Online Reporter
Vincent Gono, Day Editor
ZIMBABWE much like other nations with a colonial past, has reluctantly harboured the imprints of its history, which have often shaped its cinematic narratives, production practices and cultural representations.
While this is evident in much of the colonised countries’ visual content consumption patterns that have remained largely foreign, most of them have not done much to reclaim their sovereignty and foster an authentic and empowering cinematic space.
Except for a few such as India and Nigeria (Bollyhood and Nollyhood), those that have done so have maintained baby steps and lack a bold strategy that defines who they are.
This has been met with calls for the countries in the global south to embark on a strategic journey of decolonising their film industry, with a particular emphasis on the revival and celebration of indigenous stories, history, languages and aesthetics.
Decolonising the film industry through cultural reassertion therefore becomes a vital process for post-colonial nations seeking to reclaim their identities and histories and China provides very important lessons.
Delivering a lecture during a Seminar for Media Professionals for Zimbabwe at the Academy for International Business Officials in Beijing recently, Prof Zhang Long said China has been very intentional in untangling itself from the shackles of western narratives.
He said Chinese art was not just for entertainment and laughs but was intended to spread national discourses that are sincere and devoid of malice.
He said governments should make conscious efforts to reclaim their narratives and deliver them to their citizens using multi-media platforms that do not marginalise anyone.
“The process of decolonising narratives and discourses is never natural, it does not happen on its own. It has to be deliberate, intentional and supported by the government. Global South countries therefore need to conscientise their citizens first so that there is a shared by everyone on what the national question is from where the development objectives are set.
“Understanding the importance of this process also involves recognising how Western dominance has historically shaped storytelling, often marginalising local perspectives. It is a fact that colonial legacies have favoured Western models of filmmaking and narrative structures that do not resonate with historical and current realities, thereby diluting authentic cultural expressions of global south countries,” said Prof Long.
Learning from China’s strategic cultural reassertion
China provides a notable example of a nation actively working to decolonise and assert its cultural sovereignty through cinema and Zimbabwe can draw valuable lessons from the Asian giant.
Historically influenced by Western filmmaking standards and narratives, China has adopted deliberate policies to promote indigenous storytelling, language and aesthetics. The Chinese government has regulated content to ensure that films reflect national history, social values and cultural symbols, thereby fostering a cinematic identity rooted in indigenous traditions.
China’s film industry initiatives include establishing dedicated film festivals, supporting local filmmakers through funding and training and creating a regulatory environment that limits the dominance of foreign films often imposing quotas and censorship to safeguard national narratives. These measures have enabled Chinese cinema to flourish with stories that resonate locally and project a distinct cultural identity internationally.
Promoting indigenous languages and narratives
Just as Zimbabwe boasts a rich linguistic landscape with languages such as Shona, Ndebele, Tonga,
Kalanga, Venda and so many other languages, China has used Mandarin and regional dialects to reinforce cultural identity. Supporting films in local languages not only preserves linguistic heritage but also ensures authentic storytelling aligned with cultural values. This approach fosters pride and ownership among local audiences and filmmakers.
Investing in infrastructure and education
China’s investment in film schools, training programs and infrastructure has built a skilled local industry capable of producing high-quality, culturally authentic films. Zimbabwe can emulate this by establishing film academies, encouraging indigenous storytelling techniques and supporting capacity-building initiatives.
Prof Long said the budget to support most of the productions are not much when there is national coordination as the universities sometimes produce the movies using equipment and expertise at the higher learning institutions.
Challenging Western-centric content and aesthetics
China’s emphasis on developing a cinematic language rooted in traditional arts, martial arts and indigenous aesthetics offers lessons for Zimbabwe to craft a visual style that reflects its cultural fabric. Experimenting with visual storytelling rooted in local art, oral traditions and symbols can create a distinctive cinematic identity.
Permanent Secretary in the Ministry of Sport, Recreation, Arts and Culture Mr Nicholas Moyo emphasised the need for the country to decolonise its film industry saying the battle for narratives is as important as the battle for markets.
“Our communities have for too long been consumers of stories that do not reflect their realities, their histories or their aspirations and we making efforts to ensure that we do not continue being consumers of what is not ours.”
