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.

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.

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.

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.

He has been working in films for the past 11 years. He works in production, casting, he writes and has participated in numerous international productions that have come to Kigali to shoot.

Casting Assistant

• Sometimes in April with HBO

• Un dimanche à la piscine (A Sunday in the Pool)

• Shooting Dogs with BBC

• Operation Turquoise

• Ezra

• zone Turquoise (Turquoise zone)

Line Producer

• Documentary Film: Justice and Forgiveness with the New York production company Article 19

• Documentary Film about the battle against AIDS and Malaria with PSI-Rwanda and Mashirika Theater without Borders:

• The Monument with ISOKO Theater

Journalist

• French News Presenter at Radio Contact FM Rwanda

• Assistant Editor in Chief at City Radio Rwanda

• Program Director and Presenter at Community Christian Radio UMUCyo Rwanda

• Guest teacher at Kenya-Nairobi schools

Claude Gilbert was first spurred on by passion. Documentaries are something new here. Locally, very few people make documentaries. They do works on the environment, on health, on epidemics… films that match the needs of NGOs. There is barely anyone actually doing an international type of documentary. The NGOs and foreign production companies that come here to shoot want something very specific and their requests are followed to the letter.

The local documentary productions are made mostly with the help of the private sector. You get in touch with a company, you present your project and your requirements, you show how your project is interesting for them. It is more of an advertising business.

The Rwandese government has attempted to develop cinematic activities, but there are not as yet any standards, policies or human resources. The Government is working toward developing a setting in which Rwandese cinema can be discussed before it will intervene in any concrete way.

Those who believe they have knowledge of cinema do not have a healthy relationship with those who want to start. Instead of helping them to grow in this profession, they first think about how to exploit them. There is something there that reminds one of the Far West. There are no partnerships between production companies. There is amateur and semiprofessional equipment, but no professional equipment.

If we could get started with a well-defined cinema, it would be a great first step. First, we would have to work on the concept that defines what Rwandese cinema is, or what we want to achieve with Rwandese cinema. Then, we would have to put in place a national cinema structure, from there on, the rest could be managed. If we were to receive some sort of backing, it could allow us start with this institution.

As regards fiction, most of the films are shot in Kinyarwanda, and we have to remember and admit that, right now, there is a confusing mixture of languages. French is not spoken well, English is not spoken well. On all the international films I have worked, if I needed French-speaking actors, I had to go to Congo-Kinshasa or Europe to hire them, and if it was for English-speaking roles, then to Kenya, Tanzania or South Africa.

In Africa in general, cinema is slowly fading out. In the eighties, there was development, passion, stories with presence on screen. Nowadays there are the films from Nigeria, full of sorcery and the likes, but it is not a quality cinema. Films have lost their value. We need to act fast or it will be too late and too complicated.

In the past, there were films in which people could recognise themselves. It was not a cinema that tried to imitate the Americans, the English or the French. To express love as love is expressed in the West instead of how it is expressed in Africa…there is something fake there. We must start by dreaming the African culture.

The institutions must make all efforts to relaunch cinema. In another time, there was a desire to throw oneself into the fray to prove one’s worth.

MINISTRY OF CULTURE

He is in charge of cultural tourism at the Ministry of Sports and Culture.

Cinema is a new sector in Rwanda, and we can see that there are more and more artists interested in it. At the Ministry, we see people who have talent and we try to gauge their level of talent. At the same time, we are looking for aid to help them get more training or for ways to send them elsewhere where they can learn.

Artists are thirsty beings, anxious to jump in and with a tendency to skip stages. As soon as they do anything, they call themselves filmmakers, directors…. We try to help them move slower. We try to get them to associate with each other so that the few contacts the Ministry has, the opportunities that we may be able to offer them, can benefit as many people as possible.

When we send people to festivals, first we try to make sure the festival is well-organised, so that the people who are going are really going to get something from that experience, because there is a lot of nonsense at festivals as well.

The Ministry is in charge of designing the policies. It drafts guidelines so that we can regulate cinema. In our former political environment, there was no cinema. Now we are at the beginning, and we try to focus on things now. We try to do it with artists. We cannot do this with civil servants.

The Ministry participates in the financing of films mostly through the Rwanda Film Center. That is the first entity to get going, and the Ministry has backed it.

