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Anthropologists began to study media relatively late in the history of the discipline. Research on media -in particular, mass media -tended to be associated "with the societies most anthropologists came from, and thus with the self rather than the other" (Krings 2015, p. 5), and except for a few rare exceptions, "it was not until the late 1980s that anthropologists began to turn systematic attention to media as a social practice" (Ginsburg, Abu-Lughod, and Larkin 2002, p. 3, also Spitulnik 1993). This was true even for older media, such as songs, dance and theater, since those topics were associated with the other late research focus of urban anthropology. A similar situation can be observed in the context of African studies, where scholars began to concentrate consistently on the analysis of media only during the 1990s, in response not only to processes of "deterritorialization of culture" (Gupta and Ferguson 1992) -the challenge to the reified boundaries that characterized functionalist approaches -and to the ongoing disciplinary shift toward an anthropology of "the present" (Fox 1991), but also as a reaction to changing conditions in the field. As Tilo Grätz underscores, during the 1990s "the proliferation of new media institutions such as independent newspapers, radio and TV stations … brought about a new media landscape in many African countries" (2011, p. 152) and researchers were compelled to account for the transformations that were taking place in front of their eyes.
Anthropologists began to study media relatively late in the history of the discipline. Research on media -in particular, mass media -tended to be associated "with the societies most anthropologists came from, and thus with the self rather than the other" (Krings 2015, p. 5), and except for a few rare exceptions, "it was not until the late 1980s that anthropologists began to turn systematic attention to media as a social practice" (Ginsburg, Abu-Lughod, and Larkin 2002, p. 3, also Spitulnik 1993). This was true even for older media, such as songs, dance and theater, since those topics were associated with the other late research focus of urban anthropology. A similar situation can be observed in the context of African studies, where scholars began to concentrate consistently on the analysis of media only during the 1990s, in response not only to processes of "deterritorialization of culture" (Gupta and Ferguson 1992) -the challenge to the reified boundaries that characterized functionalist approaches -and to the ongoing disciplinary shift toward an anthropology of "the present" (Fox 1991), but also as a reaction to changing conditions in the field. As Tilo Grätz underscores, during the 1990s "the proliferation of new media institutions such as independent newspapers, radio and TV stations … brought about a new media landscape in many African countries" (2011, p. 152) and researchers were compelled to account for the transformations that were taking place in front of their eyes.
The first generation of Ethiopian filmmakers produced significant fictional and documentary films inside Ethiopia from the 1960s to 1990s, but access to these films has been limited. Drawing on interviews with filmmakers, Kassahun and Thomas analyze this early production in its cultural context and compare it with Haile Gerima’s internationally celebrated Harvest: 3000 Years (1975), produced in the United States, to complicate the meta-narrative of Ethiopia’s film history. In the context of debates by intellectuals about art and politics, early Ethiopian filmmakers participated in an internationally conscious Ethiopian modernism across the political revolutions of 1974 and 1991.
This study aimed at examining the current film festivals and filmmaking impact on the process of film company building process in Ethiopia. Thus, in this study qualitative research method was employed. Both primary and secondary sources of data were gathered where the primary data was collected through key informant interviews having 19 film maker participants of the film industry, Directors cinematographers including academicians in Ethiopian Universities in the field of film and Theatre Arts. The secondary date was obtained through books, articles and journals. The data was analyzed by using document and thematic analysis techniques. The study found out that limited or independent film festival preparation, frequent coping from western and European film festival ideas, ineffective film production systems, loose producers company unity, lack of government support on the national film festival, an increase in film festival conspiracy, the financial, human and material constraints, acceptability gaps, the issue of departure film making action and disintegration weakened the unity and strength of the Ethiopian film festival as a whole thereby pretention obstacle in the film company building process in Ethiopia. Finally, this study recommended that strong Film company institutions are mandatory to gather crumbled Ethiopian film festivals and strength which will in turn amalgamate film corporation & film company formation process in Ethiopia.
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