SURVEY

Factors determining annual trend of documentary film production in the country

Most of the documentaries produced in the country are by the national broadcaster, RTD. There are no independent broadcasters in Djibouti. There was a documentary made by a Djibouti filmmaker on q’aat, but she lives in Canada. It is not clear whether Civil Society commissions any documentaries, so the trend is heavily determined by RTD. These kinds of documentaries are therefore mostly public information documentaries. Another important factor is the availability of skilled personnel locally.

The cost of living in Djibouti is quite high, and the average pay amongst locals is therefore accordingly high compared to other countries in the eastern Africa region. It follows that the cost of documentary film production will reflect this situation.

Producers’ funding methods

Because many of the documentaries made in Djibouti are through the RTD, they are usually entirely funded through it.

Producers’ documentary film production budget estimation methods

The budget of independent producers are estimated differently from those produced in-house by the national broadcaster in that some cost items will not really apply, particularly the cost of permissions, and cost of some of the personnel who will be under the permanent employ of the RTD.

Most successful producers

Ahmed Dini is a Djiboutian filmmaker of repute. He is now Deputy Director at the RTD.

Local documentary production funding sources

• Self-funding
• RTD
• NGOs

Funding eligibility criteria used by local documentary funding sources

This depends on the RTD’s and the NGO’s requirements.

Submission requirements used by local documentary production funding sources for funding consideration

Broadcast formats are employed by the RTD.

Ownership issues in documentary film production

Copyright law is in force in Djibouti.

Documentary film production ownership issues resolution methods and experiences

These are usually ironed out in the terms of agreements.

Revenue allocation issues in documentary film production

These are summarised as “who gets how much, and when” and are usually ironed out in the terms of agreement.

Documentary film production revenue allocation issues resolution methods and experiences

Failing negotiation and arbitration, judicial processes can be resorted to.

Agreements between fund sources and producers in documentary film production in the country

Standard film industry contracts may be used in reference to the copyright law of Djibouti.

Deliverables in documentary film production in the country

DVD, DV Tapes, and Multimedia files are all used by the RTD for broadcast.

Reporting requirements during documentary film production in the country

In the case of NGOs these are stated in the terms of the commission contract and will usually involve progress reports and financial accounting for monies disbursed.

 

PROFESSIONAL DEVELOPMENT SUPPORT

Current professional development methods in the country

• In-house training at the
• There are courses that members of the profession take abroad which are in the main, technical courses related to equipment RTD may be thinking of

Professional development service providers for the filmmaking community in the country

These do not exist in Djibouti.

Professional development needs in documentary film production in the country

Professionalism in documentary production is quite different from TV production in general.

The RTD is a TV broadcaster first, and content producer by default. Therefore, its in-house training programmes and sponsored programmes abroad may not be quite suited to the skills necessary for quality documentary production.

Potential funding partners in the country, Africa

The Abu Dhabi Fund for Culture has been active in encouraging cultural expression in the Horn of Africa – Somalia and Djibouti.

Film schools in the country

There are no Film schools in the country.

Documentary film production training programmes in the country

There may be some in-house training at the RTD from time to time.

Film festivals in the country

• China Film Festival Week
• European Film Week

Business management schools in the country

University of Djibouti

Journalism schools in the country

University of Djibouti only recently has set up a school of journalism. Most of the graduates will be looking for work at the RTD.

Technical schools in the country

University of Djibouti.

Professional and peer mentorship in the filmmaking community

Professional mentorships can be found in the RTD.

Kassim Ramadhan of the Fest’Horn mentions a group of young filmmakers who peer-mentor themselves taking advantage of new mobile phone video technology and low cost digital cameras to make short documentaries about their experiences.

A command of language is very much respected among the peoples of the Horn of Africa. With strong oral traditions, the written word holds as much importance amongst the literate of the citizenry. Journalists make a living, day in day out, reporting on issues affecting society. The Association of Journalists in Djibouti offers a forum in which such mentorships can begin.

Categories of relevant tech-related companies in the country and their numbers

There are several computer and computer accessory shops in Djibouti.

Film sales companies operating in the country and services offered to local documentary filmmakers

There are no film sales companies operating in Djibouti.

Film distribution companies operating in the country and services offered to local documentary filmmakers

Since filmmakers can access the Internet in Djibouti, it follows that they are able to access all online VOD (video on demand) film distributors, but otherwise no film distributors operate in the country.

Filmmaking community advisory groups in the country

No film advisory groups were to be found.

Local advocacy groups operating in the country

There are several NGOs in the country. Most are co-options of the government and will co-produce documentaries with the RTD.

Documentary and news archives in the country and its volume

The RTD is a good repository of stock footage they have accumulated over the years.

Method of archive access and use by documentary filmmakers

For RTD in-house productions this is straightforward.

 

DISTRIBUTION AND AUDIENCE BUILDING

Existing forms of documentary film distribution in the country

• TV
• DVD
• Internet
• Theatrical

Distribution options taken by local documentary filmmakers

TV mostly, as there is no independent TV broadcaster in Djibouti and the few theatrical outlets have fallen into disrepair and closed. The Institute Arthur Rimbaud has a screen which they use to show documentaries sometimes, but not for local documentaries as such.

Educational film distributors operating in the country and their capacities

The RTD

Non-profit film distributors operating in the country and their capacities

There are no non-profit film distributors in Djibouti.

Laws and regulations governing the distribution of documentary films in the country

Copyright laws are in effect.

Laws and regulations governing audience-building for documentary films in the country

Media laws are in effect since any effective audience building strategy will want to take advantage of radio’s reach.

Experiences of documentary filmmakers with legal framework governing distribution of and audience- building for local documentaries

Most filmmakers work for the RTD so their experiences of the legal environment, as far as documentary filmmaking is concerned, are within a corporate body

Audience-cultivation strategies used in the country in descending order of effectiveness

• Radio
• TV
• Word of mouth
• Flyers

Revenue generation strategies for local documentary films in each distribution channel in the country

Since most of the documentaries made in Djibouti are through the state broadcaster RTD, revenue for such productions is not high on the list of priorities.

Social movements in the country

The most pressing social ill in Djibouti is the chewing of quat, so any social movement would be centred on its eradication, but if there are any of those in the country, none were visible. There was a documentary made by a Djiboutian filmmaker about q’aat, but whether it was in conjunction with a social movement of any sort has not yet been determined.

African civil society groups in the country

There are many NGOs in Djibouti such as the Association des Jeunes Unis contre l’Ignorance.

Potential ADFF partners in other activist groups in the country and the nature of engagement with local documentary filmmakers

Potential partners are yet to be identified.

Issues concerning distribution rights in each distribution channel and their resolution

These are normally dealt with in the contractual stage of any production. There are copyright laws in Djibouti under which any distribution agreements will be subject.

Securing and administration of distribution rights in the country

Copyright law is in effect.

Prevalence of copyright piracy of film in general and documentary works in particular in the country

• With production levels quite low the levels of piracy are commensurately low.
• Measures are in place to deal with copyright piracy in the country and their
• There are copyright laws in force in the country: Law 154/AN/06 of 23 July 2006 on the Protection of Copyright and Neighboring Rights.

Internet penetration in the country

• Population – 810,000
• Internet users – 26,000
• Internet Penetration – 2%

Potential subscribers for an online local documentary library and/or Internet channel for locally produced documentaries

At 5%, the subscriber rate would be only about 1000. Djiboutians in the Diaspora would probably double this number.

Internet usage by local documentary filmmakers

• Uploading some video on to
• Djiboutians in the Diaspora can now watch their local TV stations, Radiodiffusion Télévision de Djibouti, online with AfricanTV24, a new platform showing Djibouti TV to audiences worldwide.

Political sensitivities

• Opposition politics
• Arab causes such as Palestine
• Q’aat consumption
• Foreign military presence

 

COMMUNICATION

Modes of communication between local documentary filmmakers and funding sources

Communication is achieved by telephone, posted letter, email, and by face to face meetings.

Channels of communications that allow private exchange of information in the country

This is best achieved by face to face meetings.

Information sources used by local documentary filmmakers on various aspects of documentary production in the country

Sources include informal and ad hoc networks.

Kinds of information that local documentary filmmakers would benefit from being in a directory or guidebook

 As neither such a directory nor guidebook exists, all kinds of information to do with the process and resources of documentary film production would need to be assembled.

SURVEY

Factors determining annual trend of documentary film production in the country, and why

• Funding
• Government censorship

The Eritrean film industry roughly produces twenty films a year.

Producers’ funding methods

• State funding
• NGOs
• Corporate funding

Producers’ documentary film production budget estimation methods

It is difficult to determine such methods because of heavy government involvement in anything to do with media.

Most successful producers

The most successful producer is the Film and Drama Branch of the Cultural Affairs Bureau of the PFDJ because it is a government controlled organ.

Local documentary production funding sources

As per above, the government funds most of the documentaries produced in the country.

Funding eligibility criteria used by local documentary funding sources

The documentary must toe the government line.

Submission requirements used by local documentary production funding sources for funding consideration

A full script and film treatment must be submitted to the authorities for censor approvals.

 

PROFESSIONAL DEVELOPMENT SUPPORT

Current professional development methods in the country

Courses are provided by the Film and Drama Branch of the Cultural Affairs Bureau of the PFDJ.

Professional development service providers for the filmmaking community in the country

Film and Drama Branch of the Cultural Affairs Bureau of the PFDJ

Film schools in the country and their levels of attendance

• Audio Visual Institute of Eritrea
• Most filmmakers in Eritrea are self

Documentary film production training programmes in the country

Courses are provided by the Film and Drama Branch of the Cultural Affairs Bureau of the PFDJ.

Film festivals in the country

Eritrea has three annual film festivals:

• The China-Eritrea Film Week
• The European Film Week
• The French-Eritrean Film Week

Film festivals by continent and their level of attendance and participation from the country

(The Beautiful Ones) was selected to represent Eritrea at the Cannes Film Festival in 2008 (not as an official election of the festival). It was directed by Rahel Tewelde, an employee of the Film and Drama Branch of the Cultural Affairs Bureau of the People’s Front for Democracy and Justice (PFDJ).

Mesghun Zerai ‘s (aka Wedi Feradai, who is director of the Audio Visual Institute of Eritrea) latest feature film, Ablel, was screened in the African Film Festival of Yokahoma, Japan, on May 22, 2008. Through the efforts of Eritrea’s then ambassador to Japan, Wedi Feradai’s film was selected for the prestigious film festival in Japan.

Business management schools in the country

• Eritrea Institute of Management
• University of Asmara

Journalism schools in the country

Eritrea Institute of Technology

Technical schools in the country

• Eritrea Institute of Technology
• Sawa Technical Training Centre

Professional and peer mentorship in the filmmaking community

This for the most part exists within the confines of the Film and Drama Branch of the Cultural Affairs Bureau.

Filmmaking community advisory groups in the country

Eritrea Film Rating Committee

Nature of involvement of advisory groups in the professional development of documentary filmmakers

Authorities in Eritrea realized that if Eritrean films are to compete in the world market, they needed to improve in quality. Recognizing this fact, the Eritrean Film Rating Committee (EFRC) was set up in 2007 to assign stars depending on the quality of the film that is being produced (four stars being the highest). Every film produced in Eritrea is submitted to EFRC for artistic rating, and the Committee uses six categories in its rating system: 1) Screenplay, 2) Acting, 3) Makeup, Costume and Set Design, 4) Cinematography, 5) Editing, and 6) Directing.

