From: Berhane Habtemariam (Berhane.Habtemariam@gmx.de)
Date: Wed Apr 07 2010 - 05:48:57 EDT
A Few Things About the Work of The Eritrean Film Rating Committee Part I
Tsigye Hailemichael ,
Apr 7, 2010
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A few months ago, on the 10th of October 2009 at Cinema Odeon, the Eritrean
Film Rating Committee (EFRC) held a one day seminar and presented its report
for the past two years. During the seminar, members of the committee
presented their findings and their views on the films produced since the
committee began its work. We asked the Chairperson of the EFRC, Ms. Ruth
Simon, to share with us her thoughts on the work of the committee and the
outcome of the seminar.
Q: What was the purpose of the seminar?
Ruth Simon: During the seminar, we presented a report based on the work of
the past two years. In it, we disclosed what we had done and explained what
we are supposed to do, and this gave us the opportunity to do an evaluation.
We also presented amendments that took place during the working process. At
the beginning we had meant to do a yearly report but it was not possible
since we did not have the technical facilities and we were not ready. So we
presented a report of two years that included the 22 films that we had
rated.
Q: What prompted the creation of this committee?
R.S: The idea actually came from the filmmakers themselves. Some 80 artists
got together and applied officially to the Cultural Affairs Bureau for a
committee to be created that would rate films and classify cinema halls. But
from the very beginning, we felt that the committee's mandate should be
limited to rating films. The committee's work actually began in 2008. One
year was spent preparing our working procedures. Thus when the committee
began its work, we had criteria and procedures that had been discussed
previously and approved by filmmakers working in Eritrea. This took place at
a conference held just for that purpose in 2007; this is where the
filmmakers ratified the criteria and working procedures for the EFRC. The
only condition limiting participation in rating a particular movie was if
there would be a conflict of interest; if a person was in some way involved
in making that film, they would be excluded from that discussion. This is an
issue about which we have been very careful, and that is how we have been
working until now.
Q: On what basis were people selected to be part of the committee?
R.S: Both the filmmakers who wanted to establish the committee and the
Cultural Affairs Bureau proposed names. The main qualification was to have
professional knowledge and experience in the different aspects of
filmmaking: scriptwriting, cinematography, editing, acting. but also to have
general knowledge in world cinema, in the arts, literature, writing, etc.
Q: Do you believe this committee has an important role to play?
R.S: Yes I do, because it will shape the way things will happen in the
future. But first in order to accomplish its mandate, the committee will
have to stand on its own feet. I think that if the role of this committee is
accepted, it will bring lots of changes in the way films are produced here.
If the filmmakers know they will be criticized then I am sure they will
think more about art than about money. We rate films on the basis of their
technical and artistic achievements, so the film committee can be a great
contribution.
Q: Do you think people understand the importance of the work of the EFRC?
R.S: It will take time. At this point I don't think people understand the
importance of what we are doing, it will take time. Not everyone of course
appreciates or understands the importance of films and how they can
influence the way people look at the world. Films are a very powerful
instrument. You need to understand how to be exposed to the film world. I
think the committee can work towards that, if it is given enough attention.
Among the filmmakers, this particular understanding is definitely growing as
we were able to see during the seminar, most of them were very appreciative
of the work we did and the majority want us to continue.
Q: Were the report, the seminar and the work done by the committee useful to
the filmmakers?
R.S: I think that the filmmakers now see what it is they have to improve.
First of all, not all of them have the same capacity. The criticism that we
presented tried to give an idea about the current situation and how to
improve the quality of our Eritrean films. Of course the purpose of the
committee is not to train filmmakers, but by rating films and by explaining
why and how we do it, as we did during the seminar, we hope to indicate the
direction in which they can be improved. The mandate of the committee is not
to teach but to evaluate. At present, the level is very low and to improve
we have to work together; we need to be professional and to work with people
of different backgrounds and knowledge in literature as well as experts in
cinematography, directing, acting, etc. In the last three years, the
committee members have had the opportunity to share a lot of knowledge and
exchange a lot of experiences amongst ourselves. It takes us several
meetings of 5-6 hours' discussion to achieve a common understanding and
agree on a film's rating.
