Bloggers Place
Cinekasa is always looking out and interested in minds who are equally intrigued and interested in cinema as we are. We recently came across a blog from a Jeffery Jefferson with his selection of top ten most anticipated movies from January to July this year. Here are his movie selections.
TOP 10 MOST ANTICIPATED MOVIES FROM JANUARY – JULY
Underworld Awakening
The year 2012 kicks off with yet another vampire movie. Kate Beckinsale reprises her role as Selene in the fourth installment of the Underworld series. Looks like the series, took a leaf from True Blood’s book, as the humans are aware of the vampires existence this time round. Selene is awakened after 12 years of cryogenic sleep and finds herself in a war with the humans who seek to eradicate both Vampire and Lycan clans. If you haven’t seen the first three movies, please do not go and waste your money or your time downloading because you won’t understand the story. These movies tend to give some plenty flashbacks. You have been warned.
Release Date: 20th Jan
Directed by: Mans Marlind and Bjorn Stein
Starring: Kate Beckingsale (Van Helsing), Michael Ealy (Takers), Stephen Rea (V for Vendetta)
Ghost Rider: Spirit of Vengeance
He rides again! Nicolas Cage reprises his role as Johnny Blaze, the skin-suit of the Ghost Rider. Honestly, I wasn’t a fan of the first movie after watching it, because I felt that on-screen Ghost Rider was not as scary as comic book Ghost Rider. Apparently, the film makers also noticed this and have promised a darker, nastier and meaner anti-hero. To quote the film’s director Mark Neveldine “This will be a “darker, nastier, meaner” version of Johnny Blaze, a fellow who will not be throwing on tights and saving cats. He will light the cat on fire though.” We’ll see about that come February. Psst! You didn’t hear this from me but lucky fans that got the chance to see the movie in November for a special showing had only poor reviews to give. Yikes!
Release date: 17th February
Directed by: Mark Reveldine
Starring: Nicholas Cage (National Treasure), Ciaran Hinds (Race to Witch Mountain)
The Hunger Games
Following the death of the Harry Potter franchise and the soon-to-be death of The Twilight Saga, The Hunger Games promises to be the next big movie franchise, adapted from a children’s novel. For those of you haven’t read the books and don’t want any spoilers, think of this movie as a fusion between Big Brother Africa and Mortal Kombat. Bad combo? Well, think again. This “bad combo” went on to sell over 3 million copies in book sales in the US. I do however think that movie-goers need to read the book first so they don’t get confused like Some-People-Who-Must-Not-Be-Named (In case you missed it that was directed at anti-Harry Potter book readers yet movie-watchers). Plus the story has got the whole one gal-two guys thing that The Twilight Saga plays so well, classifying girls into #TeamJacob and #TeamEdward. This one is definitely gonna generate a lot of buzz in theaters.
Release Date: 23rd March
Directed by: Gary Ross
Starring: Jennifer Lawrence (X-Men: First Class), Josh Hutcherson (RV), Liam Hemsworth (The Last Song), Elizabeth Banks (Meet Dave)
Wrath of the Titans
Sam Worthington once again helms his role as Perseus, son of Zeus in the sequel to the 2010 hit Clash of the Titans. This movie picks up ten years later from where the first one ended. This time round it looks are Zeus, Poseidon and Hades team up to battle their dad Kronos, leader of the Titans, whom they imprisoned long ago. I love a father-son duel. They’re so dramatic. In case my therapist is reading this, please try not to read into that comment too much. It’s just jibber-jabber. Clearing my schedule for this one, I suggest you do the same.