 

DISTRIBUTION AND AUDIENCE BUILDING

Existing forms of documentary film distribution in the country and their capacities

• TV
• Theatrical release
• Internet (though censorship is an issue)

Distribution options taken by local documentary filmmakers

TV, as most documentaries made are state sponsored.

Measures in place to deal with copyright piracy in the country and their effectiveness

Copyright laws are in force.

Internet penetration in the country

• Internet users: 200,000 (2008)
• Population: 5,939,484 ( July 2011 )
• Internet penetration: 2%

Potential subscribers for an online local documentary library and/or Internet channel for locally produced documentaries

At a 5% subscriber take-up, 10,000.

Internet usage by local documentary filmmakers

Some filmmakers have uploaded clips of their films on video hosting sites.

Political sensitivities

The wading into the political situation in Eritrea is akin to walking on eggshells as all views contrary to the official line are dealt with ruthlessly, according to reports.

Eritrea is described by Human Rights Watch as the world’s largest prison. It tolerates “no freedom of speech, no freedom of movement, no freedom of worship, and much of the adult male and female population is conscripted into indefinite national service. Detention, torture and forced labour await anyone who disagrees with the government, or anyone who attempts to avoid military service or flee the country without permission”. http://www.hrw.org/world-report-2012/world-report- 2012-eritrea

 

COMMUNICATION

Modes of communication between local documentary filmmakers and funding sources

• Face-to-face communications are also

Channels of communications that allow private exchange of information in the country

A great deal of surveillance is going on in the country apparently, so nothing is guaranteed.

SURVEY

Factors determining annual trend of documentary film production in the country

• Budgetary constraints
• Red-tape and bureaucracy
• Understanding of film production / trained filmmakers
• Screening opportunities
• Piracy
• Digital technology has made filmmaking more accessible across Africa

According to the Ethiopian Film Producers Association (EFPA) 194 movies were produced in the years 2003-2009 with 75 of them produced in the last year, reflecting an upward trend.

Factors determining film length trends in the country

Film length will depend on subject matter treatment,

budgetary constraints, commissioning briefs, and the skills of the filmmaker.

Producers’ funding methods

• Self-funded
• Community fundraising using Kickstarter, a crowd-funding
• Official sponsorships
• Donations through PayPal
• Hosting events to raise money and promote any accompanying
• Filmmaking grants
• Commissions

Historical average budgets for short, long, and international feature length documentaries in the country

In 2004 the first locally produced feature film, the 105 minute Blue Horse was made on a budget of half a million Birr (roughly 20,000 EUR). It was directed and produced by Serawit Fikrie. MIDROC’s Kabe Plc was one of the film’s sponsors. Half of the budget was covered by another six sponsors:

• Central Medical College
• Awash Bank
• Awash Insurance
• Ararat Hotel
• Adica Car Rental
• MMD Hospital

Most successful producers

Most successful producers in the country have had some exposure in countries with a rich filmmaking traditions and industries. Aida Ashenafi for instance was schooled in the US as was Haile Gerima, and Salem Mekuria. Others, such as Zelalem Woldemariam, have astute business minds.

Local documentary production funding sources

• Self-funded
• Community fundraising using Kickstarter, a crowd-funding
• Official sponsorships
• Donations through PayPal
• Hosting events to raise money and promote any accompanying
• Filmmaking grants
• Commissions

Funding eligibility criteria used by local documentary funding sources

• Evidence of previous work
• Citizenship of Ethiopia

Submission requirements used by local documentary production funding sources for funding consideration

• Proposal applications, production budget
• Presentations, show-reels

Ownership issues in documentary film production

These are faced by filmmakers in common, but depend on the existence of laws recognizing intellectual property.

With the existence of such law, contractual terms will usually address these issues. In Ethiopia, such a law does exist as Copyright law.

Documentary film production ownership issues resolution methods and experiences

Failing contractual provisions or renegotiation, arbitration, or more personal appeals, judicial intervention will be sought.

Revenue allocation issues in documentary film production

These must be negotiated prior to contract. Basically these are about who gets how much, and when?

Documentary film production revenue allocation issues, resolution methods and experiences

Failing contractual provisions or renegotiation, arbitration, or more personal appeals, judicial intervention will be sought.

Agreements between fund sources and producers in documentary film production in the country

Internationally recognised standard contracts can apply with reference to the laws of the land.

Deliverables in documentary film production in the country

These will usually be in DVD formats and DV or HDV formats for broadcast.

Currently, filmmakers in Addis are working with DV format, though some of the production companies that can afford it have HD and HDV.

Reporting requirements during documentary film production in the country

If documentaries are commissioned, the Commissioning agreement will usually spell out any reporting requirements.

Most investors in film are small business people, and as such, they will be needing regular, informal reassurance that their money is being well spent.

PROFESSIONAL DEVELOPMENT SUPPORT

Current professional development methods in the country

• Methods include: on-the-job training, online courses and the occasional workshop or seminar. Training institutions for filmmaking are sorely lacking
• There is an acute shortage of qualified filmmaking personnel such as cinematographers and editors in the

A 2006 workshop organised by the Indian High Commission highlighted a number of areas that the nascent Ethiopian film industry needed support in, including:

• In-country training opportunities (directing, cinematography, production design, sound design, editing, screenwriting);
• Understanding the legal, financial, business and logistics of production, including how to prepare a budget and how to make a film pay off; improving access to cinemas and distribution, as they currently get negligible returns from the screenings;
• Marketing, exhibition arrangements, international exposure/festival exposure;
• Funding as grants and/or loans for script development, gear/equipment; productions, distribution, marketing;
• Develop co-production deals with international companies;
• Securing tax breaks and the understanding that film is primarily art, not lucrative business;
• The establishment of a body which provides information and expert knowledge on the industry as well as a monitoring and regulatory body;
• Securing the compound owned by the Film Corporation to benefit the Film Industry;
• Preserve materials of interest to cinematic history, which is currently being destroyed through

Professional development service providers for the filmmaking community in the country

• Ethiopian Film Initiative (EFI) www.ethiopianfilminitiative.org
• Media Service Provider – This Swedish registered NGO supports the development of the Ethiopian film It provides training and assistance with production, marketing and distribution.

• The Ethiopian Film Initiative can also be commissioned to produce Contact: Yemane TsegayeMobile:  +251 911 698 973

Gebbette Entertainment Information Technology Plc is to construct a new film production centre which houses four cinemas, a convention centre and support services for film production. It is the initiative of celebrated filmmaker and scholar, the US-based Professor Haile Gerima along with four colleagues.

Its goal is to attract Ethiopian and other African filmmakers to create films that focus on Africa.

Professional development needs in documentary film production in the country

The development phase of a documentary project is vital to the success of the project. Doing it properly requires skills which need to be acquired and practiced. Since the training most filmmakers in Ethiopia get is on-the-job when the production is underway, the development phase is usually skipped. Hence, there is a great need for training opportunities at this stage.

As digital filmmaking has made cinema accessible to emerging talent, numerous domestic video production companies are increasingly aiming for the big screen to break into the nascent Ethiopian film market. However, while these budding Ethiopian filmmakers rapidly move forward with enthusiasm and passion, they lack both training and financial resources, making cheap films on consumer model video cameras, with post-production hastily accomplished on Avid Xpress or Final Cut Pro. The results are low quality.

The appreciation of the cinematic craft is nowhere less appreciated than in the editing suite, yet this is where top skills can yield spectacular results. Most budding filmmakers perceive camera work only as filmmaking, a notion that urgently requires amendment.

Potential funding partners in the country, Africa

• International Emerging Film Talent Association (IEFTA)
• WorldView
• The IEFTA has partnered with the Ethiopian Film Initiative (www.ethiopianfilminitiative.org).
• WorldView is a CBA (Commonwealth Broadcasting Association) Project that aims to improve UK public understanding and awareness of the developing world via the mainstream broadcast and digital media. WorldView supports producers who aim to bring the richness and diversity of the wider-world to UK audiences.

Film schools in the country

The Blue Nile Film and Television Academy

Documentary film production training programmes in the country

These are held from time to time in the country by media supporting NGOs with the support of the government.

• Sandscribe Communications’ mission is to supply innovative media training and production opportunities and support services to the diverse population in Ethiopia and throughout the Horn of Africa

Film festivals in the country

• Colors of the Nile International film festival
• Addis International Film Festival

Business management schools in the country

• Ethiopian Management Institute
• Addis Ababa College of Commerce

Journalism schools in the country

21 state and private higher education institutions offer formal qualification programmes for aspiring journalists. In many cases, curricula offered at journalism departments are not regarded as adequate for the profession as there is thought to be too much theory and not enough practice.

Among the more prominent institutions are:

• Ethiopian Mass Media Training Institute (Emmti): This is a government-run Its stated objectives are “to train credible and responsible journalists with professional ethics, who can benefit from the benefits of modern science and technology”.
• Addis Ababa University (Aau): Through the Institute of Language Studies (ILS), AAU currently offers a two-semester course in journalism The first part is theory and history, thesecond part is more a survey of different practical aspects of the professional media including: writing news, conducting interviews, designing a newspaper, and editing and practicing public relations.
• Unity College: As the nation’s first and now-largest accredited private college, Unity has been an innovator in a number of Its basic philosophy is, through intensive and task-oriented teaching, to empower a generation of entrepreneurial young people.

Technical schools in the country

• Ethiopian Institute of Technology
• Addis Ababa Institute of Technology
• Mekelle Institute of Technology

Professional and peer mentorship in the filmmaking community and their methods

There are no formal mentorships going on in the country, but during festivals and productions there will emerge various mentoring arrangements among members of the crew.

Categories of relevant tech-related companies in the country and their numbers

• Camera sales companies
• Laser Computer Trading Company
• Computer hardware and software companies
• CNET Software Technologies Plc, Ethio Net, Infra Net Technology Plc, Make Tech Computer Systems Plc

Film sales companies operating in the country and services offered to local documentary filmmakers

There are no film sales companies operating in Ethiopia.

Film distribution companies operating in the country and services offered to local documentary filmmakers

Sebastopol Entertainment plc is a movie theatre and film distribution company that distributes exclusively Ethiopian films in Ethiopia.

Filmmaking community advisory groups in the country

• Ethiopian Film Institute
• Ethiopian Film Producers Association
• Ethiopian Filmmakers Association

Nature of involvement of advisory groups in the professional development of documentary filmmakers

The Ethiopian Film Initiative has been involved in organizing conferences, workshops, and seminars.

Local advocacy groups operating in the country and their issues

In 2010, legislation was passed on civil society organisations (CSOs) that placed tight restrictions on the activities of civil society engaged in political or rights-based work. Many closed, and others had to move their focus away from political advocacy. The Charities and Societies Proclamation 2009 legislation restricts foreign funding for civil society organisations active in the advancement of human and democratic rights to 10% of their total funding. Since the culture of grassroots level participation in the country is quite underdeveloped, this has made fundraising very difficult. This means that activities of civil society groups, particularly in areas of advocacy, have been greatly reduced.

The Forum for Social Studies (FSS) is a non- governmental, non-profit policy think tank registered as an ‘Ethiopian Residents Charity’ under Ethiopian law. It is dedicated to the cause of independent research and provides a forum for informed public debate of development issues and policy initiatives.

Interafrica Group (IAG): An indigenous NGO tackling civil society issues for more than 30 years.

