The African e-Journals Project has digitized full text of articles of eleven social scienceand humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. 'In the book on the history of tre in Africa is another such book. the cinema quickly moved from region in many anthropological studies and tation to their cultural history. He helped in 'veritable carnivals. This medium has come to mean so eted. sions. Sembene Ousmane. referred to by Ogunba and Irele as stupendous influence on the people across Sembene Ousmane knows this. designated as such cultural festivals. Theatre in subregion. While people to the centre. These cultural expres- have proved to wield such momentous and sion has now taken its own coloration. swift as it was telling. its relevance in the totality of cultural mani. this part of Africa is terra Africa. may be said to tions and political choices as the medium of sub region. so that this the periphery of the cultural life of these lately in studies dealing with performance cultural expression isiimited in scope. otherwise. has won- dealing with some of these artistic expres. Bakare Traore's book. would restrict their artistic manifes. (African contemporary artistic expression deals with filmmakers) they have cleared the path with But while this subregion has known many determination and a youth spirit'. This is a region that is abundantly cinematography. multimedia and defines its space within this larger political many things to so many people in this sub- polyvocal cultural events configuration. its arrival. a collection of essays on ancient and expressed in ethnic multiplicity. film policy and the development of the AFRICAN CINEMA ONOOKOME OKOME T here are many rich cultural has upgraded from its folk root to the height ethnic line. What the Nigerian state. amples exist everywhere in the West African early days. In spite of their age. Such ex. restricted to a defined ethnic unit. continent. derful recollections of this medium in its sions. The Egba (Yoruba). incognita. none of these festivals looked like a virgin area of artistic expres- an Anglophone state. its significance is the grand aesthete of this medium. These multifac be limited in scope as each ethnic group cinema. religious affilia- events in the West-African of academic contemplation. cultural divide. Black Africa Theatre is one major example festation is not in doubt. Oyin Ogunba and Abiola Irele's Thea. Like no artistic expression before have been recorded in this stance.' a phrase which Bakhtin . This movement was as and theatrical shows. for in. therefore. pioneer of Afri. In 1961.A. The subregion regulate what was shown to the local popula. France inaugurated the most to write-over these intimidating colo. 'Nowadays.the fact of our French West.I. As there were two distinct kinds of colonial control any strain of 'undue' re-interpreta. The French were quite liberal sums up this situation when he says the Laval sponse to this medium has been enthusiastic. France took on a total new attitude to the cinema policy or the other in place. stifled during colonialism. The 1934 La Decret West-African subregion had one form of Laval was therefore an after thought.' meaning that effects on the development of the cinema decree was the direct result of certain anti- African cinema is the last to develop close industry and French West-Africa. Indirect rule did 1930s in French West-Africa. the me. This is the cinema which Clyde Taylor French system of indirect rule has telling cree.minimise the creative roles taken by Afri. This organ was set up to help inde- tice and other entertainment outlets. African cinema. Before long it from the French cohere simply with the ipdi. the Laval refers to as the 'Last cinema. which was clan- duction began petering out. effective colonisation. judged to be too turbulent by initially brought to the West-African the French had no policy of producing films the colonial administration. upon the subcontinent. stance taken by a small class of people who British had established the notorious. This liberal attitude the French new wave filmmakers. according to him. Consortium Audio-visual International nial policies which regulated cinema prac. 'Unlike the Brit.point out that long before 1934 when the Vantier's film. Because there France.not have any need for separate legislation for same film school where Nigeria's Ola can cinema. The first film that suffered cen- ter the introduction of this medium into this cans in such productions. Under became clear that there was the need to rect rule system. for instance. Chris the subregion added to this. cartels distributed and exhibited their films implementation of a law in 1934 called La manifestation of the attempt to stifle the in the West-African subregion. Sembene Ousmane. because colonial authorities and states of the qualifies for the colonies. the discussion of tion of African history and culture from a rapid acceptance of this medium he makes cinema development follows the colonial critical African perspective. So which are lingering today. The fear that this trend might negate the ticipation of at least one film from us'. Pauline rewrite how cinema should operate and how cans as Ftench as possible. This sudden change in policy was not uncon- 47 . the euphoria which attended its intro. about the regulation of the cinema industries decree was . Diawara aptly British would put it. It is significant to sorship under the Laval decree is Robert -region. development of cinema culture in post-colo- African filmmakers sought first and fore.It is for this reason that I argue. This assumption was that the popula. who had colonial units. prominent far. As Diawara puts it. the sented. The need to control and regulate the content pendent African nations to develop their cin- of films made in Africa was a direct way to ema industries.rily with the content of films 'shot in Africa'. young Africans.. a new provide a false situation of calm in which among this small dissident group of film- cultural fact has emerged . Marker and Alain Resnais in 1955. Africa 50. this repressive turn of this decree. the so-called father of existence in the 'movies' or the flickers as the as French citizens and their capitals as satel. 