“First, we must create a critical mass of Zimbabwean content that is accessible and compelling. The Government has already taken a significant step in this direction through the ZBC allocation of ZiG10 million towards local content production.
“This is a deliberate intervention to ensure that our public broadcaster becomes a vehicle for Zimbabwean stories, not a repeater of foreign narratives,” said Mr Moyo.
Cultural diplomacy and international engagement
China’s strategic use of cinema for cultural diplomacy (promoting Chinese stories abroad) has reinforced national identity and soft power. Zimbabwe can adopt a similar approach by engaging with international filmmakers and cultural exchanges that respect and amplify indigenous narratives, ensuring that local stories are told authentically on the world stage.
Former Ambassador to China Amb Christopher Mutsvangwa believes Zimbabwe can learn more from China through joint productions with Chinese film makers.
“Zimbabwe can do more in that respect not through theory but by engaging Chinese film makers and do joint productions with content that is best suited to promote local narratives,” said Amb Mutsvangwa.
Permanent Secretary Moyo, however, said Zimbabwe is already engaging China in that respect.
“We must engage in deliberate cultural diplomacy. We are deepening cultural exchanges with partners such as China and engaging with international filmmakers who respect our narratives.
“The key condition is always that these collaborations must amplify, not overwrite our own voices.
“We must therefore educate our communities —and ourselves — about the importance of narrative sovereignty. This is why the Film Strategy includes film education and training as a pillar.
“We need a generation of Zimbabweans who are not only critical consumers of media but also confident producers of their own stories,” he said.
Decolonising Zimbabwe’s film industry: A collective strategy
Mr Moyo emphasised that the path towards decolonising Zimbabwe’s film industry requires a collective effort from policymakers, filmmakers, educators and communities.
He said prioritising cultural reassertion through language, storytelling, aesthetics and institutional support enables Zimbabwe to develop a vibrant, authentic cinematic voice adding that such a voice not only celebrates the nation’s heritage but also contributes to a broader decolonial cultural movement that empowers local voices and preserves indigenous traditions.
Renowned artist and filmmaker Raisedon Baya emphasises the importance of film as a potent tool for promoting national identity and shared values.
“I believe there is a very real possibility that as a nation, we could utilise film to promote certain issues whether cultural, ideological or even in shaping the country’s image, identity and values. As you mentioned, perhaps China is doing this, but I also think it’s not exclusive to China.”
“Hollywood, for example, has long used cinema in this way. In many Hollywood films, you will always see the American flag and there is a persistent narrative that America is too strong to be defeated. Even though in real life, stories of its defeat exist, Hollywood often produces movies that challenge those stories, reinforcing the idea that America invincible.”
Conviction, talent over money
Baya advocates for the involvement of talented storytellers.
“What Hollywood and other nations do is involve talented storytellers who craft engaging narratives,
where audiences are drawn in not because they’re forced, but because they recognise the value in what’s being presented.”
He said it was unfortunate that much of our local content is of poor quality, cheap and lacking in substance so much so that our people prefer to watch other things elsewhere.
He said there was need to identify and support trained storytellers who believe in the values and ideas we want to promote.
“For instance, we’ve championed the idea of a heritage-based curriculum in Zimbabwe, but who’s actually pushing it? Do the teachers who teach it believe in it? It’s also on us as filmmakers to ensure that if we choose to produce patriotic or ‘propaganda’ films (in quotation marks), those involved truly believe in what they are saying, so that the stories are crafted with conviction.”
He said films shouldn’t be superficial, they need depth and resilience and should embody enduring values.
Baya said a similar vision was pursued some years ago but it lacked national buy-in and the stakeholders failed to sustain it and it was discarded adding that such pitfalls can be avoided if there is involvement of all stakeholders.
“Our myths, legends and historical sites like Nyanda, Chaminuka, Great Zimbabwe and the origins of Mzilikazi and other eastern people can be told in film. These stories should be well-known within our country as they form part of our national consciousness, yet we lack a coordinated effort to promote and preserve them.”
“A proper strategy is essential, along with resources allocated specifically for telling Zimbabwean stories. Without resources, our narrative risks being owned by others like South Africa, which recently adapted our Sue Nyathi story – The Polygamist into a South African film.
“When outside entities with resources own these stories, they often sell them as their own, even if they don’t belong to them,” he said.
