Digital cinema: an alternative model for post-apartheid cinematic production and consumption?

Abstract

Patterns of cinematic production and consumption are often symptomatic of wider politico-economic and socio-cultural forces. This is the case in South Africa, where this site of cultural production, like the society as a whole, is marked by severe racial stratification and division. One finds, for example, that as a direct result of apartheid inequality, the majority of the population has been alienated from the mechanisms of cinematic production and consumption. This fragmentation remains one of the greatest challenges to the sustainability and racial transformation of the post-apartheid film industry. In this article I present a critical discussion on the rise of the low-budget, digital film in South Africa. With careful reference to prevailing politico-economic conditions and available state-support measures I analyse the potential of digital technology to revolutionise cinematic production and consumption practices. In analysis, it was found that while cinema has indeed become somewhat more accessible, the production, distribution and exhibition of motion pictures in South Africa remain monopolised, exclusive and inaccessible to the majority. Moreover, it is questionable whether the digitised consumption mechanisms in place penetrate a wide enough market to sustain the movement. Therefore, although this is indeed an exciting movement in the industry, it should not be viewed as an outright replacement of existing technology nor a means for independent filmmakers to make it alone. On the contrary, it is most likely to run parallel to existing entertainment mechanisms and state support will still be required to encourage diversity and encourage sustainability.