TAILIEUCHUNG - African Cinema in the Nineties

A more engaging movie experience depends on sitting closer to the screen. But how close is close? The answer varies by screen size. The same viewing distance that is “close” for a 70-foot screen is “far” for a 20-foot screen. To account for screens of different sizes, we need a special way to measure viewing distance. That’s why engineers consider viewing distance as a multiple of Picture Height (PH). Based on widely-accepted measures for the threshold of visual acuity, 2K presentation will satisfy audience members with 20/20 vision who sit at distances of Picture. | African Studies Quarterly I Volume 2 Issue 1 I 1998 African Cinema in the Nineties MBYE CHAM For African cinema the final decade of this century has been a mixed bag of promises hopes achievements and continued struggle and frustration with the same set of issues and challenges that have always confronted filmmakers throughout the continent. Hopes and projections of political and economic renewal and transformation under the aegis of World Bank-mandated adjustment programs and other liberalization measures and the positive fallout that these were expected to have especially on the cultural sector actually turned out to be disastrous. African filmmakers began to experience the painful effects of budget cuts and the gradual loss of both external and internal funding for production. At the same time the slow but orchestrated disappearance of movie houses one of the sad occurrences of the 90 s began as privatization made purchase possible by local entrepreneurs who in time converted these into warehouses for sugar rice cement and other commodities. These conditions contributed to intensifying the perennial crisis of production distribution and exhibition of African cinema on African soil so that barely three years to the end of the century the lingering shadows of this crisis continue to hover and obscure the few notable achievements of the last decade. Responses to this crisis on the part of African filmmakers ranged from the usual accusations of ignorance and neglect of culture industries by African states and entrepreneurs to indictment of the marginalization of African cinema by countries of the North and to the deployment of various individual as well as collective efforts to reverse this crisis in more durable fashion. Notable in the latter category are the recent efforts to refashion the Panafrican Federation of Filmmakers FEPACI into a more active body and voice for African cinema the establishment of Union des Créateurs et Entrepreneurs Culturels de l Afrique

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