Release Date: 30th March
Directed by: Jonathan Liebesman
Starring: Sam Worthington (Avatar), Liam Neeson (Unknown), Ralph Fiennes (Harry Potter and the Deathly Hallows)
American Reunion
The original cast of the American Pie franchise, return for the big climax. Jim, Kevin, Oz, Finch and Stiffler -that’s right, the Stiffmeister himself- are back for one last slice of the pie. From what I gather from my super secret sources a.k.a Walter Wikipedia and Gregory Google, looks like the gang gather at East Great Falls High School for their ten year reunion. I’m guessing chaos ensues afterwards. . I must say, I’m very anxious to watch the scene where Jim’s dad and Stifler’s mom finally meet, seen in the movie’s trailer. A definite must see for anyone between the ages of 16 and 30 – I mean this movie basically defined this generation when it was released over a decade. I know for certain I picked up a lot of swear words watching this one. *Epiphany* Holy S#*@! No wonder my parents called me a messed up child. By the way, this movie is rated PG-18, so if you are underage, you must watch it with your parents. #Justsaying
Release Date: 6th April
Directed by: Jon Hurwitz
Starring: Jason Biggs (My Best Friend’s Girl) Alyson Hannigan (Epic Movie), Sean William Scott (Role Models), Eugene Levy (Like Mike), Jennifer Coolidge (A Cinderella Story), John Cho (A Very Harold and Kumar 3D Christmas)
The Avengers
Probably The most anticipated superhero movie of all-time drops in theaters this May!!!! I’m gonna give y’all six reasons to see this movie; Iron Man, Captain America, The Incredible Hulk, Thor, Black Widow & Hawk-Eye. These superheroes team up to defend and avenge our earth from evil forces- specifically Thor’s brother, Loki. I swear down this movie is movie is going to rule the box office for the month of May, shattering records along the way. The film’s trailer has already set the ball rolling with 10 million views in 24 hours making it the most watched trailer of all-time. AVENGERS ASSEMBLE!
Release date: 4th May
Directed by: Joss Whedon
Starring: Chris Evans (Captain America), Mark Ruffolo (The Kids Are All Right), Robert Downey J. (Iron Man), Samuel L. Jackson (Star Wars), Scarlett Johannsen (Iron Man) and Chris Hemsworth (Thor)
Dark Shadows
All you need to know about this movie is that it’s got Johnny Depp in it. Now, it that doesn’t convince you to go watch, then I don’t know what will. This is the eighth movie for the actor-director duo, Johnny Depp and Tim Burton. In the movie, Depp plays Barnabas, an unlucky fellow who broke the heart of a witch and was turned into a vampire for it (Twilight fans excited already! #TeamDepp). Two centuries later, Barnabas is inadvertently freed from his tomb and emerges into the very changed world of 1972. Hmm, Johnny Depp as a vampire…this I must see. All hail Captain Jack Sparrow! Uh oh- wrong movie. *Exiting in embarrassment*
Release Date: 11th May
Directed by: Tim Burton
Starring: Johnny Depp (Pirates of the Caribbean), Eva Green (Casino Royale), Michelle Phiffer (Stardust), Helena Bonham Carter (Alice in Wonderland)
Men in Black 3
Here come the men in black!! The Fresh Prince makes his return onto the big screen since 2008’s Seven Pounds as Agent J of M.I.B. Alongside Agent K, the deadly duo are back to kick some alien ass. As far I know Will Smith has never made a movie that has flopped – even the boring ones somehow make it on to the box office blockbuster lists – so for those contemplating seeing this movie, this is a no-brainer. The third installment in the franchise brings with it time travelling, as Agent J somehow ends up back in 1969 to rescue K’s old young butt! You heard me; J’s the old one in this one. lol
Release Date: 25th May
Directed by: Barry Sonnerfield
Starring: Will Smith (Hancock), Tommy Lee Jones (Captain America), Josh Brolin (Jonah Hex), Emma Thompson (Nanny McPhee and the Big Bang)
The Amazing Spiderman
Marvel doing it big this summer – wet season, for us in Ghana. Following the release of The Avengers, the studio is dropping its other moneymaker “The Amazing Spiderman” in July. For those of you who do not know, this is the reboot to 2002’s Spiderman, which spawned two sequels, Spiderman 2 (2004) and Spiderman 3 (2007). Now, I dunno why the reboot, but I’m guessing Marvel prolly felt the franchise needed a fresh start or they’re running out of ideas to make $$$ – next thing you know, they’ll be rebooting X-Men and Fantastic Four. Replacing Tobey Maguire and Kirsten Dunst as the web-swinger and his girlfriend will be rising stars Andrew Garfield and Emma Stone. No word on who the big baddie will be this time round, but I’m pretty sure it’s not going to be The Green Goblin this time round since it’s a whole new story. I think I’ll let my curiosity get the better of me and head to the cinema to see how this one turns out.
