Center for Communication and Media in Society (CCMS), University of KwaZulu Natal
Objective 1
To study the interaction of film production networks within Durbans film industry
Objective 2
To map the film services that are at the heart of the citys film industry.
Objective 3
Chart the size, shape and characteristics of the Durban film industry
Objective 4
Establish the extent to which Durban can be called a film services hub
Objective 5
To test the strength of the film services that are at the heart of the citys film industry.
Research Question
The film friendliness test (Objective #5) led us to the research question: Is Durban a film-friendly city?
The research problem follows from the observation that all important global film cities (Hong Kong, Los Angeles, Berlin, Prague, Toronto, London, Sydney, Rome and New York etc) tended to be highly rated in terms of film friendliness
Organising Assumption
We started from the organising assumption that Durbans film industry is made up of a series of interlinked film services that place service providers, film practitioners, film practice and audiences in the centre of interactive production networks.
Research Method
We used case studies to find out more about the interaction of core features in the value stream or value chain of the Durban film industry.
Expected Outcomes
More concrete knowledge of broad film industry scenarios, sector trends and needs, gaps, priority skill areas, skills needs, skills development and skills impact and drivers of change and competitiveness in the Durban film industry.
Case studies
Because the film industry is made up of five different sectors (Development, Production, Post-production, Distribution, and Exhibition) students projects focused on selected case studies from these 5 areas in order to develop sector-specific analyses.
Expected Outcomes
More concrete knowledge of broad film industry scenarios, sector trends and needs, gaps, priority skill areas, skills needs, skills development and skills impact and drivers of change and competitiveness in the Durban film industry.
Naidoos findings
Durban is one of the worlds best kept secrets in terms of locations, resources and film friendliness. As yet, however, this was merely a lot of potential and nothing more. Local movies do not always fit the conventional valuechain model (see next slide) assumed by established film industries. Rather, local movies tended to follow their own idiosyncratic value chain links, threads and nodes in tandem with uniquely local problems and opportunities. Also, physical distribution for many local was still being preferred over online forms, despite online distribution impacting film and video with a fury.
Scriptwriters. Finding cast and crew locally. Resources available in Durban. Funding however was difficult to acquire (no response from NFVF). Marketing in the form of online social networks (Facebook, YouTube) aided in the hype created to draw audiences in. International appeal, obtained through exhibition at DIFF as well as the keen interest from Diaspora (especially due to the soundtrack of the film). Positive reviews from around the world with an appreciation for the glocal context of the film. Audience consumption could have been stronger if the circulation and distribution nodes had provided more opportunities.
Beginnings
Audience Consumption
Production
Utilising resources available in Durban. Offering opportunities to the local market to gain experience. Sourcing high standard equipment and facility suppliers. Competitive make up (a challenging task as a horror spoof). State of the art post production Foley and Automated Dialogue Replacement).
Distribution
Exhibition at DIFF to packed theatres provided the film with an international platform. Nu Metro screenings with sold out screenings. DVD release. However not enough support from the cinema chains and DVD distributors have not been able to keep up supply to match demand. Like circulation, distribution (which is a significant node in the value chain) needs to be given greater attention. Piracy is crippling return on investment.
Circulation
Successful test screenings to generate interest from distribution companies. Acquisition of distribution rights by Videovision. However there were not many avenues for the filmmakers in terms of circulation. This is an area that the Durban film industry needs to address.
