@article{ab8c8a35e24a4109986117d43925e9d2,
title = "The opening of South Africa and the future of african film",
author = "Mahir {\c S}aul",
note = "Funding Information: Policy debates turn around a contrast, the independent filmmakers on one side, who establish start-up companies or operate informally, and industry organization on the other. During the 2008 Gauteng Film Commission conference, which was an {\textquotedblleft}industry{\textquotedblright} event, Bulane Hopa said that {\textquotedblleft}ten percent of the population continue to determine the nature of cultural content production . . . only by creating and sustaining more opportunities for Black filmmakers will the industry be able to meet the changing demands of South Africa.{\textquotedblright}4 The barriers to entry are decried sometimes under polite terms such as {\textquotedblleft}faith in young talent{\textquotedblright} or {\textquotedblleft}commitment to transformation,{\textquotedblright} at other times in the harsher tones of {\textquotedblleft}means of production{\textquotedblright} and {\textquotedblleft}transfer.{\textquotedblright} This ongoing strife has impelled Black film professionals to latch on to francophone African cinema and its FESPACO legacy. South African audiences met this African cinema after the 1994 elections, and now it stands as a major argument for local government assistance against both the commercialism of Hollywood-style entertainment and the past glory of the white Afrikaner art film. The francophone model shapes the restructuring of incentives in the new South Africa. The NFVF focuses on short films as a training ground, and its program for first-time producers and directors receives funding from taxes on non-domestic film showings, videos, and TV advertising, following the model of Burkina Faso, which itself followed the example of the French National Cinema Center.5 The translocated FEPACI in Johannesburg is now financially sustained by the Department of Arts and Culture through the NFVF. The prestige of African cinema prompts support from the private sector as well. M-Net set one of its New Directions training programs in Gor{\'e}e Island, Senegal, under the leadership of Gaston Kabor{\'e}.6",
year = "2020",
month = sep,
doi = "10.2979/blackcamera.12.1.28",
language = "English (US)",
volume = "12",
pages = "315--319",
journal = "Black Camera",
issn = "1536-3155",
publisher = "Indiana University Press",
number = "1",
}