'The The second film. which sought to make Afri. Not long af. Independent artistic movements in Ordinance of 1912'.Africans thought of themselves makers is Jean Rouch. it served only as a pretext to very was little control over what kind of films was ish and the Belgians. Vieyra.. including Jean Rouch. lites of Paris. The assumption. there practice which Britain and France instituted favour of the colonialist discourse of Afri- is not a single film festival without the par. to be a West-African country to the other. Individually our re.that the Laval decree was concerned prima. The French system of indirect rule has telling effects on the develop- ment of the cinema industry and French West-Africa.). West. more than one way to make this possible. some of which are lingering today. That the Laval decree that were especially intended for their sub- tion and exhibition cartels held the captive concerned itself with 'the creative role by jects in Africa. this to say of the Laval decree: 'the rule was its sells. (C. was also denied beyond the glamour of the silver screen. nothing was done to design to postpone 'the birth of Francophone dium has grown tremendously. The only decision made by market spell-bound for a long time. and a critical Laval decree was instituted and enforced. And legislations enforced in France automatically permission to film Africa. their own country'. the right to film subregion. nial era. a graduate of Institute d' Hautes people of the subregion ought to be repre. the purpose of which was to creative potentials and the emergence of an space for the development of an indigenous control films that were shot in Africa and to independent cinema industry in Francophone West-African cinema industry. West-Africa. makers. and inevitably accepted the content tion of the colony was one with that of practically never applied against French film- which the product brings to us. believed by many filmmakers almost frenzied in some place. African ethnographic films. European and American distribu. the destinely filmed in Ivory Coast in the 1950s. For quite some time after of this period. is an evening of the cinema industry in West-Africa. was that the French colonialist did Etudes Cinematographiques (IDEHEC). These Africans in the making of films' is a clear France concerning film in the colony was the These policy options have had telling impact on the devel- opment of the cinema industry in West-Africa. The phrenia which brought about the Laval de- school.that got-shot down by this saw beyond the glitter and gold of the silver Theaire and Public Performance Regulation decree was Les Statues Une Aussi made by screen. some of colonial slant in filmmaking of the 1920s and links with its cultural and political roots. This was not in obvious when he declares. From one in the colonies. The have had telling impact on the development very crux of colonialism provided the schizo- cinema. leaving little Decret Laval'. These policy options cans. was one of those who looked the colonies because it was assumed that all Balogun trained in Paris.' Jean Rouch himself has accepted the medium and the product which tion.I presume. in the last thirty years or so. The authorities in West-Africa. In this connection. With more than 10. Owing to the dedication of its or- consolidated. a radical tion of Fespaco. argu. It has spate of non African also opened up seri- Africanists whose ef. Debrix had worked in In its early years of existence. Panafricain du Cinema de Ouagadougou. Jean-Rene Debrix was a boom in everything . restricted to French West-Africa.1993 and 1995. via 'the changed since Debrix's death in 1978. is the access which his into existence in 1969. almost solely supported by the French gov- trend upon which future development was ment to the top position in the C.the cinema in this subregion. proved ernment. to use Frank N. although I must say that they began the IDEHEC as adjunct director. graphic filmmaker. Rouch. appointed director of the newly created to the attendance boom at film screenings. film production.instance. searches into the 'African mind'. Africa took a new turn with the inauguration delegates.something worthy of emulation. the exotic in African cultures to the development of Francophone cinema organisational lapses here and there.' 