Nature of involvement of advocacy groups in the professional development of documentary filmmakers

Advocacy groups will want to craft some communications in order to raise awareness on a certain issue, so they will need the services of qualified filmmakers.

Documentary and news archives in the country

A considerable amount of raw footage from the Mengistu era is scattered in the basements of government buildings, as most ministries were provided with 16 mm cameras to make films for propaganda purposes. The footage needs to be preserved, and restored as part of Ethiopian national film and audiovisual archives.

 

DISTRIBUTION AND AUDIENCE BUILDING

Existing forms of documentary film distribution in the country

• TV broadcast including free to air satellite TV
• Theatrical cinema
• Informal video houses
• DVD
• Internet distribution
• Airlines

Distribution options taken by local documentary filmmakers

• Theatrical cinema distribution: there are four theatres and four cinema houses in Addis, including the only private cinema, Alem Cinema, built by track-star athlete Haile G. Sellasie on Africa Avenue (Bole Road).
• Aida Ashenafi’s documentary Guzo was the first Ethiopian movie to be shown on Ethiopian Airlines

Educational film distributors operating in the country and their capacities

UNESCO

Non-profit film distributors operating in the country and their capacities

Women Make Movies, a nonprofit organisation that distributes independent films made by and about women. This US organisation has distributed at least one Ethiopian’s film – Salem Mekuria’s, but she is not a resident of Ethiopia.

Benefits local documentary filmmakers get from educational and non-profit distributors operating in the country

They may receive promotional benefits.

Laws and regulations governing the distribution of documentary films in the country

• Copyright laws are in force, but they are
• The 1995 Constitution of the Federal Democratic Republic of Ethiopia guarantees freedom of expression under article
• While the constitution guarantees the freedom of expression and the media in principle, it also contains a number of possible limitations in its article 29 (6).
• Legal limitations can be laid down in order to protect the well-being of youth, and the honour and reputation of individuals. Any propaganda for war as well as the public expression of opinion intended to injure human dignity shall be prohibited by law.

Laws and regulations governing audience-building for documentary films in the country

Media Laws

Experiences of documentary filmmakers with legal framework governing distribution of and audience- building for local documentaries

At various industry workshops organised by the Ethiopia Film Initiative the common refrain was for the importance of the cinema industry to be able to speak with one voice. This means that there has been some frustration getting the government to follow through on its commitments.

Audience-cultivation strategies used in the country

• Radio campaigns
• Printed media campaigns
• Word of mouth
• Museums and galleries, and festivals are great ways to showcase and promote a filmmaker’s

Revenue generation strategies for local documentary films in each distribution channel in the country

• Theatrical box-office receipts
• DVD sales
• Documentaries aren’t popular in Ethiopian Aida Shenafi’s Guzo cost 45,000 Br to produce and lost money each of the eight times it played at the 1,500 seat Ambassador Theatre attracting only 200-300 film-goers at each showing.

African civil society groups in the country

• Inter Africa Group
• Forum for Social Studies

Potential ADFF partners in other activist groups in the country

The Ethiopian Film Initiative

Issues concerning distribution rights in each distribution channel and their resolution

• Media Laws are in
• Commercial law governs all forms of business

Securing and administration of distribution rights in the country

• Copyright and Media Laws are in
• Commercial law governs all forms of business

Prevalence of copyright piracy of film in general and documentary works in particular in the country

Piracy is a problem. Informal video houses in particular, are outlets for the Hollywood action movie bootleg.Although documentary films aren’t as popular amongst the youth, audience building efforts may come to naught should the tide turn without having put a mechanism in place to prevent piracy of hot documentary properties.

Measures in place to deal with copyright piracy in the country

In Ethiopia, lowering the price for local content is a strategy that was tried in the music industry to try and stem piracy. For movies, copyright laws are in force, but sensitization of the society will always be crucial to make the legislation work, creating a sense of ownership and responsibility among the people. The film industry inevitably produces individuals who become famous and well respected by a society. These stars of the industry can be used to appeal to society to denounce the behavior that allows piracy to flourish.

Internet penetration in the country

• 5% Internet penetration
• Internet users 447,300 (2009)
• Population 90,873,739 ( July 2011 )

Potential subscribers for an online local documentary library and/or Internet channel for locally produced documentaries

At a 5% subscriber base of the 1 million or so Ethiopians in the Diaspora and the four hundred thousand in the country, potential subscribers stand at 700,000.

Internet usage by local documentary filmmakers

Some filmmakers put their work on internet video hosting sites such as YouTube or Vimeo for promotional purposes. While the Internet distribution platform is proliferating, no local site is making use of this medium on a commercial basis.

Political sensitivities

• Conflict with Eritrea
• The questions surrounding electoral conflict
• Social inequality
• Contentious provisions of anti-terror law

 

COMMUNICATION

Modes of communication between local documentary filmmakers and funding sources

• All modes of communication exist including fixed

telephone, mobile telephone, Internet, normal post, courier.

• Internet telephony, however, is

Channels of communications that allow private exchange of information in the country

Face-to-face communications are always best

Infor sources used by local documentary filmmakers on various aspects of documentary production in the country

There is a very informal ad hoc way of obtaining information. The Ethiopian film initiative has developed a very good website that it continues to update and maintain, bringing together all kinds of industry information.

Kinds of information that local documentary filmmakers would benefit from being in a directory or guidebook

Information about training and mentorship opportunities would be particularly useful.

SURVEY

Factors determining annual trend of documentary film production in the country

Most of the documentaries produced in Kenya have been commissioned works from NGOs operating in the country, corporate organisations, and government departments. Some Kenyan film producers have also successfully applied to international film funds with documentary proposals, but these productions are not common. All in all, budgetary considerations are the key factor in Kenya.

Factors determining film length trends in the country, and why

Most commissions for documentary film come with a brief specifying the documentary length and subject matter. Otherwise, budgetary considerations come to the fore and it is generally more expensive to make a longer documentary.

Producers’ funding methods

When crafting and pitching an idea for a documentary, it will usually be at the producers cost. Should the pitch be successful, funds may be available for development, but what usually happens is that a budget covering development, production, and completion is prepared by the producer with an idea of the amount of funding available.

Producers’ documentary film production budget estimation methods

With no official industry guidebook on standard remuneration levels for crew members, producers will rely on their previous production experiences and some production houses will have rate cards which are often negotiable.

Most successful producers and why

The most successful producers in Kenya do a lot of co- production work with crews coming into the country to shoot documentaries in the country. Some other producers find success by building relationships with the bigger NGOs or the UN who have a significant presence in the country.

Local documentary production funding sources

These range from commission funding, which include NGOs, corporate organisations, and government agencies, to privately sourced funds from self, friends, and family. There are also international Film Funds who will, from time to time, call for documentary proposals which receive funding if selected. More recently, there has been a call for documentary proposals from Zuku Life, a pay-TV operator.

Funding eligibility criteria used by local documentary funding sources

To be eligible to pursue such funding, a producer needs to be local in as far as their production is house is fully incorporated in the country. Many commissioning sources will also require previous experience.

Submission requirements used by local documentary production funding sources for funding

Requirements include a synopsis, a detailed treatment and approach, detailed outline, and a preliminary budget.

Ownership issues in documentary film production

These are usually dealt with in the contractual agreement terms and will be subject to the laws of the land.

Documentary film production ownership issues, resolution methods and experiences

The negotiated contract agreement is satisfactory when all ownership issues have been ironed out in the terms. Breach of contractual terms and provisions will be subject to arbitration, judicial process or both.

Revenue allocation issues in documentary film production

When there is revenue generated from a documentary film, how that revenue is allocated will be subject to contract.

Documentary film production revenue allocation issues, resolution methods and experiences

The negotiated contract agreement is satisfactory when all revenue allocation issues have been ironed out in the terms. Breach of contractual terms and provisions will be subject to arbitration, judicial process, or both. However, because the prospect of generating revenue from a documentary is such a remote prospect, funders are usually quite happy to allow producers to benefit from supplementary revenues accruing from DVD sales and box office receipts with permission.

Agreements between fund sources and producers in documentary film production in the country

These will be legally binding and made after a successful pitch and some negotiations.

Deliverables in documentary film production in the country

Delivery requirements often depend on the mode of exhibition, and may be as simple as as DVD copy, but Zuku Life, for instance, has in their commission- ing brief for a documentary series this year specified a delivery format as:

• HD
• Digi-Beta or DV CAM 184
• File delivery via ftp or hard drive as IMX 30 files
• 16:9 Aspect Ratio
• Music & Effect (M&E) tracks

Reporting requirements during documentary film production in the country

According to the contractual terms, documentary filmmakers may have to give account of their progress from time to time during the duration of the project.

 

PROFESSIONAL DEVELOPMENT SUPPORT

Current professional development methods in the country

• Film workshops provide an invaluable avenue for professional development.

• Film festivals in the country usually have film workshops in their programme: Lola Kenya Film Festival, Kenya International Film There are other film workshops organised by NGOs in the country including One Fine Day, Global Voices, Synarcade Audio-Visuals, Academy of Motion Picture Arts and Sciences global Outreach.
• The Mohamed Amin foundation also has advanced crash courses for industry

Professional development service providers for the filmmaking community in the country

Mohamed Amin Foundation (MoForce)

Professional development needs in documentary film production in the country

Alumni of MoForce are very sought after for their skill in all aspects of film production. This means that in the industry as a whole, the level of skills has potential for great improvement.

Potential funding partners in the country, Africa, and beyond

There are some corporate organisations in the country with vast resources and significant corporate social responsibility programmes.

Film schools in the country

• Kenya School of Mass Communications
• University of Nairobi
• Catholic University of East Africa
• Mohamed Amin Foundation (MoForce)
• Kibera Film School

Documentary film production training programmes in the country

In its seven years in operation MoForce has had over 500 students pass through its doors, but this is not specific training for documentary film production.

Film festivals in the country

• Lola Kenya Film Festival
• Kenya International Film Festival

Business management schools in the country

• University of Nairobi
• Daystar University
• Kenya Institute of Management

These have no direct formal involvement with the film industry in the country.

Journalism schools in the country

An estimated 23 institutions are offering standardised media training at various levels. These include:

• University of Nairobi offers a postgraduate Diploma, a BA and an MA in Journalism which integrate radio and television production, feature and news writing, public relations, photojournalism, communication theory, media law, and
• Daystar University has a Bachelor’s Degree in Communications and a Certificate and a Diploma in the
• United States International University offers a Bachelor of Arts in Journalism, and a minor in the
• Tangaza College, a constituent college of the Catholic University of Eastern Africa, has a Diploma course in Communications and Media covering journalism, photography, radio production and
• Maseno University has a Department of Communications and a Media Technology
• The Jomo Kenyatta University of Agriculture and Technology ( JKUAT) trains journalists at the degree

At college level

• Kenya Institute of Mass Communication is perhaps the most specialised public institution offering media The courses covered include film production, radio and television training.
• All Africa Conference of Churches, which has a communications training centre, offers a Diploma in media production, photography, radio and television production and public
• East Africa School of Journalism
• School of Media Studies
• Blanes College
• Institute of Communication Studies and Development, Media Network
• Foundation College
• Job Institute, Kenya School of Professional Studies
• School of Media Studies
• Mohamed Amin Foundation
• Andrew Crawford Productions

Journalism training is undertaken by various institutions, including at least six universities and several colleges, but the training is expensive, lacking in modern equipment and facilities, and often too general in orientation, not providing the necessary specialist journalism skills.