Q: What types of movies are made in Eritrea? Is there a typical film
profile?
R.S: It is difficult to generalise. Often there is no clear message and many
of our films are very confused. The movie can be a love story, about family
issues or social issues in general, but you don't see original ideas coming
through. This is not because we lack ideas, it is just that our films don't
yet reflect the wealth of stories we have in Eritrea. The other element that
can be criticized is the lack of variety. Films repeat themselves; you can
find the same basic subject in 5 different films. This would not be a
problem if the message was transmitted artistically and differently in each
film, then it would be interesting. But what we find sometimes are ideas
that have not matured, that have not been developed as they could be. There
are stereotypes that are not even representative of our reality. For
example, we have an overabundance of fathers who suspect the identity of
their children (8 movies in 2008), which is a possibility but a very
improbable event in our culture. All depends on how we see and represent the
reality. My point of view is that instead of digging up the negative and
destructive aspects of our society, we should look for its stronger sides
and encourage them. We should not avoid criticising our faults but do so in
a way that helps people meditate on them so as to bring change.
Q: Can you say that Eritrean culture is represented in our movies for others
to see?
R.S: No. To be honest, I don't think that our films give an authentic
representation of our reality. To go back to the previous example, I do not
think that the infidelity of mothers is a big issue in our society. I also
see how weak and subservient the women are in our films, which does not
reflect the truth.
Q: What were the guidelines given by the EFRC during the seminar so that our
movies evolve in a more positive direction?
R.S: We are looking for films that remain in our hearts; films that give us
strong feelings and make us think. For the moment there are not many movies
which achieve this. We need to focus on story structure and character
development. Why are we making the film? What is it we want to say? What is
the priority? If the filmmakers are more interested in money and fame, then
they may feel the rating they will get from the EFRC is a threat to them.
But if they really want to improve they will value our critique.
Q: Did you come across films you thought had a good story that was not well
exploited?
R.S: Adheneni is a good example of a good story that lacked skill in
screenplay writing. Each character's individual story line needs to
contribute to the central story as it builds up to the climax and
resolution. Otherwise, too many subplots with no good link to the main story
can cause the film to fail because everything stays scattered.
Q: You mentioned world films earlier; do you think there is a discernible
link between cultural identity and story telling?
R.S: When we see films from Norway, England, France we recognise them as
products of their own distinct cultures. We too have many stories to tell,
Eritrean stories, but we need to know how to exploit them. If you compare
this to our music, where there are many enjoyable productions and songs that
reflect our identity very well, then we are waiting for a similar level with
films. The level that has been reached in songs and poetry should also be
achieved in films. I think the Eritrean public wants to recognise themes
that are truly ours. For this we need screenwriters who are more serious. I
really believe there is this potential.
Q: So everything is in the screenplay?
R.S: No, other things come in: directing, acting, cinematography, editing,
etc., but the screenplay is the seed of it all, it determines the order and
content of the scenes, the action that delivers the dominant ideas, the key
steps of the edit, all the basic elements. Screenwriters should understand
everything in detail, costume design, sets, lighting, sound, music, etc, but
above all the writer needs to convey the psychology and the emotions of the
characters, which the director then develops. Thus far, most of our Eritrean
screenplays have far too much dialogue, which is better for radio dramas
than for films. As a screenwriter, basically, you are writing with a camera
so you have to visualise your story on the page.
Q: What would you like to say in conclusion?
R.S: We are not starting from scratch. We have been making feature films for
more than ten years here but we need to give greater attention to developing
certain skills. We need a kind of association or a "Friends of Eritrean
Film" website where filmmakers can discuss, learn, share and further their
education and skills in their field. The last two years have helped us to
identify our level; now we must focus on how to improve. Our filmmakers may
not be able to do this entirely on their own; they need help, support and
sponsorship. We need also to encourage newcomers, the youth, the new
generation of filmmakers who deserve our support. Films are always of great
cultural value to any society and we hope that in Eritrea we will understand
them better and give them greater attention at the national level.
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