尼日利亚裔英国媒体大亨Mo Abudu呼吁，电影公司和流媒体投入真正的资金来讲述“非洲和黑人的故事”

Efforts to diversify the global television industry have fallen short, argued Nigerian-British Media Mogul Mo Abudu, CEO of EbonyLife Media, in a keynote on diversity and inclusion at global film and television industry at the MIPCOM Cannes on Tuesday.

尼日利亚裔英国媒体大亨、EbonyLife Media的首席执行官莫·阿布杜(音译)昨天在戛纳国际影视展(MIPCOM)上以“全球影视产业的多样性和包容性”为主题发表演讲时表示:“全球影视产业多元化的努力远远不够。”

Despite much-ballyhooed D&I attempts by studios and streamers, Abudu said she still sees a startling lack of real diversity on international TV screens.

尽管电影公司和流媒体大肆宣传D&I，但Abudu说，她仍然看到国际电视屏幕上缺乏真正的多样性。

“I continue to see very little on television that reflects me as a woman of color,” she said, speaking to The Hollywood Reporter‘s co-editor-in-chief Nekesa Mumbi Moody. “You think over the years there would be a change coming, with every company having a diversity and inclusion department officer. But one wonders why, because the representation just isn’t there. There just needs to be a lot more work done.”

“我在电视上仍然很少看到反映我作为有色人种女性的东西，”她在接受《好莱坞报道》联合主编内克萨·蒙比·穆迪采访时说。“你认为多年后会有变化，每家公司都会有一个多元化和包容性部门的官员。但有人想知道为什么，因为没有表示。只是需要做更多的工作。”

Abudu, who this year topped The Hollywood Reporter‘s annual list of the Most Powerful Women in Global Entertainment, spoke ahead of the 7th edition of Mipcom’s Diversify TV Awards, the only global honor recognizing the promotion of diversity and inclusion at international media organizations.

Abudu今年在《好莱坞报道》的年度全球娱乐界最具影响力女性榜单上名列前茅，她在第七届Mipcom多元化电视奖之前发表了讲话，这是唯一一个表彰国际媒体组织促进多元化和包容性的全球荣誉。

But despite her success — EbonyLife Media into one of Africa’s leading production companies and Abudu has productions in development with the likes of Will and Jada Pinkett Smith’s Westbrook Studios, Will Packer Productions, and Idris Elba’s Green Door Pictures — Abudu says that when speaking to them, she still finds it a major struggle to find support and backing from commissioners and other gatekeepers.

但是，尽管她取得了成功——乌木生命传媒成为非洲领先的制作公司之一，阿杜也与威尔和贾达·平克特·史密斯的威斯布鲁克工作室、威尔·帕克制作公司和伊德里斯·艾尔巴的绿门影业等公司合作制作电影——阿杜说，当她与他们交谈时，她仍然发现要从委员会和其他守门员那里获得支持和支持是一件很困难的事情。

“It’s almost as if they’ve got a reading list of responses as to why they’re not going to back your show,” said Abudu. “The biggest challenge is actually getting through to the gatekeepers and to the commissioners because ultimately, they’re the ones that decide what ends up on our TV screens, and they have [apparently] decided, that people like me shouldn’t be represented on television. [How many] Black or African global shows are there, in terms of [having] the global budgets to compete? [You can’t] make a show at $1 million an episode and another at $10 million an episode and expect the former to compete with the latter. I think the industry maybe hasn’t caught up.”

Abudu说:“这就好像他们有一个阅读清单，上面写着为什么他们不会支持你的节目。”“最大的挑战实际上是与看门人和委员沟通，因为最终是他们决定电视屏幕上的内容，他们(显然)已经决定，像我这样的人不应该出现在电视上。”就全球预算而言，有多少黑人或非洲的全球演出可以与之竞争?(你不能)以每集100万美元的成本制作一部剧，而以每集1000万美元的成本制作另一部剧，还指望前者能与后者竞争。我认为这个行业可能还没有跟上。”

Abudu laid out the business case for investing in African stories, noting that there are “currently 4 billion people in Africa” and that, by the year 2050 “one in four people in the world is going to be African. The median age on our continent is 19. We have the youngest population on earth and they need to see concepts that speaks to them. There is a market there. This is not a charity case.”

Abudu列出了投资非洲故事的商业案例，指出“目前非洲有40亿人口”，到2050年“世界上四分之一的人口将是非洲人”。非洲大陆的平均年龄是19岁。我们拥有地球上最年轻的人口，他们需要看到对他们说话的概念。那里有一个市场。这不是慈善案件。”

Abudu noted the global success of shows like the Nigerian thriller The Black Book, which topped Netflix’s global charts following its Sept. 22 release, as a sign that the world may be waking up to the entertainment potential in Africa.

Abudu指出，尼日利亚惊悚片《the Black Book》等电视剧在全球取得了成功，并在9月22日上映后登上了Netflix全球榜单的榜首，这表明世界可能正在意识到非洲的娱乐潜力。

“It tells you that our stories can travel,” she noted. “We saw, with the success of Squid Game, how Korean content is taking the world by storm. African content is beginning to do the same. So I wonder if the commissioners are just choosing what they want [to see] or what the audience actually wants?”

“它告诉你，我们的故事可以传播，”她说。“我们看到了《Squid Game》的成功，韩国内容正在席卷全球。非洲内容也开始这样做。所以我想知道委员们是在选择他们想看的还是观众真正想看的?”