Nature of involvement of journalism schools in the professional development of documentary filmmakers

There is no direct formal involvement these institutions maintain with the film industry in Kenya.

Technical schools in the country

The above listed universities and several polytechnics such as the Kenya Polytechnic and Mombasa Polytechnic Kenya College of Communications Technology

Nature of involvement of technical schools in the professional development of documentary filmmakers

There is no direct formal involvement these institutions maintain with the film industry in Kenya.

Professional and peer mentorship in the filmmaking community

These usually happen at film workshops that are held over the year. There are also mentorships that do occur during productions.

Categories of relevant tech-related companies in the country and their numbers

In Nairobi there are several computer shops and software companies. Camera shops can also be readily found. There are also several engineering fabrication companies and electronics supplies businesses.

Film sales companies operating in the country

There are no specialised film sales companies in the country. However, there are distribution networks that have been set up by Riverwood producers.

Film distribution companies operating in the country

• A24 Media, an Internet distribution platform
• Obablo Media Centre
• Third Force (Riverwood)-Riverwood distributors are one and the same with their producers so will finance various professional development

Filmmaking community advisory groups in the country

• Kenya Film Commission
• Kenya Filmmakers Association
• Kenya National Film Agency

Nature of involvement of advisory groups in the professional development of documentary filmmakers

• They mainly organise film
• Kenya Film commission has developed a website with a film industry directory.

Local advocacy groups operating in the country

• Climate Change advocacy groups, Road to COP Taskforce
• Kenya Land Alliance
• Kenya Human Rights Commission
• Kenya Association for the Promotion of Adolescent Health

Nature of involvement of advocacy groups in the professional development of documentary filmmakers

Some of these NGOs will commission documentaries.

Documentary and news archives in the country and its volume

• The Kenya National Archives and Documentation Service (KNADS)
• Kenya Broadcasting Corporation (KBC)
• National Museums of Kenya (NMK)
• Department of Film Services (DFS)
• Kenya Film Commission (KFC)
• Kenya Institute of Education (KIE) Educational Media Service (EMS)
• The Permanent Presidential Music Commission (PPMC)
• Private Institutions, Local broadcasters

Method of archive access and use by documentary filmmakers

Filmmakers can make formal applications to these archives for access.

 

DISTRIBUTION AND AUDIENCE BUILDING

Existing forms of documentary film distribution in the country

• TV
• DVD
• Theatrical
• Internet

Distribution options taken by local documentary filmmakers

• Many filmmakers use the DVD form of distribution.
• Some NGOs will buy airtime on local broadcast networks to show their

Educational film distributors operating in the country

Educational Media Services

Non-profit film distributors operating in the country

Not yet determined.

Benefits local documentary filmmakers get from educational and non-profit

Should a documentary filmmaker’s work secure distribution, they can build a reputation and it will be easier to get more commissioned work.

Laws and regulations governing the distribution of documentary films in the country

Film industry issues are considered under various legislations including: The Film and Stage Plays Act, Cap. 222 of 1968, The Kenya Broadcasting Corporation Act of 1988, The Kenya Film Commission Order of 2005 and the Kenya Information and Communications Act of 1998, the Copyright Act, 2001.

Laws and regulations governing audience-building for documentary films in the country

It depends on the audience building strategy chosen.

If the media is used, then the laws touching on the media, including: The Defamation Act, Cap 36; The Copyright Act, Cap 130; The Films and Stage Plays Act, Cap 222 (1962); The Kenya Broadcasting Act, Cap 221 of 1998; The Media Act, 2007.

Experiences of documentary filmmakers with legal framework

Experiences have been largely negative because of the filming licenses and permissions that need to be obtained, and the lack of adequate copyright enforcement.

Audience-cultivation strategies used in the country

• Printed media as promotional coverage in newspapers is a common way of raising awareness for a new film If the film is showing on TV it might be promoted beforehand by trailer.
• Word of mouth and social media are also

Originators and executors of audience-building strategies for local documentary films in the country

Filmmakers, Broadcasters

Revenue generation strategies for local documentary films in each distribution channel in the country

DVD sales

Social movements in the country and nature of engagement with local documentary filmmakers

• Mungiki
• Mombasa Republican Council
• Green Belt Movement

African civil society groups in the country

• Kenya Land Alliance
• Green Belt Movement

These NGOs have commissioned documentaries raising awareness for their work.

Potential ADFF partners and other activist groups in the country

These include civil society groups involved with media freedom, such as the African Media Initiative.

Issues concerning distribution rights in each distribution channel and their resolution; Securing and administration of distribution rights in the country

Distribution rights are negotiated and agreed upon by the copyright holders, upon which distribution agreements can be entered.

Prevalence of copyright piracy of film in general and documentary works in particular in the country

Piracy is rampant in Kenya and is often blamed for the problems and stagnation of the film industry. Africa’s cinema industry as a whole is said to be struggling because of illegal movie pirating and the rising popularity of home entertainment.

To create a bootleg one used to have to wait for the movie screening at cinemas, sneak a camcorder into the theatre hall and record the whole movie. The recorded movie would then be mass produced and sold through various outlets in the city and residential areas.

Though they were inferior in quality, movie makers made a killing as newly released movie titles would usually take a while before reaching the Kenyan movie market.

The infamous camera copies have now been replaced with clear movie downloads that are readily available on numerous websites. Cyber café operators are constantly monitoring movie websites for the latest

releases which are being shared online. Increased broadband internet connection has also led to faster download speeds making it possible to preview, rate and download entire movies all in a matter of a few hours.

Measures in place to deal with copyright piracy in the country and their effectiveness

The Copyright Board of Kenya has been conducting raids on stalls and exhibitions that sell pirated movies around cities but have so far not been successful in shutting down operations. The Copyright Board of Kenya requires an authentication device to be placed on all audiovisual material meant for sale.

Internet penetration in the country

• Population – 41,070,934 ( July 2011 )
• Internet country code – .ke
• Internet hosts – 47,676 (2010)
• Internet users – 996 million (2009)

Potential subscribers for an online local documentary library and/or Internet channel

The current number of Kenyans in the Diaspora is estimated at 3 million and Internet users in the country number about 4 million. So, if we assume a 5% subscription rate on a 7 million population we come up with a potential subscriber base of 350,000.

Internet usage by local documentary filmmakers

Local documentary filmmakers are using the Internet to post their work for promotional purposes.

Political sensitivities

Ethnicity is quite a sensitive topic in Kenya especially since the violence occasioned in the country after the 2007 general elections.

 

COMMUNICATION

Modes of communication between local documentary filmmakers and funding sources

This can be done by telecommunication or by face-to- face communications. Written communiqués are also made through e-mail communications.

Channels of communications that allow private exchange of information in the country

Both fixed and mobile communications are possible as is IP telephony via applications such as Skype, but the most secure private communications are by face-to-face exchanges in private premises.

Information sources used by local documentary filmmakers

Members of the filmmaking community in Kenya rely on their industry network to find the information they need.

Kinds of information that local documentary filmmakers would benefit from being in a directory or guidebook

All aspects of the film industry would be very usefully put in such a guide-book. Information on funding, job and training opportunities would be particularly well received.

SURVEY

Factors determining annual trend of documentary film production in the country

Documentary film production in the Seychelles is mainly by commission either from government agencies, NGOs, or private corporations. This means that funding emerges as the single most important factor influencing the trend of documentary film production in the Seychelles. The availability of qualified filmmakers is also a great handicap.

However, some local festivals such as the Kreol and SUBIOS Festival have filmmaking competitions which may boost local documentary film production.

The Seychelles with its 85,000 inhabitants scattered over more than 100 islands have almost no recorded cinematic history.

Factors determining film length trends in the country

Factors include subject matter, audience, and funding.

Given the location of the islands and difficulty of getting equipment there, the costs of any production are likely to be higher per hour of production than other countries in the region.

Producers’ funding methods

Commission funded, self-funded

Producers’ documentary film production budget estimation methods

These methods do not differ from commonly accepted practice, but with self-funded projects budget estimating methods are not likely to be rigorously applied.

Most successful producers

• Producers such as David Savy, and Gilbert Poole have been engaged in providing a wide variety of services such as wedding video, corporate video, and filming production management for foreign crews, which have supported their own productions to some
• Yves Maurel Video Productions creates wedding and event videos, short films and Yves Maurel Video Productions, Victoria, Mahe, Seychelles, Tel: +248 547504, yvesmaurel@ seychelles.net

Local documentary production funding sources

Funding sources for documentaries produced in the Seychelles tend to be NGOs and government agencies promoting something.

Funding eligibility criteria used by local documentary funding sources

Most commissioning sources will tend to look for experienced videographers. There are no documentary film funds operating in the Seychelles as such.

Ownership issues in documentary film production

Seychellois copyright laws are in force.

Documentary film production ownership issues, resolution methods and experiences

Failing voluntary negotiations or contractual arbitration, the civil arm of the judicial system would need to be resorted to.

Agreements between fund sources and producers in documentary film production in the country

When commissioned to carry out some audio-visual works in the Seychelles, contracts enforceable under the Laws of Seychelles apply.

Deliverables in documentary film production in the country

The documentary works commissioned are required to be of TV broadcast quality if commissioned by the government. The government controls the only national broadcaster, the Seychelles Broadcasting Corporation, and would likely air such works on TV.

 

PROFESSIONAL DEVELOPMENT SUPPORT

Current professional development methods in the country

Permanent film training programmes do not yet exist in the Seychelles. Professionals that wish to develop professionally will currently do so through either informal mentorships at their place of employment or overseas institutions.

Professional development service providers for the filmmaking community in the country

Some professional development for producers can be obtained from the Seychelles Institute of Management. For filmmakers such as directors, editors, cinematographers, scriptwriters such service providers do not exist generally. The Seychelles Broadcasting Corporation does have a training unit, but only for its employees.

Film schools in the country

There is no film school in the Seychelles.

Documentary film production training programmes in the country

There are no documentary film production training programmes in the country apart from the one provided in-house at the Seychelles Broadcasting Corporation.

Film festivals in the country

Since 1989 the SUBIOS festival has been an annual underwater film and image (photography) festival organised on the islands. The Photography and Videography contests run year round, and are open to entries from around the world. The Film & Image Competition itself, an ever-popular component of the SUBIOS Festival, assembles well-known filmmakers and photographers from abroad together with local diving experts and speakers to provide a vibrant ambiance and, of course, an interesting film and image contest whose winners are decided by public vote.

The Seychelles Festival Kreol is the biggest event in the Seychelles and films in the categories of fiction, documentary and animation may be submitted.

Business management schools in the country

Seychelles Institute of Management

Journalism schools in the country

The Seychelles Institute of Management with the help of UNESCO has launched a part-time course targeting practicing journalists.

Previously there was no institution offering media training locally, apart from a training unit within the Seychelles Broadcasting Corporation (SBC) that offered training to its employees only.

Technical schools in the country

Seychelles Institute of Technology (SIT) offers post-secondary education and training programmes at Certificate, Diploma/Advanced Diploma Level.

The courses cater to the needs of people who require initial training and upgrading principally in vocational areas for personal and professional development and advancement.

Local advocacy groups operating in the country and their issues

There are about 80 NGOs in Seychelles. The NGO sector in Seychelles is relatively young and in the process of development. NGOs in Seychelles are, in fact, still pioneers breaking new ground and finding and establishing their rightful place and role in society.