'the his ethnographic films in Africa.Fespaco.' For Ukadike. be.' However. and filmmakers ence which his role in French West-Africa French government through the C.A. extraneous critical criteria neglect of the Laval decree.A. The 1995 edition was quite exqui- The development of cinema in Francophone site. He did say that there were assessment.000 Two names are consistent in the early sub. There was. especially critics tious about the influ. ambigu.' to show for the devastated entertainment thing denied Africans under the pernicious Today. The scope of its finances has been enlarged.I. the Nigerian Film Corporation (NFC) made were brought to bear upon a set of cultural the point that Fespaco is a very significant experiences that is not European. in with Malam Breudam Shehu at the 1995 edi- cause like most European attitude to non. The 1995 edition has a Jong list of earliest step towards a courageous portrayal appointment of Debrix. The role of both filmmak. but to Af- 48 . bution to Francophone filmmaking.nected with the need to keep up with what that Rouch's lasting and most telling contri. Ukadike and Diawara agree Ouagadougou is a good case in point.from sales of sou venir Jean-Rene Debrix. He be. 'only five African and two European Francophone cinema industry. of telling the African story. Before the ing up. Black African Cinema 'Rouch the sole aim of producing newsreels and English speaking West-Africa have discov- and his ethnographic film expedition to Af. was to help develop indigenous collaborative work with Africans gave to 1969. Debrix changed all that. he is of the opinion that Fespaco is Teshome Gabriel argues that this slant is selection of what script to finance.policy of the French government has not prizes at Fespaco. In Ukadike's The major criticism of Debrix's contribution cultural event. recently more countries from paedic book. African cinema is. as ambiguous as the effort of Jean Rouch in ganisers more avenues of finance are open- ism'. more articulate and fine-tuned re. ous debate on the fort at defining the role of African film- positive image of the makers in shaping continent and its peo. the emphasis of the such support. the Managing Director of European world. a very serious man- cus the role of Jean ner. but by were emphasised in ethnographic films. the future of Afri- ple is worthy of note. not in the came the lord of the creative choice.I. the biennial film festival The significance of Fespaco is therefore not alise.A. cinematic record of marketing and dis- Andre Gibe's travels tribution in the in the Congo'. Be. Since West-African then there has been a subregion. In a discussion in colonial filmmaking in West-Africa. it While some critics.A. Fespaco has done in portant to call into fo. 'As a potent organ of colonial.I.ered the importance of this cultural festival to rica called into question the whole tradition ing that the film will prove to be a useful way the continent. This was some. the Fespaco organisers have expanded industries in French West-Africa could work Laval decree. In a very signifi. The Nigerian contingent. This While I think it is im. is necessary to be cau. From the deliberations of Fespaci (Federa- was going on in the former colonies. ers in the development of Francophone West.documentary.I. A number obvious in the early films of Rouch. jectives. Debrix helped the development of Fespaco . Obviously the potential African filmmakers to work the countries participated in the Festival French realised that the atonement they wish technology of filmmaking. anon.Francophone Africa develop film units with West-Africa. The of English speaking African films have won later. to say the least. ca's culture and politics. the pan-African scope of the Festival's ob- in their favour in more than one way. is that he arrogated so much to himself in the and large. growing tendency to personalise and fiction. extra-ordinary. for of ethnographic filmmaking. When it began in C. has attended the last two editions of ethnographic filmmaking represented a stage cant way. the city of Ouagadougou witnessed version of the Laval decree: Jean Rouch and of the C. fore this appointment. al. In 1963. His appoint. Burean du Cinema at the Co-operation. indeed tion Panafrican de Cineastes). Ukadike's phrase. the ethno- OuMiianc Sembene(Left) and Idrissa Ouedraogo (right) Courtesy Of Christine Delorme. Fespaco was ous. of the African reality was by Mare Fespaco has no Allegret's Voyage on doubt energised Congo(1927).Debrix's time at the co-operation. This cautious to help post colonial governments of Fespaco presents and represents only French note is well recorded in Ukadike's encyclo. was from Anglophone countries have argued that filmmaking has engendered. Fespaco came though the public reason for setting up the African filmmaking. indexical. ema with the release of Aiye in 1979. ture of colonial attitude to the development of the cinema in Anglophone West Africa. In the history of the film in Nigeria. we have especially Ghana and Nigeria. simply because indigenous production was timing. and the short-comings of these nificant in the tableaux of the Nigerian cin. the theatre of the southern Yoruba country However. at its foetal stages. In addition. is only as. tries within this block. It film was screened. as complex interplay of the distribution. not of audience responses vis-a-vis the content. The exist. began when the age-long practices of came into existence. that have been promulgated which may have opment of film in Nigeria and on the Nige. but it is clear that a new apprehen- encourage film production in her colonies. of course. to take indigenous habits into consideration. exhibi- started there and was painstakingly nurtured the first phase of the film in Nigeria. I wish to designate this to say that a film culture is born partly out of only beginning to take nominal interest in the period as the beginning of Nigerian films: for the perceived role and place of the film industry. ods empower (or disempower) this medium gun to encourage film production. and it is this relationship that partly colonial French West-Africa. tions of film and cinema in the cultural land- policies. but also became indig- The case of the development of the cinema enous infrastructure did not exist. scape . 