As Hollywood and streaming go global, U.S. State Department leans on power of film

As I delve deeper into this fascinating article about cultural exchange programs and international filmmakers at USC, I find myself captivated by the stories of these talented artists from different parts of the world. Having spent years working with various organizations to promote cross-cultural understanding through art, I can relate to their experiences and the transformative power of storytelling in shaping perspectives.

Wherever filmmaker Becky Muikia goes, she brings the stories of her native Kenya with her.

As I graced the NBA All-Star Weekend, I proudly brought along my team from my media and communication firm to unveil our heartwarming short film titled “Jumping for Change.” This inspiring piece follows an extraordinary Kenyan girls’ basketball team that courageously challenges gender norms.

This summer, Muikia journeyed to Los Angeles and participated in a program held at the University of Southern California’s School of Cinematic Arts. This unique five-week event brought together seasoned African filmmakers with Hollywood professionals, fostering an exchange of cultural insights regarding each group’s film industries.

“Our stories can journey far without needing to alter who we are or the essence of those tales.” This sentiment has been particularly impactful here in this market, as we’ve come to understand that our local narratives can grow into global ones without losing their authenticity.

1) The popularity of worldwide TV hits such as “Squid Game” on Netflix demonstrates that international productions are a smart investment for studios. Simultaneously, this field is also a significant focus for the U.S. State Department, which supported the program called African Creative TV at USC with funding.

The program is financed by an ongoing grant known as the American Film Showcase, which aims to use films and TV shows as a means of diplomacy. This grant is one of several film-related initiatives supported by the State Department at the University of Southern California (USC). Although it’s challenging to pinpoint the precise amount spent by the State Department on film diplomacy, the American Film Showcase usually grants around $2 million to USC for a duration of 1.5 to 2 years.

The idea of using films for diplomatic purposes is not a recent invention. During World War II, Hollywood played a significant role in the Office of War Information, producing movies – often used as propaganda – by directors like Frank Capra, William Wyler, and John Huston. These films aimed to instill patriotism at home and motivate Americans to support the war effort.

In the context of the Cold War, universities like Voice of America and Radio Free Europe, financed by the United States, were utilized to disseminate news and programming that fostered favorable sentiments towards America, according to Alexandra Macias, a political science professor at California State University, Northridge.

Instead of relying on military strength or weapon stockpiles for deterrence against international adversaries, as some might argue, a soft power strategy involves diplomatic maneuvers with a more nuanced approach. The ultimate aim is still the same: enhancing the global view of the U.S., thereby boosting its national security. However, these two strategies often complement each other to achieve this goal, she pointed out.

Macias stated, “It’s not enough to rely solely on strong weaponry or military might for security. You should also focus on influencing people’s thoughts and emotions, as this can be advantageous if people in other nations aren’t hostile towards you.

The African Creative TV initiative commenced following President Biden’s 2022 summit with African leaders, where they discussed health and economic matters. By funding this program, the U.S. government aims to generate more employment opportunities in their entertainment sectors and strengthen African economies, as expressed by a State Department representative in a statement.

Muikia stated that it’s beneficial to engage in discussions with individuals who possess experience in the specific rooms, budget management, and show-running that we aspire to enter. With 20 years in Kenya’s entertainment industry, Muikia has gained such insights.

Currently, more American artists are collaborating with their peers in Nigeria’s Nollywood film sector, as well as U.S. corporations like Disney, Netflix, Paramount, NBCUniversal, Sony, and YouTube. According to a statement from the State Department representative, this collaboration aims to stimulate growth within Nigeria’s creative sectors.

In using film diplomacy, we aim to further U.S. foreign policy objectives by promoting economic fairness, particularly in the creative industry and social advancement. Movies and television serve not just as sources of amusement but also as platforms for addressing critical matters, fostering dialogue about sensitive topics, and amplifying underrepresented voices.

Beyond the African Creative TV program, USC collaborates with the State Department on a media initiative in the Middle East, and school representatives embark on approximately 30 to 40 trips annually, at the government’s request. The staff of USC accompany filmmakers to various nations where they showcase their work, facilitate discussions, and conduct workshops (the university has been participating in State Department-led cultural exchange programs for over a decade).

Topics for movies can range widely, with science-, tech-, engineering- and math-themed films such as “Good Night Oppy” (2022 Mars rover documentary) and “Woman in Motion” (2019’s film about Nichelle Nichols from Star Trek) being particularly popular. Movies dealing with press freedom, sports, and women’s rights have also been shown in the past, as mentioned by Alan Baker, an associate dean at USC School of Cinematic Arts.

The films don’t always paint the U.S. in a positive light. In Malawi, Baker once screened a documentary called “Undefeated” that chronicles the struggles of a Black high school football team in Memphis, Tenn., that tries to turn around its losing record. At the end of the screening, a viewer noted that after watching the film and seeing the difficulties the student athletes went through, she realized that America had its share of problems, Baker said.

Baker stated that it was an incredibly uplifting experience, not just for him, but also for the filmmaker.

On a bustling weekday morning in August, around a dozen international filmmakers and authors from Africa gathered at USC, engaging in animated discussions about the potential transfer of certain Hollywood ideas and methods to their native industries. They deliberated on which aspects would be beneficial and which might not translate effectively.

For example, labor unions for creatives, such as the powerful writers or actors guilds? There might not be a place for them in Kenya right now, Muikia mused, but perhaps there was a way to incorporate the sense of community the unions fostered into their film industry.

Could we consider a prolonged production period of around three years for just one series, which is often seen in U.S. productions? A filmmaker mentioned that this extended timeframe allows for better budget management, and perhaps it’s possible to work on several shows simultaneously during this duration.

During the process, filmmakers collaborated with their mentor, TV writer and director Desta Tedros Reff, by exchanging ideas about their preferred English-language series. This included the BBC America thriller “Killing Eve”, the longstanding sci-fi series “Battlestar Galactica”, and the HBO epic fantasy show “Game of Thrones”.

As a movie enthusiast, I’ve often pondered over the intricacies of Hollywood production compared to our own creative processes in Nigeria. It’s fascinating to observe, and it seems that while the methodologies might differ, the core essence – storytelling – remains remarkably similar. What I find captivating is how themes that resonate deeply with Nigerian audiences can also find a connection here. It’s all about polishing and optimizing the narrative for wider appeal.

Muikia, a Kenyan producer, shared that she gained insights into the economic hardships faced by the American film and television industry. This newfound knowledge has expanded her perspective on how to disseminate African narratives globally, potentially using platforms like YouTube or even establishing a locally-based video-on-demand service.

She mentioned that it’s unlikely an outsider will provide a solution for us. Instead, what’s most crucial for us is recognizing that many of our solutions must be self-created.

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2024-09-19 13:31