A major landmark in the development of NGOs in the Seychelles was the formation, in 1989, of the Liaison Unit for Non Governmental Organisations (LUNGOS). LUNGOS was set up to facilitate, and where appropriate, coordinate NGO activities without in any way undermining the essential independent nature of such organisations.

Within the health sector, several NGOs have been very active in promoting HIV/AIDS awareness.

Through the action of several NGOs there have been significant campaigns to improve healthy living and surroundings, address problems of drug abuse and delinquency in young people, as well as the welfare of children.

Gender-based violence and other gender issues in the home and in workplaces have also been actively promoted by several NGOs.

The focus has been especially with respect to rights issues, the importance of fatherhood for a prosperous society, and improving the recognition of women in the workplace.

NGOs targeting youth are also active, with the most successful ones focusing on sports and environment. Numerous activities are organised.

Within the environment sector, all NGOs are active, primarily in the area of conservation and environment education.

A globally threatened endemic species recovery programme initiated and coordinated by an NGO, and implemented in partnership with the Government of Seychelles and private island owners, has rescued the critically endangered Seychelles Magpie Robin from immediate danger.

Another NGO has been involved in the management of an island reserve for over twenty years, building a research database which is vital for future management of not only the island concerned but other sites.

A marine conservation NGO is currently undertaking pioneering work on whale sharks ecology, an area not covered by existing conservation programmes. It is expected that important conservation knowledge and capacity will be generated from this study.

NGOs have also played a catalytic and important role in advancing conservation education in the Seychelles, with the production of various teaching aids, manuals and information leaflets. The NGO sector has access to the national media and uses it frequently and effectively.

Documentary and news archives in the country

http://www.sna.gov.sc/overview.aspx

Seychelles National Archives is the official guardian of historical and government documents, including videos. Many different people and organisations use the materials held at this institution.

Laws and regulations governing the distribution of documentary films in the country

• Chapter 78A Film Classification Board Act
• Chapter 29 Cinematograph Film Censorship Act
• Chapter 51 Copyright Act

Laws and regulations governing audience-building for documentary films in the country

• Broadcasting and Telecommunications Act
• Act 36, Seychelles Media Commission Act

Audience-cultivation strategies used in the country

• TV advertising with trailer spots
• Newspaper Advertising
• Radio Advertising
• Word of mouth

Social movements in the country and nature of engagement with local documentary filmmakers

• Kreole Cultural re-awakening
• The Kreol Festival of Seychelles introduced a filmmaking festival with a documentary filmmaking

African civil society groups in the country and nature of engagement with local documentary filmmakers

In Seychelles, there are about a hundred organisations which can be classified as NGOs. These legally registered organisations are not-for-profit, voluntary- based operating independently from Government.

Most of the active NGOs are accredited members of the Liaison Unit of Non-Governmental Organisations of Seychelles (LUNGOS), the umbrella organisation established in 1990. http://www.civilsociety.sc

Issues concerning distribution rights in each distribution channel

• Only one TV broadcaster which is controlled by the Government.
• Broadband Internet is not yet fully accessible to all
• Mobile telephone has extremely deep penetration in Seychelles (over 100%!).

Prevalence of copyright piracy of film in general and documentary works in particular in the country

The Film Unit is very active in Seychelles, protecting film copyrights so piracy isn’t so prevalent on the islands, (though perhaps on the surrounding high seas!) The low population of Seychelles keeps piracy levels very low.

Measures in place to deal with copyright piracy in the country and their effectiveness

The government department, Film Unit, has the mandate to vet the authenticity of all audio-visual products coming into market in the Seychelles.

Internet usage by local documentary filmmakers

Filmmakers have promoted themselves and their work on the internet. Some films are even posted on YouTube and other video uploading sites. Internet penetration is over 50%, which is very high for the region.

Political sensitivities

Opposition politics.

 

COMMUNICATION

Modes of communication between local documentary filmmakers and funding sources

Cable and Wireless Company provides the islands with basic fixed line and mobile telecommunications. Other players include AirTel.

Channels of communications that allow private exchange of information in the country

Face-to-face communications, telephone, email communications.

Information sources used by local documentary filmmakers on various aspects of documentary production in the country

This is through the network of videographers and editors on the island.

Kinds of information that local documentary filmmakers would benefit from being in a directory or guidebook

This guidebook should cover all aspects of the industry, but particularly on markets outside of Seychelles.

SURVEY

Factors determining annual trend of documentary film production in the country

Somalia’s lack of clear government has put documentary producers in a position of relying almost exclusively on commissions from NGOs.

Factors determining film length trends in the country

Factors include the requirements of the commissions and the availability of funding.

Producers’ funding methods

Funding documentaries in Somalia relies on NGO and Diaspora funding.

Producers’ documentary film production budget estimation methods

Local industry experience plays a heavy role here.

Funding eligibility criteria used by local documentary funding sources

These vary from NGO to NGO.

Submission requirements used by local documentary production funding sources for funding consideration

Oral presentations of ideas can usually suffice especiallyfor experienced “danger-zone” documentary makers.

Ownership issues in documentary film production

Who gets how much and when? These are addressed by contractual provisions.

Agreements between fund sources and producers in documentary film production in the country

NGOs may bring up some paperwork for sure, but if funding is from the Diaspora it’s a question of “my word is my bond”, the Somali code of honour.

Deliverables in documentary film production in the country

Broadcast standards to be observed, DV tapes, DVD – all of these formats may be delivered.

 

PROFESSIONAL DEVELOPMENT SUPPORT

Current professional development methods in the country

• Several NGO organisations provide
• EDC edc.org www.shaqodoon.org
• Educational Development Center (EDC) is a US-based NGO that runs an employment skills training programme in Somaliland called Shaqodoon. This has media production and training facilities in the capital Hargeisa.
• Health Poverty Action healthpovertyaction.org
• The British medical NGO Health Poverty Action, formerly known as Health Unlimited, has a radio studio in
• This has been used since 1999 to make the health education radio soap opera Saxan Saxo (Fresh Breeze).
• Health Poverty Action has produced radio programmes for other NGOs and offers training facilities.

Professional development needs in documentary film production in the country

Training, training, training,… and infrastructure for the industry.

Potential funding partners in the country

NGOs of all kinds are in the country. For example:

• BBC Media Action www.bbc.co.uk/mediaaction/
• BBC Media Action is the international media development arm of the BBC. Until December 2011 it was known as the BBC World Service Trust. Its operations in Somalia and the rest of East Africa are run from a regional office in Nairobi, Kenya. BBC World Service Trust has been active in Somalia for more than ten years, training journalists and producing programmes for rebroadcast by local radio stations. In 2011, the Trust launched a UNICEF-funded project to promote better child health, nutrition and hygiene in Somalia.

Film schools in the country

Admas University in Hargeisa offers training in multimedia skills in video and audio editing, as part of IT courses, but this is not really a film school.

Documentary film production training programmes by continent and their level of attendance from the country

The MoForce Foundation of Kenya has trained some Somali filmmakers in the past.

Film festivals in the country

Mogadishu Pan-African and Arab Film Symposium (Mogpaafis)

Business management schools in the country

Courses in business management are to be found in all the major universities in the country: Mogadishu University in Mogadishu, East Africa University in Bosasso, and Fairland University in Hargeisa.

Journalism schools in the country

Courses in journalism are to be found in all the major universities in the country: Mogadishu University in Mogadishu, East Africa University in Bosasso, and

Fairland University in Hargeisa.

Technical schools in the country

Mogadishu Technology Institute

Documentary and news archives in the country and its volume

When the country descended into anarchy around 1991 a lot of things went up in smoke, so archives of any kind in the country are pretty thin on the ground. The media has always been quite vibrant, especially radio, but reliable data on audio archive is not readily available.

DISTRIBUTION AND AUDIENCE BUILDING

Existing forms of documentary film distribution in the country and their capacities

• DVD
• Broadcast TV
• Internet

Distribution options taken by local documentary filmmakers

DVD, Broadcast TV, Internet. Their only hope of making money from their documentaries is through selling it to foreign broadcasters and/or DVD sales.

Non-profit film distributors operating in the country and their capacities

NGOs may distribute documentaries they have commissioned themselves or others which help spread their message.

Benefits local documentary filmmakers get from educational and non-profit distributors operating in the country

Whenever a documentary filmmakers work is distributed, his or her reputation will grow, and with it the chance of further funded work.

Laws and regulations governing the distribution of documentary films in the country

Media laws were drawn up in 2007 by the Transitional Government.

Audience-cultivation strategies used in the country

Radio is the best media to use to get an audience in Somalia, and a spot on radio would reach more people in Somalia than any other media.

Revenue generation strategies for local documentary films in each distribution channel in the country

DVD sales, sales to foreign broadcasters, footage licensing.

Originators and executors of revenue generation strategies for local documentary films in the country

Often, investors in projects will guide the producer on how to achieve returns.

African civil society groups in the country and nature of engagement with local documentary filmmakers

About 70 local community based organisations are operating in Somalia.

Potential ADFF partners in other activist groups in the country and the nature of engagement with local documentary filmmakers

BBC World Service Trust

Potential subscribers for an online local documentary library and/or Internet channel for locally produced documentaries

The diaspora would provide a bigger potential subscriber base than a home audience, but by how much still needs to be determined.

Internet usage by local documentary filmmakers

Somali filmmakers have been actively uploading their work on video hosting sites on the Internet, such as YouTube.

Political sensitivities

Clan rivalry

 

COMMUNICATION

Modes of communication between local documentary filmmakers and funding sources

Mobile communications, face-to-face communication

Channels of communications that allow private exchange of information in the country

Face to face, mobile communications, email

Information sources used by local documentary filmmakers

There are lots of professional bodies in Somalia including several journalist associations, but a lot of information is also obtained through a network of contacts built up over the course of working and living in Somalia.

Kinds of information that local documentary filmmakers would benefit from being in a directory

The country has been devastated by war for years and has been in a state of anarchy for years. A lot of information in all areas of film production is needed.

SURVEY

Factors determining annual trend of documentary film production in the country

As with most other countries, the level of funding available coupled with the availability of keen film producers and filmmakers will have a great effect on documentary film production.

Factors determining film length trends in the country

Again funding availability determines production length, but so does the choice of subject treatment.

Producers’ funding methods

• Internet crowd sourcing (www.thegreat88.net)
• NGO sponsorship
• Self-funding

Producers’ documentary film production budget estimation methods

Ad hoc, there is not much experience, the industry is very young.

Most successful producers

Woyee Film & Theatre Industry collective, a grassroots arts organisation led by Daniel Denis, that is building the local industry are successful by default, as they are the only independent filmmakers in the country.

Elfatih Maluk Atem currently serves the Government of Southern Sudan’s Ministry of Culture and Heritage as the Senior Director of Cinematography and Film Industry where he coordinates the mobile cinema project, short film productions and training the youth of South Sudan in video techniques. An experienced actor and filmmaker, Atem has made numerous films and video productions and provided project coordination for UNESCO, War Child International, Great Lakes film company and South Sudan TV. In addition to his work in media production, Atem is an accomplished theatre actor and director and has served as faculty of Arts, Music and Drama at the University of Juba since 2006.

Local documentary production funding sources

• Government
• NGOs
• Internet crowdsourced
• Privately sourced

Funding eligibility criteria used by local documentary funding sources

As with most commissioned works, to be eligible for funding, the filmmaker must agree to toe the line as far as content is concerned.

