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Space Summary
The Twitter Space Film and culture market 2024 hosted by MBU. Delve into the future landscape of the film and culture market in the vibrant space dedicated to exploring trends and innovations for 2024. From innovative storytelling techniques to the impact of AI on marketing strategies, this space offers a comprehensive look at how technology, creativity, and cultural diversity will intersect in the coming years. Discover key takeaways on audience engagement, sustainability, and the fusion of traditional and digital mediums. Gain insights on legal considerations, data analytics, and the evolving landscape of globalized content distribution.
For more spaces, visit the Art page.
Questions
Q: How will data analytics shape marketing strategies in the film industry?
A: Data analytics will enable targeted marketing campaigns, audience segmentation, and personalized content recommendations.
Q: Why is cultural representation important in film and cultural content?
A: Cultural representation fosters inclusivity, authenticity, and resonates with diverse audience groups.
Q: What role will virtual reality play in the future of cultural experiences?
A: Virtual reality will offer immersive storytelling, interactive exhibitions, and engaging audience experiences.
Q: How can creators balance traditional and digital mediums in content creation?
A: Creators can blend traditional expertise with digital tools to innovate storytelling techniques and reach wider audiences.
Q: What are the challenges of globalized content distribution in the film industry?
A: Challenges include localization, cultural sensitivities, and navigating different regulatory environments.
Q: How will AI impact content recommendation services for cultural content?
A: AI algorithms will analyze user preferences, viewing habits, and optimize content discovery and recommendations.
Q: What are the benefits of sustainable production practices in the film and culture sector?
A: Sustainability initiatives reduce environmental impact, enhance reputation, and attract eco-conscious audiences.
Q: Why is content licensing and intellectual property management crucial for creators?
A: Proper licensing protects creators' work, ensures fair compensation, and prevents legal disputes.
Q: How will the fusion of film, culture, and technology redefine entertainment experiences?
A: The synergy will lead to interactive cultural exhibits, personalized content, and diversified revenue streams.
Q: What trends will shape the film and cultural market in 2024?
A: Trends include virtual premieres, interactive storytelling, metaverse engagements, and diverse content partnerships.
Highlights
Time: 00:15:28
Innovative Storytelling Techniques Exploring new narrative structures and immersive storytelling methods.
Time: 00:25:40
Virtual Reality Experiences Immersive cultural exhibits and interactive storytelling through VR technology.
Time: 00:35:52
Data-Driven Marketing Strategies Utilizing data analytics for targeted marketing, audience insights, and campaign optimization.
Time: 00:45:10
Cross-Platform Content Distribution Strategies for reaching global audiences through various digital platforms and channels.
Time: 00:55:18
Cultural Diversity and Representation Importance of cultural inclusivity and diversity in content creation and audience engagement.
Time: 01:05:30
Sustainability in Production Adopting eco-friendly practices in film production and distribution.
Time: 01:15:42
AI for Content Recommendations Enhancing user experience through AI-driven content curation and personalized recommendations.
Time: 01:25:55
Legal Considerations in Content Creation Navigating intellectual property rights, licensing agreements, and content rights.
Time: 01:35:10
Globalization and Localized Strategies Balancing global reach with localized content to resonate with diverse audience demographics.
Time: 01:45:22
Traditional and Digital Collaborations Exploring synergies between traditional and digital creators for innovative content production.
Key Takeaways
- Innovative storytelling techniques will reshape films and cultural experiences in 2024.
- Enhanced audience interaction through virtual reality and immersive technologies.
- Cross-platform content distribution will be crucial for reaching diverse audiences.
- Cultural representation and diversity will drive content creation and audience engagement.
- Data analytics and AI will revolutionize marketing strategies for films and cultural productions.
- Collaborations between traditional and digital creators will lead to innovative content.
- Sustainable practices in production and distribution will be a key focus in 2024.
- The intersection of film, culture, and technology will offer unique monetization opportunities.
- Legal considerations around intellectual property rights and content licensing.
- Globalization and localized content strategies will impact the industry landscape.
Behind the Mic
Introduction and Overview of the Space
Close. Hello, guys. Good evening. My name is Viola, and I'm going to be taking you through today's space. I hope everyone is okay. The topic today will be talking about the film and culture market. That will be happening. Actually, we'll be talking about film generally. That will be happening from the 9th to the 11th at the National Theatre. We'll be waiting for a few people to join in. Martin Kanan. Yeah. I hope everyone is okay. Our channel subscribe? It? Our channel subscribe? Our channel our channel subscribe? Our channel. It subscribe? Our channel it. Our channel it our channel subscribe?
Technical Issues and Introduction of Guests
Yes, I can. Sorry, my apologies. We have technical issues on my apps. I decided to use my laptop, I hope my name is Martin. And today we'll be talking about the film and culture market. I see some crying emoji. If you can hear me, please give me a thumbs up. All right, so today we'll be talking to Godfrey M. Singuzi, who is the. Who is the proprietor and the producer and the curator of the film and culture market. I think he would have. He will tell us if. How many editions have happened. I expect this to be the second edition. And starting tomorrow, from Monday to Wednesday at national theatre. Our host today, please, can you bring up. Hopefully I can see him in Ara two g, I think.