Release Date: 4th July
Directed By: Marc Webb
Starring: Andrew Garfield (The Social Network), Emma Stone (Easy A), Rhys Ifans (Nanny McPhee and the Big Bang) and Martin Sheen (The Departed)
The Dark Knight Rises
Iron Man’s non-superhuman “brother” from another mother, aka DC Comics, returns to the box office after 3 years in hibernation. Personally, I think what makes the Batman reboot unique from all other superhero movies is its integrated its characters into our modern society. At the end of the prequel The Dark Knight (R.I.P Heath Ledger) we saw Batman become public enemy No.1, accused for the murder of Harvey Dent. If you want to know how that pans out, then put this movie on your bucket list. Spoiler Alert! This villain in this one is Bane. Don’t know who that is? Go find out my non-comic book readers. Again, if you haven’t seen the prequels, please try to ‘cos Christopher Nolan tends to give a lot of mind-bogglers (Cc: Inception).
P.S – I hear Catwoman is going to make an appearance. Maybe some romance for the B-man?
Release Date: 20th July
Directed by: Christopher Nolan
Starring: Christian Bale (The Fighter), Anne Hathaway (The Princess Diaries), Tom Hardy (Inception), Gary Oldman (Red Riding Hood)
Source : http://jazzyjefferson.wordpress.com
Africa’s Film Market – Ghana (A case Study)
It is common to note among various Africans that a movie is the only item considered as film. And that tells the ignorance most of us Africans share concerning film productions and film industry.
If you wished to window-shop or really shop film quietly anywhere in Africa, there are various information media to fortify your consideration and choice.
Let’s briefly sift through some promotion and distribution media and categories of film consumers in Africa.
In Ghana, just as in most parts of Africa, bills on fence walls, bridges and mega boards raised in most neighborhoods, market places and highways in every metropolis depict films (movies, theatre plays etc) among other items of promotions such as music artists, business conferences, trade exhibitions, art shows, schools, business events, services and brand products, churches and obituaries .
Some other forms of promotion and distribution are by street and neighborhood hawkers, most of whom vend bootleg movies and sales people who vend on or around mobile sales cars, vans and trucks and use microphones, music and loud speakers to pitch their film wares.
The less vocal yet very prominent among movie vendors are those who sell movies on stalls and in shops in market bus stops and within market squares.
Most consumers within metropolises of Ghana and countries south of the Sahara among others receive their movie information and copies through the above media.
Skeptical movie consumers deliberate and dialogue about the movies based on encounters with the above-mentioned media advertisements or shows and cinemas and television channels, previews and reviews on radios, televisions, in newspapers and magazines and in online publications by film promotion and distribution companies.
There are those too who apply or go beyond audio-visual promotions and views of media professionals, avid film consumers and general public, to dedicate their times at film vending or rental shops and stalls or entrances and vicinities of cinemas to know what is in stock and rent or buy. And indeed most of them are likely to receive, read and/or understand fliers and posters and various sales speeches.
Yes, there is also the category of those who receive what best films and views on films can be offered them from friends through three more channels: the fewest of people in Ghana and Africa, who purchase films online, the fewer who receive bought films, rip and share and the few who download films as shareware at open source websites.
The choice is yours how to get your information or copy of the best film around.
The points I wish we discuss and hopefully exhaust before my next article are:
1. What is film?
2. Why is movie the most prominent feature of film among Africans?
3. How are Ghanaian movies doing on Ghanaian local market and film markets internationally?
4. Who benefits most from film productions of Ghanaians?
5. What is the current trend of African Film promotions and distribution, using Ghana as a case study of Africa?
6. What promotion and distribution methods best help film industry in Africa, using Ghana as a case study?
7. Which promotion and distribution methods will best help film consumers in Ghana and Africa?
8. Which methods of promotion and distribution are we best to introduce and/or integrate?
9. What is the quality of films sold in Ghana, as a case study of Africa?
10. How much has the African film producer made in the last forty years with productions?
11. Who is a film professional in Africa, using Ghana as a case study?
12. What is the impact of African film on the mass of Africans?
Just as you I have a lot to learn and do to aid development, promotion and sales of film, especially the best films of Africa. And also to see films impact rightly on the African locally and internationally.