Submission requirements used by local documentary production funding sources for funding consideration

NGOs usually specify their submission requirements in their calls for proposals.

Ownership issues in documentary film production

Copyright laws adopted from Sudan or Uganda are in force.

Documentary film production ownership issues, resolution methods and experiences

Resolution methods are by contract, arbitration, and ultimately judicial process.

Revenue allocation issues in documentary film production

Who gets paid what, when, and how much are issues nwhich all competent film contracts will deal with.

Documentary film production revenue allocation issues resolution methods and experiences

By contract, arbitration, and ultimately judicial process.

 

Agreements between fund sources and producers in documentary film production in the country

It depends on the source of the funds. If self-funded,

projects witll have a different contracts profile than if funded by a commissioning body.

 

Deliverables in documentary film production in the country

This depends on the distribution and method of

exhibition of the documentary works. Television broadcasters, for instance, will have their own formats and require works that adhere to their broadcasting standards. DVDs are also a popular way of delivering the finished work.

 

PROFESSIONAL DEVELOPMENT SUPPORT

 Current professional development methods in the country

• Peer mentorship
• Woyee Film & Theatre Industry collective of about 150 young South Sudanese. Woyee has an estimated 150 members who operate from two branches: Torit and the current capital city of Juba
• The Juba Media Collective is devoted to the development and promotion of media in South Sudan and committed to connecting media to the economic and social realities of everyday life in the Media can contribute to processes of democratization and to this end, JMC is dedicated to empowering and mentoring Sudanese voices marginalized from national and global media- making. In partnership with other community organisations, JMC hopes to nurture the growth of an independent and vibrant media sector composed of diverse perspectives, including amateurs and citizen producers, as well as media professionals. JMC also imagines multi-media collaborations, where media artists collaborate with writers, theatre artists and community educators to create installations, shows and events.

Professional development service providers for the filmmaking community in the country

The Juba Media Collective is an emerging community based organisation devoted to the development and promotion of media in South Sudan and committed to connecting media to the economic and social realities of everyday life in the region. The Collective was founded by its director, Elfatih Maluk Atem.

Professional development needs in documentary film production in the country

Training is the major need, followed by the development of critical infrastructure which the industry needs to survive and thrive.

Potential funding partners in the country, Africa, and beyond

FilmAid International was responsible for initial help given to the Woyee collective.

Film schools in the country and their levels of attendance

There is no film school as yet in South Sudan.

Film festivals in the country

Though there are no film festivals in South Sudan as of yet, the screening of Jamila, the first feature film to be produced entirely by the South Sudanese people, was quite an event when it was first screened at a local cultural centre. The screening was a big hit as over 500 people attended on the first day to watch the film. Those who attended included government officials, NGOs, etc.

Business management schools in the country

University of Juba

Journalism schools in the country

In 2010, Sudan Radio Services (SRS) entered a partnership with the University of Juba to set up a course in broadcast journalism at the university. This will lead to a Certificate in Broadcast Journalism, the first journalism training qualification to exist in Southern Sudan. Students on the course will be given hands-on broadcasting experience at SRS.

Technical schools in the country

• Juba University
• As of July 2011, South Sudan has twelve universities of which seven are public and five are

Professional and peer mentorship in the filmmaking community

Peer mentorship is most active in two film collectives:

The Woyee Film and Theatre Collective and the Juba Film Collective.

The Woyee organisation owes its humble beginnings to the efforts of Chandler Griffin, founding director of Barefoot Workshops in Mississippi, US, who provided advice and support as a former FilmAid International trainer at Kakuma Refugee Camp. Griffin initially sponsored two of the refugees, Daniel Danis and Simon Lokwang, to attend a film school in Nairobi to learn more about filmmaking. After completing the course, Lokwang and Danis, along with colleagues, formed Woyee with the dream of establishing a film industry in South Sudan. Woyee’s has in-house equipment such as a Sony PD camera, a Canon XL1 camera and a Mac computer (editing suite).

Categories of relevant tech-related companies in the country and their numbers

Computer shops can be found in Juba, but most of the equipment used in documentary film production in South Sudan is imported at great expense.

Local advocacy groups operating in the country and their issues

• Educational advocacy groups
• Women’s welfare advocacy groups
• Health advocacy groups
• Civic advocacy groups

Nature of involvement of advocacy groups in the professional development of documentary filmmakers

The Woyee group has been commissioned by health advocacy and civic advocacy groups.

 

DISTRIBUTION AND AUDIENCE BUILDING

Existing forms of documentary film distribution in the country and their capacities

• TV
• DVD
• Internet

Watching a movie is a luxury in a country where electricity is scarce. The only cinema in Juba was destroyed during the war. Last year the French cultural centre organised screenings of several European films with a generator-powered projector and an open air screen. The screenings were packed every night.

Distribution options taken by local documentary filmmakers

The Woyee group has a website with links to some of the films it has produced that have been posted on the Internet. It has also distributed the film Jamila via DVD around the country free of charge to encourage people to join the film industry.

Woyee Film and Theatre Industry has produced over 25 short films and radio dramas, as well as public service announcements (PSAs) during the Voter Education Exercise in the 2010 Elections and the 2011 Referendum. These were distributed to all 10 states of South Sudan and to its radio stations. They also played on state television every day.

South Sudan has an underdeveloped film culture with no cinemas, which makes screening locally produced films difficult. Most people rely on the only television station in the country, the government-owned South Sudan Television.

Laws and regulations governing the distribution of documentary films in the country

Copyright Laws are in effect: The Copyright and Neighbouring Rights Protection Act 1996.

Laws and regulations governing audience-building for documentary films in the country

Media Laws are in effect.

Audience-building strategies used in the country

Radio is the single most important source of news and information in South Sudan.

One popular means of mass communication is the broadcasting of messages such as Public Service Announcements (PSAs) via vehicles with loudspeakers. In Juba and the surrounding area, Sultan Jambo is widely respected and used by a number of different organisations.

Originators and executors of audience-building strategies for local documentary films in the country

The filmmakers themselves will try and build their own audience. Daniel Danis distributed free DVDs of the Woyee film Jamila in order to build audience and enthusiasm for the new film industry.

Revenue generation strategies for local documentary films in each distribution channel in the country

• Woyee does rent out its camera equipment to make some money, but for now they focus on theatre because it’s cheaper than making films or short
• DVD sales

African civil society groups in the country and nature of engagement with local documentary filmmakers

• Agency for Independent Media (AIM) aimonline.org. is an initiative launched by various media personalities in South Sudan to promote media freedom and professional journalism. The organisation also aims to strengthen the role of the media as a watchdog on the implementation of the 2005 Comprehensive Peace Agreement (CPA).
• Association for Media Development in Southern Sudan (AMDISS)

Prevalence of copyright piracy of film in general and documentary works in particular in the country

With the literate population being quite low at the moment, and the penetration of TV and video equipment localized mainly in highly urbanized areas, the prevalence of piracy by volume is relatively low, but among those who own such equipment it may be another story.

Measures in place to deal with copyright piracy

Copyright law is in force.

Internet penetration in the country

A 2007 Hirondelle Foundation media survey of Southern Sudan found that only 7% of respondents used the internet. It also found that the overwhelming majority of internet users went online at an internet cafe. Since then, modems that link to the internet via the mobile phone network have become popular among computer owners, but connection speeds remain slow.

Potential subscribers for an online local documentary library and/or Internet channel for locally produced documentaries

In reality, only the educated elite in South Sudan’s main towns, foreign residents and the Diaspora overseas have access to the internet.

Internet usage by local documentary filmmakers

The Woyee group has a website from which it gives information about the work it does and with links to films it has made and posted on video hosting sites such as YouTube.

Political sensitivities

• Ethnicity
• Corruption

 

COMMUNICATION

Modes of communication between local documentary filmmakers and funding sources

Mobile phone coverage remain limited, face-to-face communication through word of mouth remains hugely important, especially in remote rural areas.

Channels of communications that allow private exchange of information in the country

Face-to-face communications, email communications

Information sources used by local documentary filmmakers on various aspects of documentary production in the country

The film collectives are rich sources of industry information even though the industry is still young and such information is scant.

SURVEY

Factors determining annual trend of documentary film production in the country, and why

Funding has been the main factor determining the annual output of documentaries in the country.

The fragmented nature of the film industry in Tanzania makes the availability of historical annual production data hard to come by.

Factors determining film length trends in the country, and why

If the documentary is commissioned the film’s length will usually be specified. Budgetary constraints and subject matter treatments are also factors.

Producers’ funding methods

There is a lot of self-funding that takes place at this stage for non-commissioned works.

Commissioned work is fully funded, but for self- initiated documentary projects funding is extremely difficult. Some media development NGOs do exist in Tanzania, but they usually have a formal process where calls for proposals are made, proposals are evaluated and are selected for funding.

The fairly new Tanzania Media Fund is a real game changer in Tanzania as it is a very well funded body, but for all works, a broadcaster has to be attached, in order for a project to be considered.

It is generally easier to get funds to complete a work than begin it, especially if the work is compelling and/ or has the prospect of making money.

Producers’ documentary film production budget estimation methods

These estimates will be based on previous industry experience, but for commissions, an ad hoc approach to suit the budget is preferred unless clearly instructed otherwise.

Most successful producers

There are a few local documentary film production companies in Tanzania which have been in existence for some time. Invariably, the main reason for their survival is lot of NGO commissioned work, e.g., Abantu Production.

Local documentary production funding sources

Self-funding and NGOs mainly

Funding eligibility criteria used by local documentary funding sources

NGOs will usually only consider experienced Tanzanian filmmakers who can provide a show-reel of their work.

Submission requirements used by local documentary production funding sources for funding consideration

NGOs will usually need a proposal based on their brief which may or may not be based on clear instructions.

Ownership issues in documentary film production

Funders usually insist on the copyrights to the work, but with NGOs some creative rights of exhibiting the works are shared with producers. In any case, contractual agreements will usually spell out these issues in the terms.

Documentary film production ownership issues resolution methods and experiences

Through pre-contract negotiation

Revenue allocation issues in documentary film production

Some NGOs allow producers of their commissioned work to benefit from sales of their work. NGOs themselves usually expect to benefit from such commissioned works by raising public awareness on an issue and then receiving donations, if any, resulting from it.

Agreements between fund sources and producers in documentary film production in the country

As most documentary film work is NGO commissioned, contractual agreements are the norm.

Deliverables in documentary film production in the country

Most documentary works are not made for the big screen but for broadcast television and DVD, and these are the formats that will be required.

PROFESSIONAL DEVELOPMENT SUPPORT

Current professional development methods in the country

• Many industry professionals pursue their professional development through occasional workshops, master classes and seminars that are held every now and then such as when film festivals are held, for example.
• There are NGOs who provide training: g., Get Real Training.
• The School of Journalism and Mass Communication in Dar-es-Salaam provide some courses as well.

Professional development service providers for the filmmaking community in the country

• Media for Development Initiative, a non-profit production house
• Maa Media centre

Professional development needs in documentary film production in the country

Most filmmakers in Tanzania are self-trained so there are usually critical gaps in their skills.

Potential funding partners in the country, Africa

• Tanzania Media Fund is already active in the country
• There are a few global funds that are open to applications from documentary filmmakers around the world, including Africa, who could prove to be good partners.

Film schools in the country

• Kilimanjaro Film Institute (Arusha)
• GABA Africa (Dar es Salaam)
• Institute of Arts & Media Communication (IAMCO) (Dar es Salaam, Ilala)
• Tanzania School of Creative Media (Dar es Salaam, Kinondoni District)
• Zakwetu (Dar es Salaam, Tanzania)

Documentary film production training programmes in the country

These will occasionally be held during film festivals and at some institutions with trainers from abroad, but not as a permanent fixture in the Tanzanian film industry. Attendance is usually good.

Film festivals in the country

• Zanzibar International Film Festival
• Tanzania Open Film Festival
• Festival of the Dhow Countries

Business management schools in the country

• Eastern and Southern African Management Institute
• College of Business Education – Dar es Salaam
• College of Business Education – Dar es Salaam
• Institute of Finance Management – Dar es Salaam

There is no direct formal involvement these institutions have with the film industry in Tanzania.

Journalism schools in the country

There are three universities that offer degrees in journalism and mass communications:

• University of Dar-es-Salaam
• Augustine University
• Tumani University

Several other colleges provide diploma and certificate courses in journalism, but the government has stepped in to control the quality of courses offered by these institutions after complaints from several members of the journalism profession.

There is no direct formal involvement these institutions have with the film industry in Tanzania.

Technical schools in the country

• Dar-es-Salaam Institute of Technology – Dar es Salaam
• Institute for Information Technology – Dar es Salaam
• University Computing Centre – Dar-es-Salaam
• Kilimanjaro International Institute for Telecom- munications, Electronics and Computers – Arusha
• Karume Technical College – Zanzibar

There is no direct formal involvement these institutions have with the film industry in Tanzania.

Professional and peer mentorship groups in the filmmaking community and their methods

• These transient ad hoc groupings are usually formed at film festival events such as workshops and master classes.
• Several production houses also carry out mentorships.

Professional and peer mentorship groups for editors in the filmmaking community

• These transient ad hoc groupings are usually formed at film festival events such as workshops and master classes.
• Several production houses also carry out mentorships.

Categories of relevant tech-related companies in the country and their numbers

There are several computer shops in the urban towns and cities of Tanzania. Camera shops are also to be found with some carrying catalogues of specialised professional equipment manufacturers and expressing a willingness to import on order.

As far as could be determined, no equipment vendor attended the film festivals in the country with intention of promoting their wares in the industry.

Film sales companies operating in the country and services offered to local documentary filmmakers

There are no visible film sales companies operating in Tanzania.

Film distribution companies operating in the country and services offered to local documentary filmmakers

Media for Development International Tanzania (MFDI) A24 Media

Filmmaking community advisory groups in the country

• National Arts Council (BASATA)
• Tanzania Film Censorship Board (TFCB)
• Tanzania Film Federation (TAFF)
• Tanzania Independent Producers Association (TAIPA)

Nature of involvement of advisory groups in the professional development of documentary filmmakers

Some of the advisory groups set up forums in which some of issues facing the film industry can be deliberated upon.

Local advocacy groups operating in the country and their issues

About 10 such organisations existed in Tanzania around 2007 and it is unlikely this number has changed very much. The issues these organisations deal with have to do with promoting human freedoms, equal opportunities, and anti-discrimination.

Nature of involvement of advocacy groups in the professional development of documentary filmmakers

These advocacy groups are usually NGOs some of whom will commission documentaries.

Documentary and news archives in the country and its volume

1972 saw the establishment of the National Film Library (NFL) which functions as an archive and a distributing agency for educational films produced by AVI and TFC. TFC collapsed due to several bureaucracies and institutional mismanagements while AVI was later on merged with National Television (TVT) now TBC in 2000.

In 2008, at the request of the East African Broadcasting Association, CFI put in place a long term project to assist the public radios and televisions of three countries in Africa in the definition of a policy for safeguard, valuation of their archives. 5 audiovisual organisations benefit from this project: TBC (Tanzania), TVZ and STV (Zanzibar), KBC (Kenya) and UBC (Uganda). Three workshops have already taken place. Since 2010, 3 cooperation missions have been organised for TBC. The cooperation between TBC and CFI began in 1996.

In September 2011, TBC participated in a familiarisation workshop for cleaning techniques, restoration and digitization of damaged archives.

Method of archive access and use by documentary filmmakers

Documentary filmmakers can negotiate for access, though the process is fraught with bureaucracy.

 

DISTRIBUTION AND AUDIENCE BUILDING

Existing forms of documentary film distribution in the country and their capacities

• TV Broadcast
• Theatrical release
• DVD
• Internet
• Mobile Cinema

Distribution options taken by local documentary filmmakers

• TV Broadcast
• DVD
• Internet for promotional purposes mainly

Educational film distributors operating in the country

• Media for Development International Tanzania
• Mobile Cinema: Touchline and also government ministry and church organisation operate mobile

Benefits local documentary filmmakers get from educational and non-profit distributors operating in the country

Exposure of their work will bring them a measure of renown and opportunities for more work.

Laws and regulations governing the distribution of documentary films in the country

• Copyright and media laws are in force in
• Tanzanian Copyright Society (COSOTA) conducted a major raid against video piracy in September 2009 where eight distributors were sacked in Dar es Salaam and tons of pirated material impounded.

Laws and regulations governing audience-building for documentary films in the country

• Media laws are in force in Radio is the most widely accessed medium of mass communication.
• Experiences of documentary filmmakers with legal framework governing distribution of and audience- building for local documentaries exist.
• The process of getting a film rated for distribution is sometimes frustrating.

Audience-cultivation strategies used in the country

Radio advertising followed by TV and printed media are used. Word of mouth is also quite effective.

Originators and executors of audience-building strategies for local documentary films in the country

This is usually the distributor’s responsibility, but filmmakers find themselves forced by a survival instinct to pitch in.

Revenue generation strategies for local documentary films in each distribution channel in the country

DVD sales and revenue sharing with broadcasters are also possible if sponsors are found.

Social movements in the country and nature of engagement with local documentary filmmakers

There is a weak tradition of social movements in Tanzania. However, there are some that should be pointed out such as: the reproductive and sexual rights and health movement, the mineral wealth for locals movement, equal justice for the poor movement, and also the “charismatic” Christianity movement.

Some African civil society groups in the country and nature of engagement with local documentary filmmakers

• The Foundation for Civil Society
• Tanzania Women Lawyers Association
• Christian Council of Tanzania
• Guluka Kwalala Youth Environmental Group agenda Participation 2000
• Bus Drivers Association
• Hakikazi Catalyst
• TMWDO – Tanzanite Mine Workers Development Office

Potential ADFF partners in other activist groups in the country

• Tanzania Media Fund
• Media for Development International Tanzania

Issues concerning distribution rights in each distribution channel and their resolution

These issues are usually dealt with in negotiated contracts subject to the laws of Tanzania.

Securing and administration of distribution rights in the country

These issues are usually dealt with in negotiated contracts subject to the laws of Tanzania.

Prevalence of copyright piracy of film in general and documentary works in particular in the country

The creative industries in Tanzania lack both systematized distribution and established marketing channels. Therefore, piracy affects both film and music industries. Copyright infringement and trading in counterfeit goods are major challenges and pose a risk to the sustainability of the industry.

Measures in place to deal with copyright piracy in the country and their effectiveness

Even though there is Copyright Society of Tanzania (COSOTA), its capacity and what it does is less than satisfactory. While both film and music productions have committed audience/consumers, the society is faced by lack of awareness of the consequences of buying pirated copies of music CDs or films.

Internet penetration in the country

• Internet penetration is less than 5%
• Internet hosts – 24,182 (2010)
• Internet users – 678,000 (2009)
• Population – 42,746,620 ( July 2011 )

Potential subscribers for an online local documentary library and/or Internet channel

There is no specific data of the number of Tanzanians in the Diaspora but it is believed that the number has slightly exceeded 2,000,000, living and working in different countries in the world. Generally, the Diaspora has a much higher access to the Internet than local populations. The Tanzanian Diaspora therefore points to a subscriber base of about 100,000 at a 5% subscription rate. Internet penetration in Tanzania is bound to grow, however.

Internet usage by local documentary filmmakers

Internet has only been used for promotional purposes with video posted on YouTube and other free video hosting platforms.

Political sensitivities

Ethnic tensions are a highly sensitive subject in Tanzania.

 

COMMUNICATION

Modes of communication between local documentary filmmakers and funding sources

Fixed and mobile telephone communications are possible, Internet telephony (e.g., Skype) is available. The Internet also makes email and instant messaging feasible.

Channels of communications that allow private exchange of information in the country

Fixed and mobile telephone communications is possible, Internet telephony (e.g., Skype) is available. The Internet also allows emails and instant messaging.

Information sources used by local documentary filmmakers on various aspects of documentary production in the country

There is no single repository of information and filmmakers tend to make use of their networks of contacts to find out what they need, whom to work with and whom to seek help from.

Kinds of information that local documentary filmmakers would benefit from being in a directory or guidebook

Everything a filmmaker needs to know about the industry, but most especially on sources of funding, upcoming projects, and training.

SURVEY 

Factors determining annual trend of documentary film production in the country

Financial considerations loom large. Shorter films on the whole cost less.

Factors determining film length trends in the country

The key determining factors are rooted in financial considerations.

Producers’ funding methods

• Up-front commission
• Self-sourced funds from personal savings, family, friends.
• When a work has been produced, distributors are willing to talk, especially when their potential interest is made clear.

Producers’ documentary film production budget estimation methods

Since the industry is still informal and fragmented, the budgeting is done mainly from direct experience in the industry. Because of the scarcity of commissions, budgets vary a great deal, with allocations for crews being highly flexible.

Most successful producers

The most successful production houses are propelled by NGO commissioned work.

Local documentary production funding sources

NGOs are the most active commissioners of documentaries.

Funding eligibility criteria used by local documentary funding sources

The critical eligibility criteria is that a production house is a legally registered entity with a bank account. A show-reel of previous work is also necessary, as well as a willingness to work closely with an NGO to craft the audio-visual message.

Submission requirements used by local documentary production funding sources for funding consideration

These will be determined by the commissioning organisation.

Ownership issues in documentary film production

In most cases the copyrights are retained by the commissioning organisation, but producers are able to submit and screen works with permission.

Documentary film production ownership issues resolution methods and experiences

• Ownership issues are best resolved before the documentary is made, and reflected in any agreements that are entered into prior to production.

Revenue allocation issues in documentary film production

As most documentary production in Uganda is NGO commissioned, the question of revenue does not really arise, but with the new internet based distribution platforms coming up, revenue allocation between distributor and producer is on the basis of a revenue split between platform and producer.

Documentary film production revenue allocation issues, resolution methods and experiences

Revenue allocation issues, such as ownership issues, need to be resolved in advance and covered by a signed contract.

Agreements between fund sources and producers in documentary film production in the country

Commissioning NGOs usually have quite comprehensive agreements that production houses sign for the work

Deliverables in documentary film production in the country

Most commissioning organisations specify the format in which the finished production should be delivered.

Reporting requirements during documentary film production in the country

Occasional presentations of what has been achieved at various points in the production are made.

 

PROFESSIONAL DEVELOPMENT SUPPORT

Current professional development methods in the country

The availability of professional training institutions is inadequate given the interest from newcomers. Professionals in the industry, however, do a great deal of on-the-job learning. This is particularly true when experienced highly skilled filmmaking crews from countries with established documentary industries come into the country to film with local crews on location. Training programmes in the country also bring in highly experienced filmmakers to give workshops. These workshops tend to be quite popular on the whole.

