Two recent high profile public events in London this year focused on female filmmakers working in African cinema. We can’t repeat the significance of this enough: This is high exposure for a demographic of the African film industry that is generally low on the radar.Late last month a group of academics, filmmakers and critics from around the world converged at a conference in London to celebrate the work of African women in film. The event was held at the University of Westminster. Those attending heard from important female filmmakers such as Jihan El-Tahri, director of “Behind the Rainbow” (2008) and Yaba Badoe, director of “The Witches of Gambaga” (2010) who discussed their experiences as independent filmmakers. Writing at subtitled,Katy Stewart records that both women passionately broached controversial issues, denying labels that are often imposed upon them for the benefit of funders and commissioners...[continue reading]
Still from Zina Saro Wiwa's "Phyllis"
Celebrating African women filmmakers
Africa First Film Program Prizes
From the Africa First website:
Focus Features’ Africa First Program for short films, the worldwide film company’s initiative earmarked exclusively for emerging filmmakers of African nationality and residence, has for a third consecutive year awarded five filmmakers $10,000 apiece...The uniquely conceived initiative offers eligible and participating filmmakers the chance to be awarded the $10,000 in financing for pre-production, production, and/or post-production on their narrative short film made in continental Africa and tapping into the resources of the film industry there. Of equal importance, the program brings the filmmakers together with each other and with a renowned group of advisors, major figures in the African film world, for support and mentorship...[continue reading]
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- At VIFF, new perspectives on Africa (theglobeandmail.com)
- Fellows Friday with Peace Anyiam-Osigwe (ted.com)
Let’s Make a Movie
G. Pascal Zachary writes about the Ghanaian film industry:
These populist films, while didactic and predictable, at least present an alternative to elite allegiance to the visual arts of former colonialists. In the quarter-century following Ghana’s independence from British rule in 1957, government subsidized filmmakers through a state agency modeled after the British Broadcasting Corporation. State financing led to the production of such minor classics as Love Brewed in the African Pot (1981) by director Kwaw Ansah.
In Francophone Africa, subsidies to filmmakers from the French government spawned a generation of well-trained and high-minded directors, including Ousmane Sembene (Senegal), Souleymane Cissé (Mali) and Idrissa Ouedraogo (Burkina Faso). These and other French-speaking directors made movies that were acclaimed by discerning critics in Europe and the United States, but rarely screened at home. The French justified African movie subsidies as part of a defense of the French language globally and the influence of France with its former African colonies, but African directors gradually began to mourn their alienation from their roots.
Africa Film Library
In Bizcommunity
The African Film Library, launched on Wednesday, 23 September 2009, consists of award-winning works from more than 80 filmmakers including Senegalese Ousmane Sembene and Djibril Mambety, Yousef Chahine from Egypt, Kwaw Ansah from Ghana and Haile Gerima from Ethiopia...The online library aims to create a new audience for existing and emerging African filmmakers through the digital archive of the continent's cultural cinematic heritage, and making African artists' works easily accessible via the internet to a wide viewership around the worldwide.More here
The Musical or the Lack Thereof
The musicals made in Egypt and Asia form a genre that is always highly popular with audiences in Africa. Yet the continent's filmmakers seem practically to ignore this art form, which has fed their own imaginations. What with the Egyptian musicals, Asian adventure films, and American productions, little place is left on Africa's screens for its local tales. However, even if African productions still face the same distribution difficulties on the continent, their singularity has developed and become more polished since Independence. It a priori seems paradoxical, therefore, that Africa's directors only rarely go down the musical route in cultures that are impregnated with music, song, dance, humourMore here
Obama's Support for the Arts- Propaganda of the State
What is the purpose of art? I'm not an art history or philosophy major, so I don't really know the answer to that, if there is truly one answer, but I can tell you this- I don't think the purpose of art is to promote the state's interests.
At one time, this was believed to be the purpose of art. Many regimes around the world felt that literature should serve the national interest or it had no inherent right to exist (source). These regimes felt that art should be used by a regime to promote their beliefs. In particular, these regimes felt that posters especially could be used as a way to blatantly present the beliefs of their political party party. These people felt that art should be used to convince the people of the beliefs of the state. The posters this regime wanted created were usually simple and got to the point, and it was intended to target the emotions of the people that looked at it (source).