1903 to the late 1950s. Nigeria presents an interesting pic. The cinema industry is not organ. 1912. Colonial Britain did not identified. I will exam. enacted since 1912 when the first policy film. This started in the mid-70s and became sig. been designed to further the aim and aspira- rian film. Infrastructure cultural patterns in the body of the Nigerian determines the cadence of film production. Let us tion and production of films and the pattern by the governments and people of the coun. Suffice it tion and exhibition. ond period began in the late 60s and then political contingencies of their various peri- Some Anglophone countries have only be. It may have benefited French I have identified the period in which the first has its own film culture derived from the West-Africa most. during this period may. established itself as an emergent film tradi. My analysis of these policies and how the industry in English West-Africa is different. They are: the Theatre and public Perform- rian took off. distribu. was transformed into the medium -of film. film as a cultural fact began ence of the industry in the different nations. The historical precedence is. and productional criteria. is weak and finance none existent. iconic. be sourced promulgated to regulate. and the Nigerian tent of all the policies on film that Nigeria has belongs to the crucial period of the Nigerian Film Corporation (NFC) Decree (1979). there are other cultural documents ine the impact of these policies on the devel. tion in the 70s with the release of Kongi's would soon make this point clear. ematography Act (1963). it was from this period that we began to feel within a given society by individuals living ised on a sub-regional level as it began in the tempo and temperament of indigenous within it. of partially in that of the first period that I have the film environment. The sec. by its ance Regulation Ordinance. Each of these periods of the film in Nigeria These are: the Nigerian Enterprise Promo- On the location of the film Orun Mooru 49 . The third period which. film. ideology and ethnic peculiarity. very crucial. rica as a whole. The governments are Harvest in 1970. refer to this period as the crude era. encourage and shape makers. Here. too. sion of the medium and its potential in Nige. the Cin- I propose to discuss in some detail the con. course. The contingency of the production of films had three policies specifically designed and sured by the doggedness of independent film. but this is inevitable. Going by the Properly considered. tations. the 1963 Cin- submission of Mgbejume. underwent series of mu- ing the new industry for reasons to be dis. (1989). 'An Ordinance for the Better Regu- lation and Control of Cinematograph and Similar Exhibition and Purpose Connected There'. to be displayed unless been given. duced into the legislative council of Nigeria but the content. The 1933 Cinematographic Ordinance. 1933. (iv) The Censorship Board include the tion Degree No. depended more on the 20) was passed by the Council. Although this act failed to reach the these policies assumed redefined in many respects. of the government that which regulated the film environment during rian film environment. bias and in 1912. (iii) During the time films were being shown. ready to be intro- potentials in Nigeria. W'n one way or an (v) The Board was empowered to ap- In one way or another. to time C e n s o r s h i p been promulgated to cater for a viable enter- mother. This law. there was public resent.4 (1972). (viii) Owners of censored films have the Public Performance Regulation Ordinance right to appeal forfurther hearing. ronment which favours screen films and examine posters. government officials must be allowed in to ensure that there was no potential danger which might be caused by John Sekka (left) and the late Orlando Martins in the film Things Fall Apart produced by Calpenny fire. the Cultural Policy appointed by the Governor. he is or the opinion that in issued them. and the Copyright Policy (1989). these policies Committee. direction which each of Mgbejume tells us. (vi) Films and posters were not allowed potentials in Nigeria. therefore. Company. ered by the law. The first film policy was 'The Theatre and the growth and expan. Entitled. 20 was passed by the legislative assem. and 1964. in 1941. it was applied to both the Lagos Colony and the rest of Nigeria. However. since it was not passed into law However. ment over the idea of regulation and licens. Although Hyginus Ekwuazi contests the fact that the 1912 Ordinance Act was not passed 50 . the first Cinematographic Ordinance Act (No. Director of Education and tenotherpersons nication Policy (1987). approval had and direction which each of these policies assumed depended more on the ideological able entertainment envi- persuasion of the government that issued (vii) The Committee was empowered to them. the Mass Commu. these policies have points from time. 1944 legislative council according to Mgbejume. was 'proposed and published in the government gazette. and of 1912. the 1912 Act was ideological persuasion ematography Act is actually an advancement of the 1933 Cinematographic Ordinance not the first regulating document in the Nige. the early days of film in Nigeria. bias gated to cater for a vi. first in 1934 when it was radically cussed'. Among the provisions set out in this Ordinance were that: (i) It was unlawful to show films on unlicensed premises. but the content. according Onyero sion of the film and its (ix) Private home movies were not cov- Mgbejume. This Ordi- nance was the first in the industry to specifi- cally create a censorship board and a censor- ship committee to determine the kind of films that were exhibited to the local popula- tion. bly. (ii) Licenses were not to be granted unless government was satisfied about the suitability and safety of the proposed premises. tainment environment which favours the growth and expansion of the film and its Jm^have been promul. the 'first' Cinematographic Ordinance No. alien and incon. the documentary genre was favoured. Africans development in colonial Nigeria.' the Lagos and Ibadan Cinema Audience Sur- fetched to the aspiration of the local popula- tion. important variable in their deliberation. should com. into law. was (and still is) ambivalent. in fact. The Boards constituted shooting to editing and sounding. were therefore in. a to the life we crave for. brought further a film culture in the early part three such Boards. Indeed. feature (narrative) film. read from different positions of bias. the bias ema. Ostensibly. then. We have not totally years of age and goes on to point out the nance mandated that for a license of exhibi. stage plays (and sequential to the cultural roots of the indig. tortion of the Blackbody. vate or public morally. The Blackbody in How does one determine the 'fitness of peo- tion into the 1963 Cinematographic shows these films featured not as signifier of au. (Ekwuazi. audience. inadequate. and made it. in. Boards created at irregular interval. . the 1912 and 1933 which underwent muta. this Act glibly states. and conflict. but there being slanted to reflect the stance. As Ekwuazi points out in his study. 1991). A second problem is the criteria under which and with whom the films were made. the 1963 Cinematograph Act is a from these Boards. and why the Nige. in 1971 and 1977 would have ignored this featured only in significantly minor roles. and secondly. to point here that the research which Ekwuazi factory. from the very beginning of curity. An attitude to film icon apparent in the constituted Boards of 1959. the wholesale adoption gave it a biased the these conditions: undermine national se- imical to the even development of indig.the that: 'From scripting and directing. mani. senting the thought and opinions of persons laws passed in this country which regulated able to his ideological practice. The longer than five minutes to exhibit. a territory waiting to be inscribed upon. imbibed the film image as an approximation paternalism that such bias caused in the de- tion to e granted for any such performance. Although the Board is vested with the power practice which sought to further a discourse of censoring both domestic and imported pattern which favoured and legitimised colo. a critical examination of both within this practice was the pernicious dis. and issued by the direction of the govern- 51 . tonomous authority. It bears the imprints and pretensions of is no evidence to show that they surmounted and predilection of the producer (the CFU): colonial cinema in its operation and in the this problem that we stated here. he concludes the exhibitor incurred a penalty of N20 (then fictive interpretation that lacked any signifi. expose peoples of African de- Ordinances did not favour the even develop. The other part of the Ordi. The group constitutes more than These Ordinances removed the sphere of The Better Regulation and Control of Cin. sixty per cent (60%) of the total film-going actual production from indigenous peoples. potency.. entitled 'The Sociology of the Folkloric Cin- fested the latent political interest of imperial. both Ordinances were harsh on the inadequate in this society. ple' who ought to censor films meant for that their contents are not altogether differ. like the ones that came before. fitness of the members of this Board? that the 1933 Act was. If it is. exhibited only in • • ~H buildings as were duly became the vogue: that attitude which the 1971 and 1977. attitude is with us today. By ment of this attracted a fine of #50 (then (1984)1 undertook. the expedi. ema in Nigeria' show clearly that the major ist ideology . an improve- ment of the 1912 "Theatre and Public Per. through culture and encouraged parochial cinema global film culture. It became elitist. This section excludes certain From the reading of both Ordinances. Approval would not be given under The shortcomings of these Ordinances. there have been ad hoc solicited for scripting such stories ended up carry over from the legacy of colonial cin. religious and ethnic discrimination Nigeria. The implementation of these Ordinances and Ekwuazi illustrates the problem of such am- formance Act' For as Ekwuazi points out'. because rian Film Corporation Decree of 1979 be- colonial cinema was based on the ideological came inevitable. Otherwise. Supporting his claims with licensed for SUCH . Situated resident in Nigeria'. ematograph and Similar Exhibition and Pur. These fected the venue: by this. the attempt to that are produced and exhibited in Nigeria censored. I think it would be useful to look at cent to ridicule and contempt. The shortfall of this 1977 were made up of members over 40 performance. It is significant furnished to the licensing officer infringe.ormances. and those imported into the country. This Board is influence. term of reference is of course not lost to us. The vagueness of this entertainment. such as tainment arena. pointing out how these lation Ordinance' has two parts: 'The first of the development of film in Nigeria that loosely defined terms of reference could be which dealt with issues of license as it af. and encourage ment of all aspects of the film in Colonial the Act closely and show why it became racial. production policies were formulated over negation of significant approval of the local and above the heads of Africans for whom population for which it was adapted. bourgeois. Apart Even when traditional African stories were No doubt.' someone has ventured to say that it is a copy the Board would grant a film screening li- of the Cinematograph Act of England. patrons of Nigerian Cinema are found among formance Ordinance' and 'An Ordinance of teenagers. However. produced ency to develop only those facets of the prise 'fit persons and organisations repre. empowers the Minister of Information to effectively delimits the Board's sphere of constitute a Board of Censors. thereby making it the first of such industry that the colonialist thought favour. two thereafter put in the position to censor films classes of cinematographic films from being points stand out clear. cence. there is a portion in the Act which nialism. the implicit colonialist discourse therein biguous terms and shows the formation of "The Theatre and Public Performance Regu. biased readings were. films. First. Board. this Act. but as a vast untraversed public consumption? Who determines the ent. according to Ekwuazi. The content of 'The Theatre and Public Per. entitled 'Findings from entrenching the filmic image that is far- about N100) (1990:4). First. slant. in various guises. Ekwuazi makes this point when he asserts poses Connected Therewith' fostered this this age bracket was born in the film era . at least not when it tells about us. encourage illegal and scribed in both documents. Perhaps the point I should make here is map. that the Boards constituted for 1971 and equivalent of about N40) for each day of cant anchor in real life. its operation. But while these criminal acts. this included the cinematographic) could be enous population. early cinema in Nigeria demobilised its veys' and that of Onookome Okome (1990) Both Ordinances. These are short films that take no keep the local population outside the enter. 8mm films and 'any film imported. the whole complex velopment of the film industry and in the detailed description of the play was to be machinery of cinema as an image-making culture of the film audience. indigene took to the film image as some the University of Lagos study. induce or reinforce corruption of pri- enous film production. fact. I have argued elsewhere that as a the Censorship Board had no direct control means of reconstructing political. Perhaps the finest provision of the function January and December 1982. the establishment and mainte- colonial cinema and then set the pace by its nance of a national film archive. body which should take charge of this impor. the Corporation was inaugu. ple. This is especially so in a society censorship climate even more porous. these are laudable goals. therefore. It is equally amazing why the 8mm nificant progress. tableaux of the Nigerian film. In any case. it is hoped that it will in due course. production and the film industry as a film. serve its purpose. The 1979 Decree which set The call for restatement of government on Decree (Nigerian Film Corporation decree. assistance. Corporation Decree was laced with an enor. The evi. cultural over. since indigenous ownership of cinema exhibitions there was no moni (b) the establishment an maintenance halls. If we real. it was doubtful if they ment of cinematographic theatres by Nige. began setting up his film labo- a serious oversight or a deliberate copy of ance. A430). Ministry of Informa. Lagos. cause an increase in local films importation of film. a popular medium in Nigeria. the Nigerian source of the denigration of our cultural Film Corporation There is no doubt that the most outstanding value as recent events have shown. etc. They never had. this Act became only apiece of 'govern. fore engaging in this aspect of Furthermore. own agenda for indigenous film production provision of training and advancing the skills The vagueness of the term 'imported films' in Nigeria. the diplo. This is a Decree has made sig problem militating against the viable big gap. ratory in the 70s. ported foreign films for screening. cance of this provision places. It had to shed the appendages of assistance. situation was so acute that Sanya Dosunmu.a massive influx of foreign films which whole. four of the matic representative of any commonwealth tant aspect of our cultural life. Properly equipment escalated all to often. productional aspect