Professional development service providers for the filmmaking community in the country

There are NGOs and a filmmaking school, the MAISHA Film Lab, that provides professional development services to the filmmaking community.

Professional development needs in documentary film production in the country

While most filmmakers appreciate the development phase of documentary film production, the commissions that come from NGOs, and that are heavy on message, do not provide the opportunity to fully derive the benefits from this phase due to narrow scripting demands.

Changing technology and techniques necessitate that continuous professional development is a must if work produced is to be internationally competitive.

Post-production is as equally important as actual production. Here too, technological changes necessitate continuous professional development.

Potential funding partners in the country, Africa, and beyond and their level of activity

• Diplomatic missions all have cultural The Danes in particular have recently been involved in supporting youth in filmmaking.
• There are quite a number of international funds which have already funded documentaries in the
• NGOs will occasionally commission

Film schools in the country

Several unaccredited schools offer training in filmmaking but their student figures could not be obtained, for example, Kibera Film School in Kampala.

Documentary film production training programmes in the country

• The Maisha Film Labs
• Kibera Film School in Kampala

Professional development courses offered in local film schools and training programmes

Maisha Film Labs do not charge for their workshops, but there is a necessarily strict filtering of applicants given the volume of applications.

Film festivals in the country

• Amakula Film Festival
• Uganda Film Festival
• African Film Festival
• Amakula Film Festival

Business management schools in the country

The Makerere University and the private Kampala University offer a full range of courses. These are reputable institutions.

Kampala University has a film course but it is not clear to what extent it is involved with the Ugandan film industry, nor the business management courses offered there.

Journalism schools in the country

Makerere University and the private Kampala University offer a full range of courses. With support from the Konrad-Adenauer-Stiftung, the Uganda Media Development Foundation (UMDF) is continuing its training programme for journalists at the regional and district levels.There is no direct involvement with the industry immediately evident.

Professional and peer mentorship in the filmmaking community

Mentorship is very informal and often described as taking someone under the wing. Experienced producers and editors will often share advice with junior colleagues, or even new entrants into the industry, but not much time can be afforded for mentorship. Experienced writers will often share advice with junior colleagues, or even new entrants into the industry, but not much time can be afforded for mentorship. Among writers, mentorship is most easily achieved because of the nature of the endeavour. Writing can be exchanged and constructively critiqued more readily than can a producer’s or director’s performance, which needs in situ feedback from a mentor to be most effective. With editors, informal ad hoc mentorships are formed on a project by project basis. Crews tend to shuffle and knowledge and skills are disseminated by coming into contact with colleagues who may have picked up new knowledge or techniques from previous projects.

Categories of relevant tech-related companies in the country

Professional filming cameras and editing software are imported and not locally procurable through an agency. There are many consumer computer and camera shops in the city, but these do not have the ‘industrial strength’ equipment required by most filmmakers to produce work to international standards. No direct involvement with the documentary film industry is immediately evident.

Film sales companies operating in the country and services offered to local documentary filmmakers

Specialised sales companies dealing with films simply do not exist locally. There have been cases where foreign brokers have sold documentary films to air on foreign television stations. With the advent of the internet distribution platform, producers are able to deal directly with the distributor. These aggregators of content are coming up fast and will be able to negotiate more favourable terms for themselves and filmmakers with broadcasters in particular. No direct involvement with the documentary film industry is as yet immediately evident.

Film distribution companies operating in the country and services offered to local documentary filmmakers

In Uganda, Fast Track Productions has launched an internet distribution platform http://www.africafilmonline.tv/. They have developed the service to an advanced stage and already have some of their own productions, a soap series titled Hostel, online. Initially their main target market is the Ugandan Diaspora.

Filmmaking community advisory groups in the country

Censorship is active.

• There are many advisory groups in Uganda advising on various issues and aspects of They include:The National Advisory Group, Youthful Advisory Group, and others.

Nature of involvement of advisory groups in the professional development of documentary filmmakers

Especially in the making of documentary films to do with public health, these advisory groups are consulted in order to help shape the message the commissioning organisations seek to impart to society.

Local advocacy groups operating in the country

Advocacy groups do exist in Uganda. Many of the international NGO are advocating for something, and are the most active in commissioning filmmakers to make documentaries and message-driven dramatic features. Local advocacy groups include:

• Uganda Debt Network
• Uganda Youth Network
• DENIVA
• Uganda Rural Development & Training Programme
• AYPARI

Nature of involvement of advocacy groups in the professional development of documentary filmmakers

Advocacy groups need their messages put in film as well, and will occasionally engage with filmmakers in this respect.

Documentary and news archives in the country and its volume

Broadcasters have extensive but unorganised collections of footage, access to which is limited. In most cases, documentary filmmakers have to resort to foreign archives maintained by organisations such as A24 Media, Reuters, and others at great expense.

Method of archive access and use by documentary filmmakers

It is quite straightforward, when funds are available, to purchase footage from established archives abroad.

 

DISTRIBUTION AND AUDIENCE BUILDING

Existing forms of documentary film distribution in the country and their capacities

• DVD
• Broadcast Television
• Internet distribution

Distribution options taken by local documentary filmmakers and why

• DVD
• The delivery requirement for commissioned documentaries is usually in this format.

Educational film distributors operating in the country and their capacities

The Documentary Educational Research Company is an online educational material distributor.

Non-profit film distributors operating in the country and their capacities

YouTube allows any filmmaker to distribute their product for free on its platform. Though not strictly a non-profit, it is virtually free for producers to put their works out to be seen by the world. What’s more, YouTube has a tantalizing profit-share formula that depends on the number of views the film gets. There are no local not-for-profit film distributors in Uganda. Some of the foreign not-for-profit distributors include Invisible Children Inc., which was responsible for the KONY 2012 viral video phenomenon and the Uganda Humanitarian Communications Initiative.

Benefits local documentary filmmakers get from educational and non-profit distributors operating in the country

Documentary filmmakers want their work seen, so any effort to make this happen is a boon to documentary filmmakers.

Laws and regulations governing the distribution of documentary films in the country

• There are copyright laws in Uganda which have, of late, been enforced by authorities.
• Filming requires
• Government censors are quite

Laws and regulations governing audience-building for documentary films in the country

Some audience-building strategies require that producers advertise and/or publicize documentaries. Consumer protections laws will, as a matter of course apply, though how well these are enforced is another matter.

Experiences of documentary filmmakers with legal framework governing distribution of and audience- building for local documentaries Narrative

Apart from signing legally binding agreements and making sure their production houses are registered and up to date, there is little interface documentary producers seek with the law.

Audience-cultivation strategies used in the country in descending order of effectiveness

• Word of mouth and by popular acclaim
• Advertising, especially on the radio, and posters
• Publicity through interviews in media

Originators and executors of audience-building strategies for local documentary films in the country

• The Public Relations Association of Uganda (PRAU) has a membership that has been devising such strategies as their mission.
• Many other marketing and advertising agencies

Revenue generation strategies for local documentary films in each distribution channel in the country

Broadcasters in Uganda cannot be counted on to generate revenues for documentary makers. In fact in order to have their work aired producers pay the broadcaster for the right. The internet distribution platforms now coming up promise a better way of generating revenue. For DVD sales to generate any significant revenue, the volume must be so large and the unit price so low as to de-incentivize any pirates.

The content also has to be pretty sensational for the general public to be sufficiently interested to spend its money. Commissioned documentaries suffer no such challenges, and this is the route most filmmakers take.

Originators and executors of revenue generation strategies for local documentary films in the country

All revenue generation strategies are up for negotiation, but with internet platform distribution, producers are offered distribution agreements by the platform operator.

Social movements in the country and nature of engagement with local documentary filmmakers

• The impact of a recession economy seems to have brought many Ugandans together to demand There have been demands from medical students, and unions have become more active in their demands too. On the artistic front, poetry has gained a momentum that is sure to carry on for some time. There is also an anti-gay backlash that is being driven by evangelical churches, particularly from the United States. The ruling party considers itself a movement, the National Resistance Movement.
• Uganda Land Alliance

African civil society groups in the country and nature of engagement with local documentary filmmakers

• National Advisory Group (NAG)
• Gulu NGO Forum
• National Union of the Disabled Persons of Uganda
• Anti Corruption Coalition of Uganda
• National Association of Uganda Small Business Organisations
• Kabarole Research Centre
• Soroti Civil Society Network

Local civil society groups will occasionally engage filmmakers to document events.

Potential ADFF partners in other activist groups in the country and the nature of engagement with local documentary filmmakers

Activists can be found in Uganda, and their activities are often in broadcast news. Before it was banned for being a security threat, the exploits of the Activists for Change were well documented by local media outlets. Other activists include:

• Campaign to End Genocide in Uganda Now (CEGUN)
• Sexual Minorities Uganda

Issues concerning distribution rights in each distribution channel and their resolution

All such issues are to be covered in distribution agreements, failing which, determination by an arbitrator or court of law is required. Laws concerning copyright are enacted in Uganda.

Securing and administration of distribution rights in the country

Distribution rights are secured by means of legal agreements entered into between content providers and distributors

Prevalence of copyright piracy of film in general and documentary works in particular in the country

The prevalence of piracy is high. Any film, documentary or otherwise, that is popular, expensive in the original, and not widely available is vulnerable to piracy.

Measures in place to deal with copyright piracy in the country and their effectiveness

There are enacted copyright laws in Uganda. Anti-counterfeit mechanisms for DVDs have been introduced. Some filmmakers think it would be wise to engage the pirates and bring them out of the shadows with distribution deals, thus taking advantage of their wide distribution networks and reducing piracy.

Internet penetration in the country

• Population – 34,612,250 (est 2011)
• Internet Users – 4,178,085
• Internet Penetration – 1%

Potential subscribers for an online local documentary library and/or Internet channel

Even if we peg this at 5%, it equates to about 200,000 users.

Internet usage by local documentary filmmakers

YouTube has brought about a revolution in audio-visual access by millions of people. This has not gone unnoticed by filmmakers the world over who have posted trailers, showreels, and completed works on the platform. Ugandan filmmakers have been no different. Most production houses also have an internet profile.

Political sensitivities

• Opposition politics
• Staple food prices

 

COMMUNICATION

Modes of communication between local documentary filmmakers and funding sources

Face to face presentations are common.

The communication channels in Uganda are good, mobile telephones have proliferated with about five network operators, and courier services are available in the city. The internet has certainly made communications very easy, though slow at times.

Channels of communications that allow private exchange of information in the country

Face to face communications are usually best, and so are courier services. DHL have agents in Kampala. Email communications are also quite secure.

Information sources used by local documentary filmmakers on various aspects of documentary production in the country

Word of mouth and informal exchanges of information are the most prevalent means by which filmmakers obtain the information they need to do their work. It is inefficient. Conventional information sources like newspapers and magazines are also used. Lately, bloggers on the internet have taken to reporting the on-goings in the arts world of which documentary filmmaking is a part.

Kinds of information that local documentary filmmakers would benefit from being in a directory or guidebook

The documentary is in constant need of information on funding sources and information on how to successfully apply for funding. Since the industry is quite fragmented, an organised directory of industry players and their contacts and profile, and the details of suppliers, including prices of products and services would really help filmmakers