Silencing An African Voice: Part Two

 

Nollywood does not only face categorical challenges but also economic-- a similar challenge for many alternative and/or independent media outlets. It can be difficult for Nollywood and African films to earn a place in the global marketplace because the leading powers in film distribution are primarily from the west. According to Ukadike from the text Conversations With Filmmakers, “If you look at the African American experience, all of their music; their creative and intellectual property, is owned, patented, and copyrighted by white people.”

Africa does not have distribution policy or right in its own countries. In reality, the U.S. has a false distribution arrangement where African films can be checked out of libraries and watched for free, rather than paid for. African intellectual property is not given any value. For example, California Newsreel is a token organization that prevents African films for free. Most of the filmmakers are not rewarded with any distribution payment. Even worse, when looking at the types of films this organization acquires for distribution it is clear they interfere with the production process, selectively deciding the types of films that are to be made if the filmmaker wants to be distributed internationally. It is because of this process African filmmakers are torn between striving to accommodate their films to this discourse and the need to sell their films to paying audiences, and the quite different expectations of what a good film should be. African film is not given any value in the global market or disseminating process because any type of idea or voice from Africa is not valued in a world frozen in a colonial mindset.

  

Many independent media outlets face similar economic problems. Even some of the most successful outlets like Huffington Post have joined more mainstream outlets, like AOL, for the money. If they can't resist the temptation then how are smaller outlets? Many independent media outlets get funds through memberships and subscriptions, or donations. Many Nollywood films get funding through donations, however without distribution payment and with expensive and limited equipment needed, Nollywood films are not as numerous as they could be-- meaning the African voice is not as loud as it could be due to economic restrictions and limitations.