You shall keep hearing me speak of Ghana, particularly because I am a native and resident of Ghana. As my ancestral lineage and homes lay beyond the current geographical boundaries of Ghana and my skin black with melanin I speak of Africa for Africa.
In my view of my personality, I am a Human Being first, secondly I am an African and thirdly I am a Ghanaian. Any other classification of who I am is an embellishment of my being. And to reach and enjoy the essence of my being within, I have to harmonize with my being without. This, I entreat you too to, whomever you identify yourself as.
Through film, there is a lot we are supposed to know about life, societies and ourselves to use in the developments of ourselves and our societies.
Where is the world headed? And what is the role of Africa in this journey?
I am not particularly happy with the trend of “African Films” and the records of their responses in Africa for the past forty years. And even now, many of our native reporters, film directors, producers and stars appear on international television channels and in box office hits movies, local Africa lags behind. Africa deserves better and more. And I believe there is more work to be done.
Let’s discuss, agree and work together! Peace!
By : Abdul-Rahman Sowah
I was just surfing the internet and reading movie news and articles all over the world, when I came across the blog called Africa is a country.
A very interesting blog I must say, but the part that held my interest was the selected top 10 African films of 2011. I have seen some of the movies and cinekasa has reviewed others. But I would love to share the list with you. Take a look and get the movies if you can, it will be worth your while.
Daniel Quist
The Top 10 African films of 2011
2011 was a good year for African cinema. In various cinema seats and at home, I’ve been intrigued and moved, horrified and sickened, surprised and hugely entertained by a group of industries that together we call ‘African cinema’ — a Visibilitysign that what can be expected is anything but stereotypical. In the list below, I’ve chosen films that have expanded what we might think of as ‘African cinema’. Some short films, some documentary, some fiction, some a strange mix of them all.
However, the films I can’t list are perhaps the most powerful ones of the year; those captured on mobile phones and camcorders during critical moments in uprisings, revolutions and elections that have continued to broaden our grasp on the lives and experiences of those whose lives are not yet captured by cinema. This is a new kind of viewing, and one which I think will continue to transform the aesthetic, narratives and distribution of African film in 2012.
(A note for readers: some of these films were released in 2010, but gained theatrical release or wider audiences this year so I’ve included them too. In each case a description of the film is accompanied by its trailer.)
A Screaming Man.
Director Mahamat Saleh Haroun. Starring Youssouf Djaoro, Diouc Koma. Chad, 2010, 92 mins
A subtle and masterful story of a father and sons relationship, set against the backdrop of the ongoing civil war in Chad. Filmed around the glittering edges of a hotel swimming pool threatened by the outside world, Haroun’s characteristic wit and tender approach to filming continues his themes of war, fatherhood and family life.
Dirty Laundry.
Dir. Stephen Abbott. Starring Bryan van Niekerk, James Ngcobo, Carl Beukes. South Africa, 2011, 16 mins
Roger has a tough time when he shows up to the Wishy Washy at 1am, and begins to separate ‘his whites from his coloreds’. A fantastic short film, a microcosm of the acerbic wit and humor evident in much post-Apartheid cinema.
The Athlete.
Dir. Rasselas Lakew and Davey Frankel. Starring Rasselas Lakew. Ethiopia/USA, 2009, 93 mins
Melding breathtaking archival footage with live action, this is the extraordinary story of the triumphs and tragedies of a man considered by many to be the greatest long-distance runner in history: Ethiopian marathon runner Abebe Bikila.
Blood in the Mobile.
