Zimbabwe’s award winning filmmaker, Joe Njagu, almost always refers to Zimbabwe as having a film community and not an industry. I share his sentiment because successful industry requires systems and investment. The latter, in particular, remains a huge issue on the continent as the majority of Africans view film as merely an entertainment option. Specifically, the corporate sector feels no need to engage filmmakers in sustained partnerships because there seems to be no value for them. However, a look at the most successful film industries today suggests otherwise.

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Let’s start with the obvious – Hollywood. I first noticed the strategy in my then favourite spy show, NCIS: LA. For years, I watched Callen and the gang use Microsoft gadgets to carry out high-stakes local and international missions. Slowly, I began associating these gadgets with efficiency, security and edginess. When I could finally buy my own phone, guess what brand I went for?

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Years later, I would find myself going through the same thought process, only this time, I was watching SEAL Team and the brand was GMC. Companies in the US understand the power of advertising in film. They know that consumers don’t always act rationally, and that, in most cases, fantasy plays a huge role in people’s decisions. And so they use film to sell the dream, and people buy it.

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Closer to home, South African companies pepper their products and services in popular shows. For instance, Standard Bank had placements in Muvhango, Isidingo and Isibaya. A 2016 study found that 51% of people who watched South African soap operas thought the bank’s product placement was an effective method of advertising. However, there was a growing outcry of brands being intrusive with their advertising in TV shows. The South African audience felt that the advertising was beginning to take away from the story, which obviously put them off. Thankfully, the Independent Communications Authority of South Africa (ICASA) updated its rules for TV advertising, which should see the issue rectified.

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Of course, there are several factors that must be considered when making these assessments. The first is time. Hollywood and Mzansi have both had decades of sustained effort to build their industries and create value. Their corporate partnerships have survived many economic cycles, and at this point, their methods are tried and tested. Zimbabwe and the rest of Africa do not enjoy the same privilege.

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Secondly, filmmakers in these areas, particularly American filmmakers, have mastered the art of creating characters that people admire. Think of Harvey Specter and Jessica Pearson in Suits, Neo and Morpheus in The Matrix, Olivia Pope in The Fixer (Scandal) and Elle Woods in Legally Blonde. In contrast, most of the characters in African stories, though relatable, don’t give the audience cause for admiration. This is incredibly important since people are more likely to emulate characters they admire, even if they are fictional.

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Finally, accessibility is not as big an issue in America or South Africa as it is in countries like Zimbabwe. The average Zimbabwean does not have the same level of access to entertainment as their Western or even South African counterpart. Streaming services are a luxury considering Zimbabwe has the highest data charges in the world. That said, we should all start somewhere. 

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There is a huge opportunity for African companies to improve their brands and increase their revenue using film, if only they can move past the mentality of seeing film as merely entertainment. When that day comes, we can confidently begin talking about the Zimbabwean film industry.

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