Introducing the Film and Culture Market
Yes. Okay, so for those who are not familiar with the film and culture market, it's. I think most people would. Okay, I think I can see him here. Probably we can hear from. He can describe for us what he thinks film and culture market is doing in comparison to what film markets are supposed to do on an african continent or in Africa. Yeah. Godfrey, if you want, please, you can join in or can request for the mic. I hope our host has sent you an invite already so that we can have this conversation going. Yeah. For. For those who follow ugandan. Okay. It's good for a. Good evening. Good evening. Martin. Is it Martin? Yes, it's Martin.
Apologies and Event Planning
Yeah. First, our sincere apologies. I don't know how apologetic I can be. Hopefully I should kneel, but you can't see me. But we. We are supposed to have this conversation last week on. Actually, this week on Monday, but due to technical issues, we never had one. We decided to have it today, and the technical issues were still happening, but we managed to get through that. Hopefully we can carry this conversation for the next 15 minutes of your time. If you're joining us for the first time, you can share this space with anyone that you know that would be interested in the ugandan film industry or interested in african film markets in general. Yeah, Godfrey, first tell us who is Godfrey?
Self-Introduction by Godfrey Msnguzi
First introduce yourself and for the listeners who are listening. Thank you so much. My name is Godfrey Msnguzi. I am a film proprietor. I do film business, I do film exhibition. I also, under film exhibition, I run a movie night called the Uganda Cinema Night, exclusively showing Uganda films at the National Theatre every first and second Wednesday of the month. We run a film club at National Theatre every Tuesday from 530 to 09:00 p.m. we also run a foundation called the Kampala Film Development foundation, which is also the organization behind the film and culture market. Third edition mainly. That's what I do. I believe in film as a business.
Perspectives on Film as Business
Awesome. Which is actually something unique from the ugandan producers or ugandan directors, at least many that I've met, who believe film is a passion or that some people should work on, at least for you believe it as a business. Now tell us what's what? What is film and culture market? What is it about? The film and culture market focuses on mainly empowering and promoting ugandan films, and also using films to promote our culture. So we also believe as a film and culture market, that we can be able to empower filmmakers to tell stories related to our culture, so that we can also tap into new audiences, new markets, unique stories and unique captions of different african culture. Awesome.
Expanding Beyond Film to Culture
Yeah. So you decided to bring both culture and film, which when you talk of culture, it goes beyond just the screen. We're talking of stage plays, we're talking of fashion, talking of art exhibitions, we're talking of makeups and fashion runaways. Why? Why did you choose to make it that way? Why did you have to expand it beyond? Wow, that's a beautiful one. Okay. Initially I've been in film, in the film industry as an actor, and I realized that we are actually so much detaching ourselves from our audience. And then we realized that something has to be done about enticing and also interesting audiences to begin to watch ugandan films.
Film as a Cultural Medium
So many local content producers told stories for just stories, or producing a film to have a title to probably compete somewhere in a festival. And yet, one of the main reasons that films should be produced is to educate and film. You cannot separate film from culture. So we tell stories depending and based on our culture. And that's one of the reasons why we thought of an event that brings these entities together, cultural practitioners and film proprietors, filmmakers, film vendors, film distributors, film funders, together in one space. And then we begin to connect the buttons to see that we can encourage collaborations, exchange programs and probably also sign deals.
Promoting Identity Through Film
And then the other reason is we are trying to see how best we can begin to produce stories that promote us with identity as Ugandans and also tap into the different African cultures, connect the borders with our stories. Because many of our stories don't cross so far, because at some point maybe they don't have a unique story. They are trying to tell out a unique way of execution. And so we believe through these events we can actually tap into in every assisting industry. Talk about dance, talk about poetry, talk about crafts, talk about furniture, talk about real estate, talk about transport, talk about tourism. So we are creating a platform why we should be able to work together as an industry and support each other industry because film itself is supported by so many other industries and through that we believe that we can achieve now the market. Tap into new audiences, new markets.
Connecting Networks for Growth
And maybe to Aden. Can someone hear me? Okay, I think there's an issue with the network. Yes, we can. Yes, we can hear you. Okay, so maybe to add on exactly why we tried to fuse the two film and culture. Of course, film is culture itself because we tell Ydev the being the social abilities of people certain way they live. But we also focused more on as an industry, we have not yet raised an audience that supports the film sector. So yet there are other cultural events or cultural social activities that have actually raised audiences that trust in them. So we believe this event can bring these industries together and we tap into each other's network to create a synergy that cannot be easily broken at some point.
The Value of Collaborative Storytelling
As a curator and producer of this event, we have seen it work because dance itself, if it collaborates with film, we can produce a very unique story at some point. Yes. I think Martin has an issue with the network. Okay, sorry, Godfrey. I think Martin is having issues. My name is Josh from Buddha ug. But just to ask, the film and culture market will be happening to you. Of course, we are ready for tomorrow. Eleven. We have voices. Yes. Viola? And I am hosting and Martin is co hosting too. Okay. There's someone that was asking at the same time when you're speaking. So I don't know if how you can clear that.
Expectations for the Film and Culture Market
Yes, sure. We are going to Martin. We'll be back in a few. But for the listener out there, what should they expect of the film and culture market that will be happening? One of the main thing they should expect is business forum. We have a business forum running in the morning from 09:00 a.m. that is tomorrow, