By Rahel Pallangyo The once vibrant Tanzanian film industry is facing a stark reality: a near-total collapse. A far cry from its prolific he...
By Rahel Pallangyo
The once vibrant Tanzanian film industry is facing a stark reality: a near-total collapse. A far cry from its prolific heydays, when upwards of 1000 films graced the local market annually, the nation's cinematic output has dwindled to a trickle. This dramatic decline stems from a confluence of factors, primarily the evaporation of traditional markets and the persistent challenge of securing adequate funding.
Hopes were high that the establishment of the Mfuko wa Utamaduni (Culture Fund) would inject much-needed capital and revitalize film production. While the Fund has indeed supported some creative endeavors, its impact on feature film production has been less than anticipated. Instead, there has been a noticeable uptick in television series, perhaps reflecting a more readily available, albeit smaller, market within the broadcasting sector.
Against this backdrop of industry stagnation, the impending Zanzibar International Film Festival (ZIFF) takes on a heightened significance. Film enthusiasts and industry stakeholders alike are keenly awaiting the festival lineup, wondering about the representation of Tanzanian films.
The departure of Prof. Martin Mhando, a long-time supporter and former CEO of ZIFF, has further fueled anxieties, with some questioning whether Tanzanian cinema has lost a crucial advocate within the festival's framework. The fervent hope remains for a strong showing of local talent at this year's ZIFF, a platform that has historically championed African filmmaking.
However, the broader question remains: what concrete steps can be taken to truly alleviate the dire situation facing Tanzanian filmmakers? The traditional avenues of cinema screenings have largely vanished, and now, the once-reliable market of television broadcaster sales is also shrinking. This begs the crucial question: where lies the next viable market for Tanzanian films?
The digital realm currently offers the most apparent, albeit still challenging, answer. The rise of streaming platforms was initially heralded as a potential panacea for African filmmakers, offering global reach and new revenue streams. However, the reality has been far from this optimistic vision. African filmmakers continue to grapple with platforms that often fail to recognize or adequately value the unique nuances and cultural richness of African content.
This undervaluation is, according to some, not entirely without reason. The fragmented nature of the African market itself, with its diverse languages, cultures, and economic disparities, presents a significant hurdle in building a strong continental audience for local films. Furthermore, on the international stage, while there is much talk of diversity and inclusivity, tangible efforts to genuinely promote and invest in African creative products beyond token gestures remain largely absent.
This brings to the forefront the critical issue of global brands' treatment of African creatives. Concerns about equity and recognition are valid and widespread. Double standards in payment, the undervaluing of creative potential, and a lack of genuine engagement persist. African creatives bring unique perspectives and cultural narratives that hold immense global resonance. Highlighting this inherent value is crucial in fostering a deeper appreciation for the distinct contributions emanating from the continent.
Global streaming giants like Netflix, Showmax, Amazon, and even YouTube hold significant power to reshape this landscape. Recognizing the burgeoning African market, with its youthful and increasingly digitally engaged population, is paramount. A myopic focus on immediate, short-term returns from minimal investment overlooks the immense long-term potential. These platforms need to adopt a more strategic and visionary approach, investing in African talent not as a mere act of corporate social responsibility, but as a key to unlocking a significant and culturally rich market. This requires moving beyond a purely box-office driven mentality and appreciating the broader cultural and economic impact of a thriving local film industry.
Collaboration offers a potential pathway to revitalizing the Tanzanian and broader African film industry. However, this must be a genuine two-way street, built on mutual respect and equitable partnerships. Disregarding the expertise and cultural capital of African creatives will only lead to continued stagnation and missed opportunities on both sides.
As the Zanzibar International Film Festival approaches, it carries the weight of hope for Tanzanian filmmakers. While the festival itself may offer a vital platform for showcasing existing work and fostering connections, the long-term sustainability of the industry hinges on addressing the fundamental issues of market access, funding, and equitable treatment within the global digital landscape. Time, as the original sentiment aptly notes, is indeed not our friend, and decisive action is needed to cultivate a fertile ground for Tanzanian cinema to rise again.
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