by Basia Lewandowska Cummings.
Theatrical release is the holy grail of filmmaking. Well, it was until relatively recently. But, since the internet, dvds, digital files and all the other ethereal modes of sharing and circulating became available to the masses, alternative modes of film production and distribution began to challenge the studio system, the distribution system, and perhaps even cinema itself. We’re all well aware of the nearing doomsday of celluloid, the ‘end of film’. Yet, this is only a fraction of what constitutes ‘film’.
The challenge to the cinematic system comes, arguably, and perhaps most provocatively from the African continent, where whole industries, most notably Nollywood, have both anticipated – and eclipsed – a future of moving image circulation that Western countries are still approaching with fear, still scrabbling, prosecuting and asserting copyright, when clearly the way in which we consume images and film is changing radically.
In the light of these changes, I assembled five filmmaking collectives that are reinterpreting and reinvigorating notions of collaboration and distribution.
Read the rest of this article from Africa SA Country.
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