Message films in Africa: A look into the past

Abstract

Message film-making has characterised much of films produced in post-independent Kenya. The country produced very few films in the 1980s, when indigenous film-making actually began to take root. Liberalisation of the economy, embracement of the digital technology and democratization in the 1990s paved way for a more stable film culture in the decade. A more promising growth of the film industry has been largely witnessed since the turn of the 21st century. Through this period, I note a strong tendency to produce films that are loaded with social messages deemed urgent and important to the target audience. In making these films, the film-makers hope to make a positive impact in the lives of the target audiences. These films tend to valorise the message, sometimes, neglecting the basic filmic codes, a practice that renders the films less entertaining. This endangers the growth of the industry since local films find very stiff competition from foreign films that are common on Kenyan screens. This study therefore investigates possible roots of message film-making in Africa that directly influence the tendencies in Kenya by making references to other African countries' film experiences. My assumption is that Kenya's cultural experiences are shared by other African countries.

Sudanese Cinema: Past, Present and Future

“…Consequently, from a production point of view, the Sudanese films and cinema industry were influenced by the diversified backgrounds and Indigenous forces. Similar influential factors were reported in African countries (Diang'a, 2016). As a result, Sudanese Cinema has a limited success in improving the awareness of the reality of Sudan, which can be described as partial and modest consciousness when compared to the effect and contribution of poem, story, novel, theater, music and singing (Shaddad, 2016).…”

Opportunities and Challenges: Hollywoodisation and Asian Cinema’s Ascent

“…J. Russell Orr once argued that a successful movie reaches a wider audience than any newspaper or book, except for the Bible. Considering this perspective, the colonizers regarded film as the most influential tool for global communication, capable of exerting immeasurable moral and emotional influence on individuals of all ages [4]. In the mid-twentieth century, as countries in Africa, Asia, and Latin America gained their independence, they began to explore their own cultural identities in the pursuit of freedom, equality, and independence.…”

“…This phenomenon is known as cultural colonization of film, as it is similar to the impact and change of colonialism on culture. Consider Edward Said's reference to the concept of 'cultural imperialism' in his book Culture and Imperialism, where he states that the Westerners had a misconception regarding the influence of imperial conquest on the formation of their cultures; they continued to believe in the superiority of their own culture over others [4]. It has been argued that the global film industry is now largely influenced by the American film industry and that American foreign policy is a democracy that spreads Western culture [5].…”

“…However, In the contemporary cultural landscape, foreign films frequently take inspiration from Hollywood movies, resulting in adaptations and reinterpretations. Despite being adapted to the local culture, these films frequently fail to encapsulate their own cultural essence, instead, reflecting a core deeply rooted in American values [4]. In Asia, notable parallels emerge, with India's film industry famously known as "Bollywood," Hong Kong's as "the Hollywood of the East," and South Korea's as "Hallyuwood."…”