FESPACO

Motion picture technology developed at the dawn of the 20th century, just as the formal colonization of Africa was launched at the Berlin Conference of 1884–1885. While it took a few decades for cinema houses to spread in West Africa, by mid-century the colonial administrations began to use film as a means for conveying colonial culture to African subjects. For the British and French colonials, film was a means to shape public opinion. Both British and French colonial administrations criminalized indigenous filmmaking for fear of the subversive potential of anti-colonial messages—film communicated in one direction only. When West African nations became independent in the late 20th century, these restrictions vanished and Africans began to make films. This process played out differently in Francophone Africa than in Anglophone countries. France cultivated African filmmakers, sponsored training, and funded film projects. Talented and determined filmmakers in Anglophone Africa also struggled to produce celluloid films, but unlike their counterparts in former French colonies, they received little support from abroad. A significant number of excellent celluloid films were produced under this system, but largely in Francophone Africa. Though many of these filmmakers have gained global recognition, most remained virtually unknown in Africa outside the elite spaces of the FESPACO film festival and limited screenings at French embassies. Though West African filmmakers have produced an impressive body of high-quality work, few Africans beyond the intellectual elite know of Africa’s most famous films. This paradox of a continent with renowned filmmakers but no local film culture began to change in the 1990s when aspiring artists in Nigeria and Ghana began to make inexpensive movies using video technology. Early works were edited on VCRs, but as digital video technology advanced, this process of informal video production quickly spread to other regions. The West African video movie industry has grown to become one of the most prominent, diverse, and dynamic expressions of a pan-African popular culture in Africa and throughout the global diaspora.

As a transnational cinema event, the release of Marvel Studios’ Black Panther (2018) is arguably a monumental moment in the African experience of cinema. Coincidentally, this is followed in 2019 by the 26th edition of the bi-annual festival of Pan-African cinema, FESPACO, which will mark fifty years of the festival’s existence. In addition to the programme of screenings, African filmmakers, critics, theorists,
among others, are expected to gather in Ouagadougou to engage with issues of memory, identity and the economy in relation to the idea of a sustainable and diverse Pan-African cinema. These issues have long been prominently placed on the agenda of those concerned with African filmmaking. That they remain a preoccupation of current debates, suggests their persistence, and perhaps, an urgent need for these
debates to move beyond the metaphorical polarities of ‘dog eat dog’ and ‘dog eat nothing’. These ‘notes’ are therefore, in anticipation of new perspectives that would shape the futures of African filmmaking. Importantly, a perspective will be sketched to help frame an approach to the idea of Pan-African cinema as a global and transnational economy – cultural, financial and ideological.

Keywords: African film, Black Panther, Pan-African cinema,
FESPACO, Nollywood, Wakaliwood.