As regards international films, the Government has made buildings, military materiel such as helicopter and other services available to them.

DIRECTOR / PRODUCER

With Cameroonian nationality, he has been working in Rwanda since the year 2000. He studied at the INSAS, a film school in Belgium. He decided to return to Africa not just to work in his country, but anywhere there was something interesting happening. He set up a Welcoming Workshop (called KEMIT) where he trains those who want to take this profession seriously and who want to master the basics to do quality work.

The word ‘documentary’ is used over and over again, but it is too grand a word for what is really being done. A documentary requires time and resources. And we do not have either one. Investigation work is very limited. As is the editing process. What we produce here could be better defined as midway between a report and a documentary.

Before speaking to the whole world, one must speak to oneself, to one’s neighbor, to the people to whom we feel close to. And if we speak to these people, communicate with them, then we can reach the others. Universality is not an abstract concept. It is weighed down locally. What is said is sufficiently intelligent and strong. If it becomes universal, it can reach the rest of the world. This is, in a way, the problem of African cinema; it is always looking across the ocean instead of speaking to the neighbor.

The rule of thumb in African countries is that there is no Ministry of Culture (usually it is the same ministry that takes care of sports and youth) in the same sense that there are no cultural policies. There is no backing, there are no structures, there is no association that recognizes professionals as such. If tomorrow the security man at the door decides he is a filmmaker, he is a filmmaker. It is not like for doctors or lawyers. They need to prove that they have certain abilities and skills.For those trying to be professionals it is hard.

Are there producers… people who really know what it is to produce? An infrastructure does not define a producer, it is his or her capacity to read a screenplay, to make a budget according to that screenplay, it is how one imagines the story…

There are people who go to the State and create companies and they call themselves producers, but this does not make them producers. Having a production infrastructure does not make them producers. Being a filmmaker implies having a certain intellectual, cultural and artistic approach. It is someone who envisions a certain point of view of the world and finds the technical means to express that thought. There are few filmmakers because people are not trained. People must learn. When someone has learned, it is clear. His or her cinematic language is present in the way of filming, of working with colors, the focal lengths….

To promote anyone who has filmed anything with a camera and say that they are filmmakers is like cheating Africa. The books that are published, pushing this mode of action, are not doing Africa any favors. We cannot accept that people come to our home to tell us that everything is great when, if they were back home, they would deem it unacceptable. Because it is Africa, everything is acceptable. That does not help us and it can only hinder any possible development.

Thought: In Africa there are very few trained professionals, if we want to do things, we must be versatile, masters of the whole process and self-sufficient.

HISTORICAL OVERVIEW

In 1959, three years before independence from Belgium, the majority ethnic group, the Hutus, overthrew the ruling Tutsi king. Over the next several years, thousands of Tutsis were killed, and some 150,000 driven into exile in neighboring countries. The children of these exiles later formed a rebel group, the Rwandan Patriotic Front, and began a civil war in 1990.

The war, along with several political and economic upheavals, exacerbated ethnic tensions, culminating in April 1994 in the genocide of roughly 800,000 Tutsis and moderate Hutus. The Tutsi rebels defeated the Hutu regime and ended the killing in July 1994. A series of massive population displacements, a Hutu extremist insurgency, and Rwandan involvement in two wars over the past four years in the neighboring DRC continue to hinder Rwanda’s efforts.

HISTORY OF CINEMA

FROM 1896-2000

There is practically no film industry in the country. There is no active history of a film-producing culture in Rwanda as yet, although the violence has inspired filmmakers to tell the story of the horror of the genocide. One such film is 100 Days, by Vivid Features. Film Director Nick Hughes was in Rwanda as the genocide unfolded, and shot 100 Days to expose the tragic roles of the UN, the French State, and the Catholic Church in this event. In 1999, with a budget of 1 million dollars, the film completed production in Kibuye, Rwanda. The film was screened at: the Toronto International Film Festival in September 2001, London Screenings, Raindance, Sithengi SA, FIPA France, Daka, Goteborg Sweden, Los Angeles PAFF, Palm Springs, Milan Italy, Philadelphia, New York AFF, Vue d’Afrique Montreal, Danish NatFest.