Dir. Frank Piasecki Poulsen. Denmark/DRC, 2010, 82 mins
Are you reading this on your phone? Poulsen’s documentary is engrossing and hard-hitting as it implicates all of us – through our addiction to our mobile phones – in the civil war in eastern Congo. Poulsen sets out to reveal the source of ‘conflict minerals’, which he suspects are used in the world’s largest mobile phone company, Nokia. Corporate inhumanity turns out to be just as terrifying as the heart of civil war, a different devil, which Poulsen shows in this fantastic and brave documentary.
Drexciya.
Dir. Akosua Adoma Owusu. US/Ghana, 2011, 12 mins
Drexciya refers to an underwater subcontinent where the unborn children of pregnant African women thrown off slave ships have adapted to breathe underwater. Poetic, eerie and stunning, an experimental short, a portrait of an abandoned Olympic sized swimming pool in Accra, Ghana, set on “The Riviera” – Ghana’s first pleasure beach.
Microphone.
Dir. Ahmad Abdalla. Starring Khaled Abol Naga. Egypt, 2010, 120 mins
Released in cinemas in January 2011, nobody in Egypt saw this film, something that Khaled Abol Naga — the lead actor and co-producer of the film — is thrilled about. Instead, Egypt was in revolution. This fantastic film is part fiction, part documentary, a love letter to the underground arts scene in Alexandria. From hip hop rappers to mournful accordion players, graffiti artists and skateboarders, it is a vibrant, funny and brave snapshot of the world of art that happens beneath the radar of an ambivalent police state.
Witches of Gambaga.
Dir. Yaba Badoe. Ghana/UK, 2011, 55 mins
A courageous, intimate exposé follows, over the course of five years, the experiences of some women branded as ‘witches’ by their communities, ostracised and condemned to leave their families, to live in ‘Gambaga’. Death determined by way a chicken dies, Badoe’s film tenderly and courageously exposes the moment where belief and ritual cover horror and prejudice.
No More Fear.
Dir. Mourad Ben Cheikh. Tunisia, 2011, 72 mins
The first feature-length documentary about the Tunisian revolution, “No More Fear” was selected for a special screening at Cannes this year. The film brings together news footage of the demonstrations with a variety of players in the revolution, providing a diverse picture of the groundswell that rose up to topple the dictatorial regime. It is passionate, raw, and immediate. It shows a revolution pushed forward by the young, who overcame the population’s long-ingrained fear. (Good to watch with Microphone, for an ‘Arab Spring’ night.)
Viva Riva!
Dir. Djo Munga. Starring Patsha Bay, Manie Malone, Diplome Amekindra. 2010, 98 min.
I’m including this, not because I thought it was particularly fantastic, but because it was a triumph in the harsh world of theatrical release for an African film. It gained pretty widespread distribution in the UK with Metrodome, and for a Congolese genre piece — a dark noir full of guns, sex and money — it did quite well. It is good, entertaining viewing.
Pumzi.
Dir. Wanuri Kahiu. Starring Kudzani Moswela, Nicole Bailey, Chantelle Burger. Kenya 2009, 20 mins
African sci-fi? Yeah. You have to see it. Clever, witty, powerful ideas. A must see if you can get your hands on it.
Thank you to Africa is a country blog and Basia Lewandowska Cummings for putting together a beautiful selection of movies for us to take a look at when we get the chance.
This films truly do look spicy 
My Opinion on what African cinema is lacking
We talk about African cinema and how it’s only accepted when it depicts the western stereotype of poverty, war and famine. Why is African movie seeking acceptance from audience who are far from knowing or relating to the story?
I think Film makers should focus on putting the quality of production first and then focus on taking the movies all through African and later the world as far as distribution is concerned. We have the audience. Movies are never a reality even if it’s based on a true story. It’s only an individual’s perspective shared through motion picture. The rest is how believable the story can be made for the audience to see pass acting and production.
I read an article from an online media which kept describing the movie “ Viva River” as a gloriously trashy, fast-pace gangster flick… Quoting the question of the writer; “Why do film distributors never come under fire for failing to adequately distribute African cinema? And why is it assumed that white audiences prefer Africa to come with a thinly veiled colonial backdrop, which usually involves a white hero saving a poor downtrodden country from itself? Blood Diamond , anyone?
