Soft Power and South African Film: Negotiating Mutually Incompatible Agendas?
Soft Power and South African Film: Negotiating Mutually Incompatible Agendas?
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软实力与南非电影：谈判互不相容的议程？
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发表时间：
2016
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通讯作者：
P. Cooke
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作者：
P. Cooke
本文首次分析了电影作为南非软实力资产的作用。它探讨了南非政府的政策优先事项的方式，直到最近，似乎对国家的战略目标，利用电影作为一种工具，利用软实力，以获得整个非洲的政治影响力，以及最大限度地发挥全球化的经济潜力。南非电影经济正在蓬勃发展。特别是开普敦，已成为全球重要的生产中心。国际制作被该国的多功能性所吸引，它的天气和低成本，高质量，设施。这为当地生产人员提供了大量就业机会。然而，它在支持本地创意人才的发展方面做得很少。因此，与支持整个生产“价值链”并允许创意和技术专长同步发展的尼莱坞不同，南非生产基础设施的成功不利于南非电影制片人。在这篇文章中，我调查了政府的经济当务之急，发展该行业的程度是反对其软实力的目的项目南非的故事在本地和国际上，并与它，国家的“战略叙事”，被认为是该国的主要软实力资产之一。然后，我继续建议，景观目前似乎正在改变，因为新一代的南非电影制片人开始获得地面。
This article offers the first analysis of the role of film as a soft power asset In South Africa. It examines ways in which the policy priorities of the South African government have, until recently, seemed to work against the nation’s strategic aim to use film as a tool to leverage soft power in order to gain political influence across Africa, as well as to maximise the economic potential of globalisation. The South African film economy is booming. Cape Town, in particular, has become a key production centre globally. International productions are attracted to the country by the versatility of its locations, its weather and its low cost, high quality, facilities. This has provided great employment opportunities for local production staff. However, it has done very little to support the development of local creative talent. Thus, unlike, for example, Nollywood, which supports the entire ‘value chain’ of production and which is allowing creative and technical expertise to develop in tandem, the success of the South African production infrastructure is to the detriment of its South African filmmakers. In this article I investigate the extent to which the government’s economic imperative to develop the industry is working against its soft power aim to project South African stories both locally and internationally, and with it, the national ‘strategic narrative’, considered to be one of the country’s prime soft power assets. I then go on to suggest that the landscape would currently seem to be changing as a new generation of South African filmmakers are starting to gain ground.