Very strong
Strong
Weak
Very weak
Frindte Recommendations
Networking is essential for the Durban film industry (p.23), within itself and with other creative industry precincts; further research to identify solutions concerning increasing Durbans market share in digital productions and platforms is essential; more useful comparisons of networks amongst global cities are needed; Updated information on principal photography services in Durban must be made readily available to practitioners and researchers
2012 PROJECTS
1. Sandisa Nyokana_ Durbans Micro-film industry: A value-chain study of the low-budget film services used in the film Knife Edge 2. Ashlina Ramdutt_ A value-chain analysis of Pushpas Love Child 3. Celani Mkhize_ The eThekwini Film Industry Value-chain; A case study of Before Sunrise Within 4. Shree Jokhun_ The Durban medium budget film industry value-chain: 31 Million Reasons 5. Lungani Mthethwa_ Deconstructing the film industry value-chain: Florida Road 6. Gillian van Heerden_ Some Factors to Consider When Persuading International Producers about eThekwinis Film Friendliness
Project 1
A value-chain study of the low-budget film services used in the film Knife Edge (Sithebe 2012) Sithebe has been in the local film industry for 10 years. He is also a participant in the producer incubation programme initiated by the DFO and SmartXchange. The SmartXchange programme helped Sithebe with business and creative skills as well as digital equipment and work space. Sithebe describes the movies he makes as ultra-low budget. This is because, like most micro-budget filmmakers in eThekwini, they do almost everything themselves (from script to post-prod to distribution). Sithebe and his wife own Durban Motion Pictures (DMP) Knife Edge was commissioned by MNETs Mzansi Magic for R100, 000
Findings of Project 1
$ (or its non-availability) is a big issue with local filmmakers The Durban film industry has to compete with Cape Town and Joburg for visibility Start-up filmmakers are being supported with space, skills and equipment by the DFO and its partners (SmartXchange) Micro-budget filmmakers need more than just financial support MNETs Mzansi Magic support programmes are helping the local filmmakers like Sithebe Some micro-budget eThekwini filmmakers do not consider big-budget international productions that come to Durban to be providing any benefits (e.g. skills; jobs) Distribution is literally in a shambles in eThekwini
Recommendations of project 1
The film industry in Durban competes (and has to compete) for recognition with other industries Units such as the DFO are critical to skills development The DFO needs more capacity; at present it is under-supported and understaffed The Durban International Film Festival and the Durban Film Mart could do more to support and showcase eThekwini-made films Immediate but lasting and sustainable solutions need to be found to the problems of funding for aspirant filmmakers (Cuff 2009a) The eThekwini film industry is still struggling and needs further long-term, strategic support Programmes such as SmartXchange need further, long-term support Distribution-related issues must be looked into as a matter of urgency
Project 2
Ashlina Ramdutt_ A value-chain analysis of Pushpas Love Child
Project 3
Celani Mkhize_ The eThekwini Film Industry Value-chain; A case study of Before Sunrise Within
Project 4
Study of Florida Road (2010, Brad Glass) Florida Road is a co-production (SA and USA) Fred Fontana (writer/producer, Hollywood) Brad Glass (director, Durban) The DFO played a major role in facilitating the co-production (identifying locations, casting, licensing) Glass founded Sunworld productions to bring Hollywood closer to Africa and to promote Durban as a film friendly city Florida Road is Glasss 1st film. FR was shot around a budget of R8-million Most of the lead cast was flown from India; extras and supporting actors were supplied by eThekwini casting agencies
Findings of Project 4
Co-productions promote eThekwini as a film-friendly city eThekwini can host international (e.g. Hollywood) films Being a film producer in eThekwini is risky, challenging business Most of the production equipment for FR came from Cape Town. The eThekwini film industry still does not offer significant guarantees to local filmmakers that their investments will get a return Durban is not yet on the map in terms of crewing agencies. Joburg and Cape Town dominate visibility Post-production took place in Cape Town Durban offers a great mix of diverse cultures which help position the city The PR/marketing personnel were from Durban, recommended by the DFO
Weighting Durban
Brad Glass weighted Durban (out of 10) as follows:
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Locations_ 10 Film Financing_ Unknown Crew_ 8 Cast (supporting cast)_ 6 Production equipment_ 3 Post-production_ Unknown Distribution_ 2 Exhibition_ 5 Audiences_ 7 Future potential_ 7
Recommendations of Project 4
More needs to be done to bring or keep production companies in eThekwini As things stand, jobs are likely to go to Joburg and Cape Town However, the DFO is playing a critical role in helping small producers find their feet Distribution is a major let-down in eThekwini
Project 5
Shree Jokhun_ The Durban medium budget film industry value-chain: 31 Million Reasons
Project 6
This project focused on the question: Some Factors to Consider When Persuading International Producers about eThekwinis Film Friendliness Student did research in collaboration with the DFO; interviewed Toni Monty In her view, geography and locality should be eThekwinis main selling points
General Conclusions
Durban is rapidly shedding the largely unflattering tag of video city through investing in production, especially on digital platforms. Durban, through the Durban Film Office, is showing an increasing willingness to provide incentives and assistance to producers and filmmakers Nascent attempts, again through the DFO, are being made to prepare local communities and stakeholders for production Distribution in SA is still dominated by the likes of Ster-Kinekor, UIP and Nu-Metro. The eThekwini film industry has potential to have considerable economic impact in the coming decades The local film industry can stimulate employment and reasonably wellpaying (though often short-term) jobs. Support for local eThekwini filmmakers must not be to the detriment of attracting international co-productions/big-budget films. The opposite is also true
Recommendations
More still could be done to prepare local communities and stakeholders for local production, international production and international co-productions More could be done to delve deep into the guts of what the local filmmaking business is actually made of, instead of relying on dead data and statistics. As such, researchers on the local film industry should be more outgoing. Analysis of trends and drivers of change and competitiveness in the local film industry could be better. Collaboration between industry and researchers from academic institutions could be of help. Distribution needs to be de-centred. Ster-Kinekor, UIP and NuMetro still dominate. Innovative concepts such as ReaGile could be utilised in eThekwini both to create local jobs and to decentre distribution.