Well my answer will be because distributors are business people. Film makers should focus on putting in their all and the rest will come. “Amen”
Post By: Daniel Mawuli Quist
cinekasa 
Peace!
A local perspective on Ghana’s film industry:
Its amazing the quality of content we find reviews such as this. And I must salute David and Basia, and all writers on African Film. You do a great job in enlightening the people of Africa and the rest of the world the prospects of Africa’s film industry as a collective and as individual productions from various African nationals. You also inform us on what was, what is and what should have been in our film contents and industry or industries.
The gaps between African films as a brand and American, European and Asian films, respectively are indeed wide. And the gaps are created by lack of interest of financiers and general end users on the African continent in the productions of creative arts. The financiers look to attain popularity and financial profits on their investments and the end users mostly look to attain entertainment or follow up developments of their favorite stars. And people of media houses which promote African movies are not so critical about quality contents as they are about financial gains, popularity, entertainment and the stars in movies.
There are few, if there is any, in depth reviews on African films concerning equipment, production techniques, content, intellectual and social value, budgeting, acting efficiency, picture and sound quality, networks, distribution, mass effects and what’s next. The lack of interest in the creation and mass effects of African films among Africans is the typical case of Ghanaian audiences. I entreat anyone with a different view to educate me, especially on film industries in other parts of Africa.
We need more reviews such as this on the internet, in magazines and newspapers, on radio and television, in theaters, restaurants, open spaces, art galleries, media and film houses and arts schools, among club members in general schools and among families and friends. Ghana, especially, needs film festivals. And I mean “film festivals” like or better than FESPACO and others in Africa and beyond to set the tone for Film Revolution in Ghana.
I have seen some productions from Ethiopians, South Africans, Senegaleses, Burkinabes and Ghanaians and other African nationals which are captivating and outright splendid, artistically. In my view, Ghana’s local film industry still lags behind most countries in Africa and the rest of the world. But we do have talent as our expatriate brethren have shown so far. What happens to the many local talented and excellent film makers from Ghana, who need motivation and facilities to drive Ghana’s film industry among the best in the world?
I hope to find many who share my view. Thus, we need the best in life, which could come by way of quality contents and dissemination of information content of film to transform minds, personalities and societies. With prevalence of quality arts edutainment, such as the films and documentaries captioned above, there is high chance for Ghanaians and the entirety of Africans to we develop creatively, happily and progressively as individuals and a people!
We are who we are! And we can be all we want to be! We are the best to tell our stories. May we find freedom to dare and share without fear! Truth! Let’s keep living! Progress!
One love and Respect!
Peace!
What is the best film? What is the newest film in cinemas or in stores? What were the best films of last year? When are some highly debated or anticipated films from some the most highly acclaimed studios in the world going to be released in cinemas or on DVD or for official HD internet download? These are some questions we brainstorm about and of which result pour on here.
Please feel free to read and discuss or comment a few thing film, in general, which I share here on Cinekasa. Today I want us to look broadly at film from The East and West. To reflect at every major point or after all and share a thought or comment.
Between East and West
I never saw a lip-to-lip kiss in an Indian movie, until about the end of “Three Idiots” (A romantic comedy, released on DVD in 2009). Perhaps it was a policy of the Ministry of Information and Broadcasting or Film Federation of India which suddenly changed.
By perspective from film as well as other segments of the arts from India, it seems the evolution of Indian culture through is spinning loosely westward. But compared to films from most of other peoples from the rest of the world, Indian films still maintain a high amount of cultural dignity and direction of its people in the mist of globalization and consumerism. Other Asian (Chinese, Japanese, Malay and Indonesian, Hebrew and Arabic) films are also standing firm and even doing better with evolving systems and productions than some Western, South American, African and Australians are.
They are even more flexibly creative sometimes. Did anybody see the credits that rolled before the “Three Idiots” film-story began? Bankrollers… Other filmmakers will have shown them after the movie. The studio-recluse parts; backdrop, choreography and fantasy scenes, were not exceptionally awesome. But the film in entirety is a cloth of fine stories beautifully woven together and presented, which makes it, by far, my best modern Indian movie since Slum Dog Millionaire (2008).