In 1986 Gaspard Habiyambere directed a short called Manirafashwa, which received some recognition. In 1987 a Rwandese Canadian co-production Rwanda, les collines de l’effort was released, a documentary directed by Callixte Kalisa was released. In 2003 Sarah Vanagt produced and directed a short documentary After Years of Walking, the movie is based on a 1959 feature film, shot by missionaries in Rwanda. The film shows life in Rwanda after the 1994 genocide.

By Creative Visions

The Rwanda Film Institute dedicates a lot of its energy to the education of individuals in the field of filmmaking. Through our Kwetu Film School, we look to consistently breed the next generation of Rwandese filmmakers. This is an essential part of our overarching goal of the development of Rwanda culturally, economically, and communicatively through the growth of filmmaking as an industry.

Although the Kwetu Film School is currently in its infancy, all involved in the mentorship and the creation of the school are experienced educators. RFI had been providing filmmaking education many years previously at the Rwanda Cinema Centre. We have now evolved into a full-fledged educational institution that is registered with the Ministry of Education through the Work Force Development Agency (WDA).

We are currently providing a three-month certificate course in the central aspects of filmmaking. The course tuition is being provided by a variety of freelance mentors and permanent RFI staff. All who provide this tuition are experts in the particular course modules they teach.

Acclaimed Rwandan filmmaker, Eric Kabera studied psychology, pedagogy, and law. Motivated by the lack of human resources in audiovisual in Rwanda, Eric Kabera founded the Rwanda Cinema Centre (RCC) in 2001 with the intention of training and facilitating filmmaking in Rwanda.

• Pardon (Le) Joel Karekezi

• Jomo Daddy (Kivu) Ruhorahoza

• Histoire de tresses 2002, Jacqueline Kalimunda

• Isugi 2005 François Woukoache, Odile Gakire Katese, Jacques Rutabingwa

• 100 Days 2006, Nick Hughes

• Les Frères Kadogo 2006, Joseph Muganga

• Hey Mr DJ! 2006, Ayuub Kasasa Mago

• Scars of My Days 2006, Gilbert Ndayaho, Omar M. Sibomana

• A Love Letter to My Country 2006, Thierry Dushimirimana

• The Graduation Day 2006, Ayuub Kasasa Mago

• Munyurangabo 2007, Lee Isaac Chung

• Dream Tomorrow 2007, François Woukoache

• Maibobo (Mayibobo) 2010, Yves Niyongabo

• Imbabazi 2011, Joel Karekezi

• Matière Grise (Grey Matter) 2011, Daddy (Kivu) Ruhorahoza

• Rukara 2011, Jacqueline Murekeyisoni

• Kivuto 2012, Poupoune Sesonga

• Chez les Watuzzis 1920, Anonyme

• Les Orphelins du sida 1992, Jeanne d’Arc Kamugwera

• Les Métiers marginalisés pour les femmes 1993, Jeanne d’Arc Kamugwera

• La Femme rwandaise dans la démocratie pluraliste 1993, Jeanne d’Arc Kamugwera

• Why Did They Kill Their Neighbours? 1998, Kumiko Igarashi

• Nous ne sommes plus morts 2000, François Woukoache

• Rwanda, récit d’un survivant 2001, Vénuste Kayimahé, Robert Genoud

• Gardiens de la mémoire 2004 Eric Kabera

• La Fille du grand monsieur 2004 Georges Kamanayo Gengoux

• Homeland 2005, Jacqueline Kalimunda

• Mères courage 2005, Léo Kalinda

• Goretti 2005, Diane Igirimbabazi

• Dieu est mort au Rwanda, Jennifer Deschamp

• Behind these Walls 2006, Pierre Kayitana

• Alphonse’s Bike 2007, Eric Kabera

• Dream Tomorow 2007, Kemit

• Ubuzima bw’umogore 2007, Psi Rwanda

• Iryo nabonye tour in prisons 2007, Centre universitaire des Arts

• Clavel, l’enfant numéro 13 2008, Antoine Léonard-Maestrati

• Icyizere: Hope 2009, Patrick Mureithi

• Umurage 2009, Gorka Gamarra

• Reconciliation in Rwanda 2009, Kemit

• A Journey with King Faisal Hospital, Kigali 2010/2011, King Faisal Hospital

• Lionnes 2011, Fred Kristiansson

• Au-delà de la vue 2011, Sonia Uwimbabazi