Historian and filmmaker Dr. Claire Andrade-Watkins cautioned her audience members Friday afternoon never to give up their day jobs.
"But," she said, "you've got to dream."
Andrade-Watkins and eight other notable filmmakers, writers and critics of Africana cinema talked about the struggle of not selling out to a Hollywood-driven market during last week's second annual Africana Film Festival.
A collaboration between the departments of Modern Culture and Media and Africana Studies, the Festival brought 15 films in 13 different languages to the Cable Car Cinema. Interspersed with the films were three panel discussions, led by the filmmakers and critics, each grappling with issues of identity and the role of Africana cinema.
The panels also provided an opportunity for the filmmakers to see and discuss each other's work. Julian Henriques, British producer and director of the film "Babymother," said the audience had the rare privilege and opportunity to understand the process by which films are made.
Despite the talent of the panelists, all agreed that regardless of previous successes, they were always unsure where they would find money to fund or distribute their next film. Henriques explained that while the problem of releasing Africana films in America and the United Kingdom mostly stems from ideology, the problem of filmmaking in Africa involves the lack of infrastructure and resources.
Mweze Ngangura, director of the film "The Governor's New Clothes," said it is "not an African decision to say if African film should exist or not." In fact, Ngangura said he felt "African Cinema" as a phenomenon did not yet exist.
"Tree of Blood" filmmaker Florentino (Flora) Gomes, who is from from Guinea Bissau, said he believes in the existence of an African cinema but conceded it is a new phenomenon. Gomes reminded the audience that the history of African cinema is "as new as the flags and national anthems" of Africa's post-colonial countries.
The panelists also debated the nature and definition of Africana cinema, or "black cinema." Andrade-Watkins and Gomes retorted by asking if it was possible to define "white cinema." Nevertheless, the panelists seemed to agree it was important for Africana cinema to continue to make films for a black audience, even if it is difficult to reach them.
Philip Rosen, moderator and professor of Modern Culture and Media, described Africana cinema as one that generally felt an "aesthetic, cultural and political responsibility" to give a voice to those that were previously "suppressed or distorted." Rosen hoped the festival's "vibrant debates" would demonstrate the importance of current work in Africana cinema.
Andrade-Watkins said the intensity and gritty complexity of the films should not be compromised by Hollywood's pressure for flashy, positive films. Because Hollywood holds the key to distribution, many filmmakers are naturally eager to work inside the system, but Henriques said he hoped they could do so without sacrificing the message.