But it must be said, without subtitles most of these Eastern/Asian films wouldn’t thrill many enthusiasts and pundits as they do. Of course some of them go for as long as three hours. If they weren’t telling big stories greatly, they won’t hook me on for longer than a couple of minutes.
Yes, I think the “Three Idiots” movie has all through warm, mildly thought provoking and captivating storylines, well casted endearing character-personified key actors, beautiful pictures and energetic sound. Yes and the subtitle. The movie, like other Asian movies could be understood by just viewing the pictures and motions (and emotions) and how they all connect certainly. But to get the audio of dialogues and music translated in English makes a more reasonable and effective viewing.
The English subtitle of the “Three Idiots” particularly held an inflective translation of fine intellectual class, with clarity and potency, as that spoken in courts by British Officers, scholars and elites of the colonial era and Britain-bred Indian scholars. Yesterday, we watched Indian and Chinese movies with no subtitles, and we enjoyed them than we do some today. But watching them again today won’t hook us on for long.
Today, most of us (reading here and now and others) are a lot more particular about content of movies, as well as other kinds of film, and about how the information they hold are delivered . Thus also we address films by the extent and in what manner they affect film and arts industry (and industries in general) and entertainment, and the psyche, intellectual and cultural or even political landscapes of persons and society. We enjoy stories told marvelously well with the best mechanisms and techniques and best, great stories told marvelously well.
Can independent filmmakers and studios produce and present the greatest stories (told and untold) ahead of those from Hollywood? Some movies from Europe, Australia, South America and Asia have proven affirmative. And the competition is so keen now that no many film makers will prefer to study or do film in California like they used to.
There are great schools and studios in the aforementioned continents just as in North America. What of Africa? Indeed, we have had great talents make impacts on film industry and society and win awards in many film festivals. And many of those now live in the West.
South Africa within the past two and half decades has shown great industry in film. Of course, South Africa and other African countries are worthy to boast good industries of made up of some great schools, studio and productions distribution outlets. But how many phenomenal, “box-office”, film productions have come out of South African studios solely?
Internationally, what is the biggest parent body of filmmakers in the world? Fédération Internationale des Associations de Producteurs de Films (FIAPF, International Federation of Film Producers Associations), has its headquarters in Paris. How many African countries do we find in FIAPF? Only Egypt? Why? What are the standards? If film is all about graphical storytelling, how well do the members tell their stories above everyone else? What makes them rank as the world’s best filmmakers?
Many will find film today as the most entertaining, convenient and informative medium of propaganda. It stands not only as a socio-cultural and economic tool and an art form, with professional tenets that make it a standard industry. In regard of film as an industry, it has many forms and features which are dealt with expertly in the developed parts of the world than the “undeveloped” or “developing” parts.
Often, the best Hollywood blockbusters are movies capturing and retelling (with twists) myths and histories of diverse generations told and retold severally. By far, super-hero films (whether cartoon animation or human action) and mysterious adventure legends as movies or series have grossed much more than other genres such horror, drama and romantic movies.
With the exception of the technological and informational content this as not much different when Hollywood emerged after the Industrial Revolution of America as the hub for the world’s greatest studios, film producers, directors and actors etc.
With star actors in the names of Spencer Tracy, Joan Crawford, Elizabeth Taylor, Gene Kelly and Frank Sinatra theatrical films such Gone With the Wind, Asphalt Jungle, Father of the Bride, Ivanhoe, Julius Caesar and a remake of Jail House Rock was produced, which mostly revolved around the middleclass lifestyles of white America and American heroism and romance.
The landscape of films changed transformed sharply from the days of Auguste and Louis Lumiere and Constantin Stanislavki and Lee Strasberg and Thomas Edison’s Black Maria at the beginning of the twentieth century, in America and spreading across the world. In what was called The Golden Age of Film, many world renowned film producers, directors and actors were trooping to the United States of America to explore and with new machinery and techniques, expand their acclaim and teach.
