Factors Affecting Growth of Film Industry in Africa

African food is not the only thing expanding to the United States; African movies can be found at most African shops that sell food. Most of these movies are produced by Nigerians, due to France has financially backed Nigeria films. Most of these films are in English, some in French and few in Pidgin English and French. Many popular movies take western movie themes and put an originally African twist on them. Africans in the United States are known to buy these movies as they buy their twenty-pound bag of Gari. Western Africans like these movies more than East, due to many of the movies have a reputation of having witchcraft in them.

This paper was prepared for Introduction to Film History, Module 1 Homework Assignment, taught by Professor Stephanie Sandifer.

Africa has had a long and tumultuous road of colonization and decolonization the rush to colonize Africa started in the 17th century with the discovery of the vast amounts of gold, diamonds, and rubber with colonization hitting a fever pitch during World War I. However, the repercussions of colonization have left deep wounds that still remain unhealed in the 21st century. Early on, European nations such as Britain, Portugal, Spain, Italy, Germany and Belgium scrambled for territories. Countries wanted land so they could harvest the resources, increase trade, and gain power. The European colonization of Africa brought racism, civil unrest, and insatiable greed; all of which have had lasting impacts on Africa.

These stereotypes depicted “drug dealers, prostitutes, single mothers, and complacent drag queens” (Harris, 51). In the 1980s, African American filmmakers began to make a name for themselves. These films are “social commentaries, indictments of racism and depictions of ‘everyday’ American lives” (Harris, 51). Compared to the traditional representations of blacks and blackness, New Black cinema takes on this cultural intervention and the recoding of blackness. Harris describes this as “revising the visual codes surrounding black skin on the screen and in the public

The history of Africa is very complex. Europeans invaded Africa and stripped them of their culture and denied future generations their history. Despite the focus on the time of enslavement in modern history, African history expands far beyond that. African history has been consistently whitewashed and many historians have attempted to put our history in a box. In order to understand and study the African experience, one must realize that the history of Africa extends far beyond the times of enslavement and colonialism.

Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were

The poor distribution of Australian films has made it difficult for the public to view these said films, due to the lack of theatres screening the actual pictures. This contributes to the community of the Australian public to collectively be unaware of these films and leads to the small number of tickets sold in cinemas. With this lack of money being spent on Australian films, the industry suffers due to with no return going into the

[2] For films concerning slavery, the role of the filmmaker as educator is substantially heightened. All too often slavery films categorically vilify whites as oppressive forces, polarizing race and stereotyping the white

Globalisation has significantly changed trends and patterns in the global film industry, at an estimated worth of $60 million annually film industry has become one of the most important in the creative businesses (Rosnan, H, Ismail, N.M., & Daud. N.M., 2010).

They also initiate the contracts with the theaters and negotiate the percentage of box office sales they will receive. Many of the distribution companies are integrating with the production studios because the need for distribution is diminishing with the conversion to digital. This makes these suppliers a strong force.

The film industry has always been somewhat of a dichotomy. Grounded firmly in both the worlds of art and business the balance of artistic expression and commercialization has been an issue throughout the history of filmmaking. The distinction of these two differing goals and the fact that neither has truly won out over the other in the span of the industry's existence, demonstrates a lot of information about the nature of capitalism.

Hollywood movies employ creative and bold methods to market their movies. A good deal of promotion and advertising is targeted to getting people into theatres. Media blitzes are launched to tout the movies weeks before its release. Posters on buses, billboards, designed T-shirts, websites are used to promote Hollywood films. These films are then distributed to a diverse audience. Unless they are extremely unsuccessful, Hollywood movies are always first shown in cinemas across the world, before they are released on DVD. Nollywood films, on the other hand, do not put in a lot of money and effort on the marketing of their films. Other than the movie posters which are usually seen at the selling point of the films, not much advertising is employed. As all Nollywood films go straight to DVD and VCD discs, the industry thrives on direct-to-video marketing. As many as thirty new titles are delivered to Nigerian stores and market stalls every week. Producers rely on the fact that with this outpour of releases, their movies would most certainly be picked up among the crowd; hence, employing further marketing practices is unnecessary. Currently, the available cinemas in Nigeria do not exhibit any Nollywood movies.

Through the African films, Camp de Thiaroye and Le Grand Blanc de Lambarene there are new views and topics that arise, which are not emphasized in the usual representations of African colonial experiences. Usually there is a Western, impersonal side of the history, which is not examined further and widely accepted. Through the films of African filmmakers, people are able to encounter the unmentioned perspectives and perceptions of historical events that affected the Africans substantially.

From the very beginning of the early stages in American cinema, African Americans had a presence on the silver screen. The twentieth century created a new era of cinema that consisted of films produced for and targeted to an all-Black audience. “Race films” which existed in the United States for over thirty years (1913-1948), were films produced by African Americans that focused on Black themes and highlighted the talents of African American directors, producers, scriptwriters, and actors.

Hess and Zimmermann mention that conventional categories have blurred and there’s demands for new political and aesthetic responses in transnational cinema (John Hess 2006). These transnational films I believe would be growing significantly in the film industry as a part of film history.