Before diving into this, I want to be clear: this is not a complaint. I chose this path willingly and remain deeply passionate about my work. The complexities and difficulties I’ll discuss are part and parcel of a job I love and a field I’m committed to. My goal in sharing these reflections is not to whine, but to offer a candid look at the realities of observing and analyzing this exciting, though messy, complex landscape of uneven activity across 54 (+/-) countries, each with its own unique challenges and opportunities.
There’s an undeniable buzz around African creativity right now. I’ve often cribbed architect and scholar Lesley Lokko’s framing of the continent as a “laboratory of the future.” This increased attention brings with it a surge of activity – new initiatives, international collaborations, and a flood of announcements that promise to “reshape,” “revolutionize,” or “redefine” the landscape of African filmmaking (or the entire “screen ecosystem,” for lack of a more specific term).
But as I sift through this daily deluge of information, I’m struck by a growing sense of unease. The “noise” – and that’s precisely what it often feels like – is becoming deafening. Press releases, social media campaigns, conferences, and summits proliferate at a dizzying pace. Each claims to be more groundbreaking than the last, each promises to be the key that will unlock the vast potential of “African cinema.” The problem is, there is no singular “African cinema” to unlock.
What exists instead is a vastly uneven, fragmented landscape spread across dozens of countries. South Africa stands as the lone example of what might be called a structured film industry, with a handful of others in second place, still evolving, each with its own strengths and challenges, the latter seemingly overwhelming the former.
But for most African countries, the reality of filmmaking is far removed from the grandiose narratives that dominate international discourse. In some, a year’s entire cinematic output might consist of a handful of independent productions, created against overwhelming odds by passionate, determined people and organizations, often without any governmental or international support.
This fragmentation isn’t just a challenge – it’s the defining characteristic of filmmaking across Africa. Yet, in the clamor of announcements and initiatives, this crucial fact often gets lost.
Sigh.
The “Noise Dilemma”
At the heart of my growing disillusionment lies what I’ve come to call the “Noise Dilemma.” It’s become increasingly prevalent and problematic this year, and I think it will only worsen in the near future, drowning out meaningful discourse and obscuring the real challenges and opportunities in filmmaking across Africa.
This “noise” isn’t just a metaphor; it’s a tangible, overwhelming flood of information, announcements, and claims that bombards anyone trying to understand or engage with filmmaking on the continent. It manifests in various forms:
– Every day brings a deluge of press releases, each promising the next big breakthrough in African cinema. New production companies, streaming platforms, film funds, and training initiatives are announced with frequency. While some of these may indeed be noteworthy, the sheer volume makes it challenging to distinguish between substantial developments and mere publicity stunts.
– Film conferences, summits, and forums focused on African film and television environments seem to multiply. While the intent behind these gatherings is often genuine, their proliferation leads to a kind of “conference fatigue.” The same talking points are recycled, the same faces appear on panels (myself increasingly included, I must admit!), and real outcomes remain elusive.
– The language used to describe projects, initiatives, or individual accomplishments has become progressively exaggerated. Everything is “groundbreaking,” “revolutionary,” or set to “redefine African cinema.” This inflation of language not only strains credibility but also sets unrealistic expectations.
– The rise of social media has given everyone a platform, which in many ways is positive. However, it also means that unverified claims, rumors, and self-promotion can spread rapidly, adding to the overall “noise” level.
– The uneven nature of filmmaking across Africa means that developments in one country are often incorrectly presented as representative of the entire continent. This creates a distorted picture and adds to the overall confusion.
Potential Reasons for the “Noise Dilemma”
Let’s try to understand why this “noise” has become so prevalent. Several factors contribute to it:
– In many African countries, filmmaking operates in an environment of extreme scarcity. Funding is limited, infrastructure is lacking, and opportunities are few. In this context, hyperbole almost becomes a survival strategy. Filmmakers and organizations often feel compelled to exaggerate their achievements or potential to attract attention and resources.
– The broader narrative of “Africa Rising” has created heightened interest in the continent’s creative sectors. While this attention can be positive, it also creates pressure to present everything in the most optimistic light possible, often at the expense of nuance and realism.
– The digital revolution has lowered barriers to entry in filmmaking and communication. While this democratization has many benefits, it also means that the volume of content and claims has increased rapidly, not always matched by an increase in quality or substance.
– In many scenarios, there’s a lack of established industry structures, reliable data, or credible industry press (we’re getting there via African Film Press, an alliance between Akoroko, Sinema Focus, Kenya, and What Kept Me Up, Nigeria). This vacuum is often filled by unverified claims and self-reporting, contributing to the “noise.”