of the film industry is the film is excluded from censorship. This provi- 52 . matter and the administrative machinery saw film industry as an indigenous form of enter. Besides. literary and cultural activities as mem. mous task. the Decree is a timely re-writing of the It is also noteworthy to point out that tFBs cil for Art and Culture. It would be recalled that the the dimension of distorted images encased in the 1963 Cinemato. a filmmaker. The signifi- nese businessmen in the film exhibition and industry generally and the conduct of re. negation of national security and may be a i o this end. 61. up the Nigerian Film Corporation settled this policy matters and the encouragement of the 1979. In and culture organised by the National Coun. Although it is not clear if the committed is rather tic consumption and for export. one films soared in the 70s and even the Nigerian (e) the acquisition and distribution of cannot but hold the opinion that this may well Film Distribution Company (NFDC) im. to its implementation. on a very distribution network and the activities of search into the matters pertaining to film comfortable place. including broadcasting and televi. Although it is not clear if this is the dence before us shows that the importation of attitude which the Corporation holds. tainment predated the 1979 seminar on film Undoubtedly. (c) the encouragement of production to increase the frequency of in ment paper'. ration under the leadership of Shehu Brendan stipulates the punish has seen to it that these infrastructural units ment of offences (a) the production of films for domes. And the Film Corpo- astly. the cultural dimension of AMPECA. Corporation has done anything to encourage mild. the provision that rated to carry out these functions. scientific or cultural body or the beginning. However. toring arm in the of facilities for film production. ed- experimental work of foreigners on our land. Apart from the resuscitation of Decree also made provision for the training was the culmination of the call to create a the place of the indigenous filmmaker in the of those engaged in the industry.ment of the federation or any state. the Nigerian Film the development of cinematography theatres society. functions are particularly noteworthy: the or foreign country. If we put this ing and advancing the skills and talents of the Corporation is that which emphasises together with the nefarious activities of Leba. The Decree enlarged lack or total absence of film production ised the potential of this film gauge in the the narrow interest infastructural units such as laboratories. filmmakers for the first time. them. n any case. group formation of iting studios. it would be necessary tion. of persons employed in the Nigerian film the setting up of a film archive. No. It did not by Nigerians of film through financial digenous film production be touch the average film goer or the exhibitor. and elsewhere. by Nigerians by way of financial and other sion organisation'. it film industry. full discharge of all or any of the functions such as ours where there is an acute lack of conferred on it under or pursuant to this documentation. and the The problems inherent here are enormous. the United Organisation this call was a recognition of the inadequa. about 80 per cent of total screen schedule between (0 the provision of facilities for train. p. the situation became rather pa. as it is thetic. From for film production. as the saying goes. film archives are indis- video machines and satellite dishes made the may be necessary or expedient for the pensable. the encouragement of educational. films. and other forms of assistance. establishment and maintenance of facilities or any organ of that organisation or any cies and failures of former legislations. The Decree indigenised. took cognisance of this. It also includes indigenous of business as he found out that cost of colonial Act failed to see. will justify money spent on lo had any input in the actualisation of the Act rian by way of financial and other forms of cal film halls by business peo- in this direction. and talents of persons employed in the Nige- that is kept outside the Board's power is a rian film industry. as the Board and its parent the provision of the Decree be body never exercised any control over the (d) the encouragement of the develop. are put in place. then this particular condition becomes graph Act to include specialists in perform. but he was soon priced out colonial cinema which the adopters of this bers of the Board. It must be added here that the influx of (g) the carrying out of such activities as and social history. rewritten Ihc place of film in Nigeria. but while I produced locally and internationally. 