adminfilm sector in general and ZIFTESSA in particular.
Actor Munyaradzi Chidzonga was part of the six-member panel and represented the Zimbabwe Filmmakers’ Guild. Chidzonga appealed to the Government to support the entire film production process.
He pointed out that the Guild had become a vital administrative structure between Government and the filmmakers.
Making a reference to the film, in which he starred, “The Gentlemen”, Chidzonga said they had taken the film to London, as a way of exporting Zimbabwean culture.
Norbet Fero, the director of the film “Matters of the Spirit” and of Chameleon Films, congratulated the Ministry of Media, Information and Publicity for establishing ZIFTESSA as a centre for the training of filmmakers.
He, however, emphasised that for ZIFTESSA to bridge the skills gap that exists in the film industry in Zimbabwe, it has to be a school that provides an all-round film and television skills training and modern film equipment
Fero declared that ZIFTESSA should be a pacesetter in filmmaking and should forge good relations with other film schools of the world. When asked how young people can be assisted to get started in the film industry he stated: “Find people in the film industry; get assisted by knowledgeable to understands the art of filmmaking; go to the film school and be exposed to film training and allow the film school to identify you as potential filmmaker.”
Munyaradzi Muchena, who released his first feature film this year after 17 years of active participation in the film industry, called for ZIFTESSA to produce more competent technicians in all the expressive arts used in filmmaking.
He cited the need for film development workshops, training in animation, and in such aspects as music scoring and make-up.
He also called for the establishment of a multimedia and film criticism library at ZIFTESSA
Nakai Matema, the former director of the Zimbabwe International Film Festival (ZIFF), said ZIFTESSA had become a vital centre for producing filmmakers.
She, however, stressed the need for the film school to have in its curriculum business and marketing studies as these were crucial elements for a viable film industry. Dorothy Meck, the producer of “Tanyaradzwa”, stressed that mentorship of film students was crucial and that ZIFTESSA has to have a good programmes of attaching
students to film houses and film production projects.
She also suggested that the film school should be involved in its programme different writers.
Meck observed that in spite of Zimbabwe being endowed with a rich heritage of written literature none of that literature has been adapted for film.
Priscilla Sithole-Ncube, the director of Ibhayisikopo Film project — the women-driven film training centre in Bulawayo — indicated that very few opportunities existed in Zimbabwe for the training of filmmakers; that proper film equipment was in the hands of few individuals; that grants and concessionary loans were not easily accessible and that marketing of Zimbabwean films has not been developed to meet regional and international standards.
She recommended the “establishment of film incubators that provide short courses in promoting strategic knowledge in film training and production”; the creation of film industry unions; the introduction of mobile cinemas for rural audiences and attraction by Government of investment to the film industry.
In her presentation, Tsitsi Dangarembga, arguably Zimbabwe’s foremost filmmaker, reminded the indaba that ZIFTESSA was a school for nurturing filmmakers and that therefore it must have the relevant curriculum.
She told fellow filmmakers: “Ego does not make art. Forget your ego when you make films.” She noted that Zimbabwean filmmakers had failed to criticise each other constructively and called upon them to tell the truth about Zimbabwe.
She said Zimbabwean filmmakers continued to fail to meet international standards and that there was a critical shortage of good film ideas as well as a tendency to cut corners.
She concluded by calling for ZIFTESSA to be an inclusive film school that allows other filmmakers to contribute to its growth and its capacity to ensure that Zimbabwe film industry attains a competitive edge.
In his response to the views of the six film- makers who made presentations and the questions raised by other participants during the plenary session chaired by
Farai Mpfunya, the director of the Culture Fund, the Permanent Secretary for Media, Information and Publicity, Cde George Charamba, gave an elaborate analysis of what his ministry was doing and what was expected from ZIFTESSA as well as from the filmmakers themselves towards the development of a vibrant film industry in Zimbabwe.
Concerning the views expressed by the filmmakers indicating that there was very limited access to Zimbabwe Television for filmmakers to exhibit their products, Cde Charamba said the current programme of moving from analog to digital technology will soon see the creation of several television channels.
Apart from television channels established by various corporations, he envisaged Government putting aside two or more television channels just for cinema.
He pointed out that given “inevitable television channel exposition”, the main challenge that Zimbabwe will face is that many of the new television channels will require local content which is not there and which local film- makers will not provide in sufficient quality and quantity.
He added that the bulk of the ministry’s budget to statutory bodies went to Transmedia because of its critical and strategic role in providing the required infrastructure that will accommodate the needs of the many television channels that will be brought about by the digitalisation that has the possibility of 20 channels on one frequency. He further announced that there was urgent need to amend the Broadcasting Act.
With that many television channels envisaged there will a need to put a levy on foreign films shown on local television channels in order to raise the requisite revenue to fund local film production projects.
On Government’s funding to the film sector directly, Cde Charamba said Government had provided ZIFTESSA with a budget for the procurement of film equipment and other technical facilities that can create opportunities for the film sector beyond the needs of the students.
He urged filmmakers to indicate to ZIFTESSA the type of film equipment that will positively impact on the growth of the industry and which can be access by filmmakers at affordable rates .
In response to the request by filmmakers to access 16mm film stock at the Production Services Centre, Cde Charamba said he had been told that technology to transfer 16mm film to digital media was now available.
His ministry will begin by producing a comprehensive inventory of the 16mm film stock before making it accessible to filmmakers.
When pressed further about Government’s funding of the film sector, Cde Charamba declared:
“I refuse to accept the view that Government has no funds for the film sector because I believe that the image of Zimbabwe is a public good for which the Government should find resources.”
This, he stressed, was the reason why he called on filmmakers to make sure that their film policy proposals were comprehensive and should recommend several sources of funding film production and would articulate how the film relates to rest of the culture of Zimbabwe as well as what should be done to equip the filmmakers to effectively play their role.
Cde Charamba, however, wondered whether Zimbabwean filmmakers were able to tell the Zimbabwean story and that they are able to be Zimbabwean in this regard.
He cited many case where non-Zimbabwean filmmakers were being presented as people willing and ready to tell the Zimbabwean story and concluded that such a situation was not acceptable to the Government of Zimbabwe.
Online Reporter