From enterprises in film including springing ups of nickelodeons across America, studios such as Metro Goldwin Mayer was born to acclaim, producing theatrical films that projected legends and focused more on idolizing actors in their development The Wizard of Oz, Ben Hur, A Night At The Opera, Grand Hotel, Mutiny on the Bounty, The Great Zeigfield, Gone with The Wind, Andy Hardy and Tarzan and thus winning international acclaim as the studio with “more stars than there are in heaven”.
Walt Disney was also booming with Super-hero myths and fiction tales such as like Treasure Island, 2000 Leagues under the Sea and The Parent trap. But more, they were more critically acclaimed for the revolutionary cartoon animation in their production of Cinderella, Snow White and The Seven Dwarfs, Bambi, Pinocchio and Peter Pan, and the opening of Disneyland in 1955 in Anaheim California.
Among a few other film studios, Metro Goldwin Mayer and Walt Disney sore to make American Film and Hollywood what they are today.
With the spate that film production is changing with growing technology and economies of nations across the world, there is a high chance that in the coming decade(s) certain countries among or even outside of the stack of FIAPF’s 31 associations organization will emerge as the world’s film hub.
FIAPF MEMBER ASSOCIATIONS
• Asociación General de Productores Cinematográficos (Argentina)
• Instituto Nacional de Cine y Artes Visuales (Argentina)
• Screen Producers Association of Australia (SPAA, Australia)
• Fachverband der Audiovisions und Filmindustrie (Austria)
• Canadian Film and Television Production Association (Canada)
• China Filmmakers Association (China)
• Audiovisual Producers’ Association (APA, Czech Republic)
• Danish Film and TV Producers (Denmark)
• Egyptian Chamber of Cinema Industry (Egypt)
• Suomen Elokuvatuottajien Keskusliitto (SEK, Finland)
• Spitzenorganisation der Filmwirtschaft e.V. (SPIO, Germany)
• Association of Icelandic Films Producers (Iceland)
• Film Federation of India (India)
• National Film Development Corporation of India (NFDC, (India))
• The Iranian Alliance of Motion Picture Guilds – Khaneh Cinema (Iran)
• Unione Nazionale Produttori Film (ANICA, Italy)
• Motion Picture Producers Association of Japan (Japan)
• Netherlands Association of Feature Film Producers (Netherlands)
• Screen Production and Development Association (SPADA, New Zealand)
• Norske Film and TV Produsenters Forening (Norway)
• Film Producers Guild of Russia (Russia)
• Motion Picture Producers Association of Korea (South Korea)
• Korean Motion Picture Producers Association (South Korea)
• Korean Film Commission (KOFIC, South Korea)
• Federación de Asociaciones de Productores Audiovisuales de España (Spain)
• Swedish Filmproducers’ Associations (Sweden)
• Producers Alliance for Cinema and Television (United Kingdom)
• Independent Film and Television Alliance (United States)
• Motion Picture Association (United States)
The emergence of another country as a world-renowned, critically acclaimed and loved film destination is not a matter of felling or rendering America redundant, but spreading the film tourism and professional and economic dominance across the world in a positively competitive manner.
If there were greatly performing film industries in everybody’s native country, people wouldn’t be seeing such poor productions from African studios as they do now. Perhaps, people will be seeing consistently developing film productions and industry as there have been in India over the past four decades and into the future.
When I look at the landscapes, panorama, of the East,and all the dreamlike warm aura the flow with, I wonder if Africa hasn’t got enough to get some, do more and give more happiness and peace to Africans and the rest of the world.
Of course no country can really be independent. We can only be liberally inter-dependent at best. Just as governments, film companies borrow from other countries and peoples to develop, produce and distribute profitably.
In terms of standards of living of collective population, organization of society and advancements in science and technology, Africa is behind the rest of the world, even with our second largest population and geographical space size accolades. If the West, the “The First World”, for all it seems to be, is look so much to the East for development in almost all sectors than anywhere else, where are Africans to look? What are Africans to do?
Instead of chasing after the West most of the time, only to sink in quick sands at the “globe’s doors”, perhaps, African countries and African film “industries” need to galvanize as India and “Bollywood” and other Eastern countries and their industries, to flourish greatly independently. And of course African films and film industries could even be better than them and the rest from time to time.