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Contemporary East African Cinema: Emergent Themes and Aesthetics

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Contemporary East African Cinema: Emergent Themes and Aesthetics Contemporary East African Cinema: Emergent Themes and Aesthetics A thesis submitted to the University of Sydney in fulfilment of the requirements for the degree of Doctor of Philosophy Department of Art History and Film Studies School of Literature, Art and Media Faculty of Arts and Social Sciences Cindy Evelyn Magara 2020 Statement of Originality This thesis is, to the best of my knowledge and belief, my own original work. It contains no material previously published or written by another person except as otherwise duly acknowledged in the text and notes. Research for this thesis was based on primary texts—films and interviews of the filmmakers—and secondary sources. The University of Sydney Human Ethics Committee approved the protocol of interviewing East African filmmakers. All the participants consented to be identified. Cindy Evelyn Magara 2020 i Table of Contents Abstract iv List of Acronyms v Acknowledgements vii Dedication ix Chapter One: East African Cinema—Background and Conceptual Framing 1 Introduction ---------------------------------------------------------------------------------------------------- 1 The History and Legacy of Colonial Film in East Africa ---------------------------------------------- 7 Factors for the Growth of the Film Industries in the 2000s ----------------------------------------- 15 Industry Dynamics: Film Production and Funding, Regulation and Distribution and its Impact on Aesthetics-------------------------------------------------------------------------------------------------- 22 Funding and Regulation -------------------------------------------------------------------------------------------------------- 29 Censorship -------------------------------------------------------------------------------------------------------------------------- 33 Distribution ------------------------------------------------------------------------------------------------------------------------- 38 Framing a Regional Cinema ------------------------------------------------------------------------------ 39 Locating East African Cinema in African Cinema Studies------------------------------------------ 42 Methodology and Theory: Centring the Voice of Filmmakers ------------------------------------- 52 Selection of Films/Scope ------------------------------------------------------------------------------------ 53 Understanding the Ideological and Artistic Place of the Screen-griot ----------------------------- 63 Griot Aesthetics and Significance of Third Cinema Theory ---------------------------------------- 66 Griot Aesthetic as a Democratisation and Indigenisation of Theory ------------------------------ 68 The Filmmakers as Critics: Interviews ------------------------------------------------------------------ 70 Chapter Layout and Summaries ------------------------------------------------------------------------- 74 Chapter Two: Griot Aesthetics: A Negotiation of Oral Traditions Amidst a Multivocality of Influences 77 Introduction -------------------------------------------------------------------------------------------------- 77 The Dialectics of the Griot Aesthetic Identity in African Cinema ---------------------------------- 78 The Significance of the Griot Aesthetic in East African Cinema: The Filmmakers’ Perspectives ------------------------------------------------------------------------------------------------------------------ 82 Negotiating an Eclectic Film Aesthetics ----------------------------------------------------------------- 87 Manifestations and Complexities of Griot Aesthetics in E. African Film ------------------------- 93 Narrative Voice-over and the Griotic Character ----------------------------------------------------------------------- 97 Conclusion --------------------------------------------------------------------------------------------------- 103 Chapter Three: Damage Repair: Restoring an East African Historical Imaginary 105 Introduction ------------------------------------------------------------------------------------------------- 105 Countering Misrepresentation of Africa in Colonial and Western Films------------------------ 109 Narrating the ‘Ghost’ of Colonialism------------------------------------------------------------------- 116 ii A Subjective Representation of a Troubled Postcolonial East Africa ---------------------------- 129 Children and Youths as Victims of War --------------------------------------------------------------------------------- 138 Conclusion --------------------------------------------------------------------------------------------------- 146 Chapter Four: The Great, Prosperous West Demystified: Narratives of Anti-migration 148 Introduction ------------------------------------------------------------------------------------------------- 148 Why a Migration Discourse? ----------------------------------------------------------------------------- 152 The Journey Motif: Desperation, Criminal Gangs and the Irony of Social Class -------------- 158 Demystifying the Myth of the West --------------------------------------------------------------------- 163 Cultural Hybridity and Identity ------------------------------------------------------------------------- 169 Questioning Afro-pessimism and Afro-optimism ---------------------------------------------------- 175 Conclusion --------------------------------------------------------------------------------------------------- 184 Chapter 5: Representation of Gender Power Relations in East African Films: An African Feminist Perspective 186 Introduction ------------------------------------------------------------------------------------------------- 186 African Feminism ------------------------------------------------------------------------------------------ 190 Feminism in Africa: A Tool for Development --------------------------------------------------------- 194 Dynamics of Gender Representation in African Films ---------------------------------------------- 200 Film as a Tool of Subversion: Questioning Patriarchy’s Masculinity and Femininity -------- 209 Conclusion --------------------------------------------------------------------------------------------------- 223 Chapter 6: Deconstructing Class: A Discourse on Relational Politics in East African Films 225 A Plethora of Representations about the Lower-class ----------------------------------------------- 228 The Urban Poor: An indictment of the Ruling Class ------------------------------------------------ 233 The Revolutionary Stance -------------------------------------------------------------------------------- 249 The Precarity of Social Class ----------------------------------------------------------------------------- 254 Conclusion --------------------------------------------------------------------------------------------------- 259 Chapter 7: Conclusion: Framing Regionality and Cultural Identity in Film 260 Aesthetics ---------------------------------------------------------------------------------------------------- 262 Emergent themes ------------------------------------------------------------------------------------------- 265 Conclusion --------------------------------------------------------------------------------------------------- 269 Works Cited 271 Interviews ---------------------------------------------------------------------------------------------------- 271 Filmography ------------------------------------------------------------------------------------------------- 271 Key Filmography ---------------------------------------------------------------------------------------------------------------- 271 Other cited Filmography ------------------------------------------------------------------------------------------------------ 272 Bibliography ------------------------------------------------------------------------------------------------- 274 iii Abstract At the turn of the 21st Century, a dynamic and eclectic cinema that had been slowly developing in the East African region gain traction. Yet, the nascent cinematic imaginaries of East Africa have received the least scholarly attention of all the regional cinemas of the African continent. The study explores emergent themes and aesthetics of East African Cinema by locating East African cinema in contemporary African cinema criticism, particularly its indigenous concepts, epistemes and approaches to film analysis. By conceptualising eclectic national cinemas into a complex homogenous entity, I argue that the various national cinemas of East Africa are best understood as a single regional, transnational cinema (at least within East Africa), given the shared socio-political, economic and cultural experiences, and this homogeneity manifests in the representation of parallel themes and aesthetics. I also posit that East African cinema is not a closed static cinema, however, because its aesthetics are influenced by other continental and international cinemas such as Nollywood, Bollywood, Hollywood and European cinema. Despite these influences, the narratives of East African cinema continue to be centrally organised in terms of African oral storytelling aesthetics. To explore the emergent themes and aesthetics in East African cinema, this study employs a range of disciplinary research methods. By combining close textual analysis with interviews with significant East African filmmakers, this thesis examines how the East African filmmakers partake of their presumed role of modern griots to reflect and shape popular discourses. Such discourses include the representation of history
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