1992. It is also important to point out the NFC should fully take charge of the the place of the cinema industry in Nigeria's that the Copyright Law (Decree No 47 of Censors Board. For if the functions of the cultural life. the success re- document: a draft film policy. the Communication own rules of infringement is a negation of the Balogun's Black Goddess are some exam- Policy even specifies the role of the NFC: the centrality of the Board of Censors in the ples. this call has been forcefully put in a subregion as well as the enthusiasm of post- the level of implementation. the only legisla- light Ihe cultural. Furthermore. sion has not been quite put to test. While the that the secretary to the Board should come African nation has come near the magnitude 1979 Decree establishing the Nigerian Film from the NFC. the brains behind the 1979 Film Decree suggests among other things the streamlin. cultural means of articulating national differ- gerian Enterprises Promotion Decree of 1972. I find that the provisions outlining functions Colleges and Universities) where film clubs I have discussed the 1912. KwawAnsah's more than spell out the role of film in national that every zonal branch should determine its hove Brewed in An African Pot and Ola development. through the help came up with a near perfect master plan. a document and a realisation. the first right. In a significant way. Port-Harcourt and Yola. Only recently. and for the mobile vans should be encouraged. it has beenthemostpracticalandresult-onenied. this policy document riod. comprehen. Fespaco. as I have pointed out. They aredeclamatorily com. this Although I have argued here that the NFC festival has started the industry on the right pushed the film industry a step further. are in order here. of the organisational zeal of Fespaco. social and political values The development of the cinema industry in tion that carried within its written (theoreti- oi the nation. Kano. In fact. GR comments and suggestions are necessary at 53 . Many Anglophone films have won prizes Policy and the National Cultural Policy do no sive and well-meaning. and Africa biennially. In trying to correct the shortfalls of the 1963 and the indigenisation euphoria of the pe. has been able to establish and Federation (p. a cultural and the National Cultural Policy (1989) have rules. but the suggestion at international film festivals. especially the years beginning from 1985 to date. One or two colonial governments in the face of paucity corded so far in less than a decade far outruns comments. ing of the regulations of the Censorship Board of France and other willing international and its functions into one set of rules for the bodies. but the operational bases should the Nigerian audience. The reason. of resources and/or sheer neglect of this whatever gains the practice of the other two legislations could garner. exhibited. Of ence in the history of colonial practices in the framework is the 1979 Decree. There is no doubting the fact that the 1979 Decree which set up the Nigerian Film Cor- poration (NFC) began a new phrase in the history of the Nigerian cinema. Festival from December 9. Backed by the Ni. has to do with the fact that the Corporation has not set up its academy. Lagos. rica. it is essential that a definite West-Africa is therefore a study of the differ- cal) outlook a comprehensive unambiguous policy of censorship be inaugurated. no English speaking West- plimentary to the 1979 Decree. the establishment of zonal branches in event which calls attention to films made in similar content. Such an academy would. Anglophone films have also won prizes body that is saddled with the functions of scheme of things. But Corporation emphasises the creation. footing. the execution of the functions assigned to the NFC has carried forward the aspiration of Oumarou Canda (right) in L'exile (1981) this Decree. main- this has little effect on the product of the tenance and sustenance of structures within The functions which this policy ascribes to cinema industry in Anglophone West-Af- the film industry. Secondary. This bogus autonomy might at Fespaco meetings. 23). More than anything else. this point. certain laudable.12. I believe. Cinematographic Act. The NFC organised its first Film December. Until now. when operational. national in outlook. 1988) of Nigeria recognises the NFC are set right and realised in due course. 1963 and 1979 tor the NFC do not include the duties of should be encouraged and public screening legislations as they affect the development of censoring films distributed.lt has. I think gerian Film Corporation has tried to promote the industry. and of significant national films are done at regu- the film industry in sonic detail. move into the schools (Primary. For the lar intervals. Since this festival. So far. the Mass Communication the Board are quite exhaustive. the Ni- providing basic infrastrucutral facilities for even cause problems. the upgradement of the strengthen an important international sub- Both the Mass Communication Policy (1967) penalty stipulation for infringement of the regional film festival. at course. take care of training staff and other categories of workers in the industry. I presume. Besides. and The idea of the establishment of film socie. The extension of exhibitions have dealt with the first two as documents. necessary data for the judgement that the Nigerian Film Festival was understandably Censorship Board would base its wisdom. No- eligibility of the cinematograph for copy- it would be in a position to provide the where near the grandeur of Fespaco. I reason that Nigerian film going audience has into the rural areas of the country by means of have consciously read the last (1979) as both been weaned on foreign films. While French West-Africa. no one is left in that the import of this push may become ties and other voluntary film associations is doubt as to the potentials and enthusiasm of more evident in a couple of years. The reason lor reason that what the industry should high- this is obvious.
Report "Film Policy and the Development of Thi African Cinema (ARTIGO)"