Enough history. Today, Barack Obama is attempting to promote art that does the same thing. Recently a blogger writing at Big Hollywood was invited by the National Endowment for the Arts (NEA) to take part in a conference call that invited a group of rising artist and art community luminaries “to help lay a new foundation for growth, focusing on core areas of the recovery agenda - health care, energy and environment, safety and security, education, community renewal.”
The call was hosted by the NEA, the White House Office of Public Engagement, and United We Serve. The call would include “a group of artists, producers, promoters, organizers, influencers, marketers, taste-makers, leaders or just plain cool people to join together and work together to promote a more civically engaged America and celebrate how the arts can be used for a positive change!” There were approximately 75 people participating, including many well respected street-artists, filmmakers, art galleries, music venues, musicians and music producers, writers, poets, actors, independent media outlets, marketers, and various other professionals from the creative community.So, to summarize, our President, through a group called United We Stand, is organizing artists and giving them guidelines on what sort of art to produce. The art will promote the interests of the Democrats and try to persuade voters to support their views. This is propaganda, and as the group was informed, Obama regarded propaganda as very important, perhaps even calling it "a weapon of the first order".
Backed by the full weight of President Barack Obama’s call to service and the institutional weight of the NEA, the conference call was billed as an opportunity for those in the art community to inspire service in four key categories, and at the top of the list were “health care” and “energy and environment.” The service was to be attached to the President’s United We Serve campaign, a nationwide federal initiative to make service a way of life for all Americans.
We were encouraged to bring the same sense of enthusiasm to these “focus areas” as we had brought to Obama’s presidential campaign, and we were encouraged to create art and art initiatives that brought awareness to these issues. Throughout the conversation, we were reminded of our ability as artists and art professionals to “shape the lives” of those around us. The now famous Obama “Hope” poster, created by artist Shepard Fairey and promoted by many of those on the phone call, and will.i.am’s “Yes We Can” song and music video were presented as shining examples of our group’s clear role in the election.
Obama has a strong arts agenda, we were told, and has been very supportive of both using and supporting the arts in creative ways to talk about the issues facing the country. We were “selected for a reason,” they told us. We had played a key role in the election and now Obama was putting out the call of service to help create change.
The machine that the NEA helped to create could potentially be wielded by the state to push policy. Through providing guidelines to the art community on what topics to discuss and providing them a step-by-step instruction to apply their art form to these issues, the “nation’s largest annual funder of the arts” is attempting to direct imagery, songs, films, and literature that could create the illusion of a national consensus. This is what Noam Chomsky calls “manufacturing consent.”
This website has some good ideas on the sort of posters that Obama would like created. Check it out to get a taste of what is to come under an Obama administration. Oh, and if you haven't guessed it yet, you'll have to click on the links to find out what sort of regimes of the past saw art the same way that Obama does.
Unsustainable FESPACO Movies vs Nollywood
In a Reuters report Katrina Manson contrasts the viability of rough and ready Nollywood fare with the art house but utterly dependent-on-subsidies 'FESPACO movies':
In the time it takes for a lovingly crafted art house movie to emerge as winner of the top prize at Burkina Faso's pan-African FESPACO cinema festival, Nigeria's prolific producers will already have churned out another 50 films.
They might be tales of cannibalism, sorcery and jealous girlfriends who shrink their errant boyfriends into bottles, but Nigeria's $450 million home video industry is the third biggest in the world, after America's Hollywood and India's Bollywood.
By contrast, FESPACO's filmmakers -- considered the best on the continent -- rely on dwindling donations, and scrabble for private financing and poor distribution deals amid a spate of cinema closures...[continue reading]
Cellphone Stories
While the country's name implies freedom of speech, filmmakers in the country's capital are restricted by government censorship.To get around these problems, Siku(Kiripi Katembo Siku, an art school student ) came up with a novel plan.He attached his mobile phone to a toy car, set it to film, and gave it to a young girl to pull behind her on a piece of string as she walked through the streets of Kinshasa...[continue reading]
photo courtesy of Marie-Dominique Dhelsing










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