victoria Mahoney, Terence Nance, Akosua Adoma Owuso, Yvonne Welbon, and Ross Williams) were asked to mobilize their (my) cultural community, daily, by having us vote for them, for what seemed like an eternity. But, the makers, supporters, scholars, and perhaps even fans of independent black cinema are a small, and devoted subculture; one in which I am proud to play an active part. We know each other, help each other out, and are in political and personal support of the project, writ-large, of African American visibility, voice, and complex and sophisticated expressive culture. All the influential artists on this list get their work made, watched, financed, written about, taught, and distributed largely within a committed cultural milieu founded within a politics and practice of the sharing of resources, support, community, and artistic vision. This is a community of care, mostly working outside of dominant institutional support; and (I know), to get indie black films made, people support each other!
It pained me more than I wish to express that I had to vote for my “favorite” between friends, respected colleagues, family, and artists I admire and support in other ways. This popularity mentality, this gamification of an intimate cultural sphere, has nothing to do with my commitments to this project, nor that of the people who were lucky enough to be its potential beneficiaries. My friends and colleagues were forced to compete against each other, rather than engage in the supportive, communal, politically-motivated practices that define black independent cinema. Of course, for a measly $20K, Heineken got more information about the buying habits, and other likes, of this influential community then can be easily quantified. I knew I gave this for free every time I voted. Which, I will also admit, I did on many occasions (although I was and am against it), in the name of my friends, their amazing work, and the possibility of supporting a project from this unstoppable community, albeit one always strapped for cash.