South African Film Since Apartheid

Abstract

Following South Africa’s historical multiracial elections in 1994, a Black majority government came to power, which almost immediately identified the film industry as an important part of their effort to transform one of the most racially and economically unequal countries in the world. The government considered access to culture a basic human right and saw cinema as one way to strengthen the new democracy, by promoting national unity and contributing to economic development. In 1999, through parliamentary legislation, it created the National Film and Video Foundation (NFVF), an agency responsible for promoting the development of a national cinema. This signaled the possible start of a dynamic, socially engaged, and financially viable film industry that could enliven filmmaking within South Africa and across the African continent. With the end of apartheid-era sanctions, South Africa re-entered the global market and the government embraced neoliberal policies. Consequently, the NFVF increasingly focused on the commercial possibilities of film. While government investments in the film industry have produced some positive results, deeply entrenched structural inequities remain an obstacle to Black filmmakers seeking access to the means of production, distribution, and exhibition. Moreover, in a country of about 55 million people in 2013, cinema was only accessible to about 10 percent of the overall population due to the cost and location of movie theatres. Despite these limitations, in the first two decades of democracy, there were notable developments in independent, popular, and documentary films. Although these categories are not fixed or static, they are a useful way of framing recent trends that offer insight into the South African film industry and the way its films represent the nation. There have also been significant changes in the realm of distribution and exhibition that have the potential to upend the traditional model of cinemagoing.