by Mbye Cham
For African cinema, the final decade of this century has been a mixed bag of promises, hopes, achievements, and continued struggle and frustration with the same set of issues and challenges that have always confronted filmmakers throughout the continent. Hopes and projections of political and economic renewal and transformation under the aegis of World Bank-mandated adjustment programs, and other liberalization measures, and the positive fall-out that these were expected to have, especially on the cultural sector, actually turned out to be disastrous. African filmmakers began to experience the painful effects of budget cuts and the gradual loss of both external and internal funding for production. At the same time, the slow but orchestrated disappearance of movie houses, one of the sad occurrences of the 90’s, began as privatization made purchase possible by local entrepreneurs who, in time, converted these into warehouses for sugar, rice, cement, and other commodities. These conditions contributed to intensifying the perennial crisis of production, distribution, and exhibition of African cinema on African soil, so that barely three years to the end of the century the lingering shadows of this crisis continue to hover and obscure the few notable achievements of the last decade.
Mbye Cham is Associate Professor of African Studies at Howard University. He has published numerous articles on African film and co-edited Black Frames: Critical Perspectives On Black Independent Cinema (MIT Press, 1988) and Ex-Iles: Essays On Caribbean Cinema (Africa World Press, 1992).Cinema,Privatization,South Africa