– Many international observers, including media and potential investors, have a limited understanding of the complexities of filmmaking across Africa. This can lead them to amplify narratives that fit preconceived notions or favor higher-profile voices, rather than seeking out more nuanced perspectives.
The Consequences of the “Noise”
The implications of this “noise dilemma” can be far-reaching and more profoundly concerning than one might immediately imagine:
– Perhaps most critically, the “noise dilemma” entrenches and amplifies the power of already established voices in shaping the narrative around filmmaking across Africa. Select groups of established players (“status quo gatekeepers”) wield disproportionate influence in shaping perceptions of African filmmaking, both domestically and internationally, thanks in part to having easier access to major international press outlets and industry publications. As a result, international (and local) audiences and industry players develop a limited understanding of the true diversity and complexity of filmmaking across Africa.
– Related to the first point, in the clamor to be heard above the “noise,” it’s often the loudest voices – not necessarily the most innovative or representative – that get attention. This can drown out new, progressive voices that don’t have the resources to amplify their message.
– The constant parade of glossy, decontextualized headlines obscures the very real and persistent challenges facing filmmakers in most African countries. When decisions about funding, collaboration, or policy are based on hype rather than reality, it can lead to misallocation of the already scarce resources available to the screen sector.
– For those of us closely observing the phenomenon unfold and expand, the gap between rhetoric and reality can breed a deep cynicism. This cynicism, if unchecked, could undermine genuine efforts at progress and collaboration.
– The “noise” can create false equivalences between vastly different film environments. A new initiative in a country with barely any film infrastructure might be presented in the same breath as developments in more established markets, creating unrealistic expectations and comparisons.
– The constant barrage of announcements and claims exhausts the attention of potential partners, investors, and audiences. This “boy who cried wolf” effect means that even genuine, key developments risk being overlooked.
Navigating the “Noise”: A Personal Challenge
Sorting through this “noise” has become an increasingly daunting task. It requires a constant, exhausting vigilance. Every announcement must be scrutinized, every claim fact-checked, every success story examined for its broader applicability.
The “noise” doesn’t just make our job more difficult; it fundamentally changes it. Increasingly, we find ourselves in the role of detectives rather than journalists, sifting through layers of hype and exaggeration to uncover the kernels of truth beneath. It’s a role that’s as frustrating as it is necessary.
Moreover, we’re acutely aware that in reporting on these issues, we risk contributing to the very “noise” I’m critiquing. Every article, every social media post, every public comment is a potential addition to the cacophony. This creates a constant tension: how to shed light on important developments without adding to the overall din?
The Path Forward: A Manifesto
Addressing the “noise dilemma” is not just about cutting through the clutter; it’s about fundamentally changing how we discuss, report on, and engage with filmmaking across Africa.
As I see it, several approaches are necessary going forward:
– We need to move away from blanket statements about “African cinema” and towards more nuanced, country-specific or region-specific analyses. This means resisting the temptation to extrapolate localized developments into continent-wide trends.
– As observers and journalists, we need to be more rigorous in demanding evidence and substantiation for claims. This might mean fewer “breaking news” stories, but it would result in more reliable, meaningful reporting.
– There’s a pressing need to look beyond the usual suspects and amplify voices from less visible filmmaking communities on both sides of the camera, across all roles. This isn’t just about equity; it’s about getting a more accurate picture of what’s really happening across the continent.
– Every announcement or development needs to be contextualized. How does it fit into the broader landscape of filmmaking in that specific country or region? What are the potential limitations or challenges?
– Furthermore, not every announcement or development needs to be reported! Part of our job is to discern which developments are truly worthy of attention. By being more selective and providing deeper context, we can help cut through the “noise” rather than contribute to it.
– Rather than just reporting on new announcements, we need to follow up on past claims and initiatives. What happened to that “revolutionary” new fund announced last year? Did that “groundbreaking” collaboration actually lead to any films being made?
– There’s a need to promote greater “industry literacy” among all African stakeholders – from filmmakers to policymakers to international partners to audiences. This means creating and nurturing a more refined understanding of the complex, varied realities of filmmaking across Africa.
As I navigate this “noisy” landscape, I’m reminded daily of the weighty responsibility we carry as observers and chroniclers. Our task is not just to report, but to illuminate – to cut through the “noise” and shed light on the real stories, challenges, and triumphs of, broadly, screen storytelling across this vast continent.
It’s a daunting task, often overwhelming and frequently disillusioning. And despite the challenges I’ve outlined, it’s also an absolutely vital one. It’s this belief that keeps us going, even on the most challenging of days!
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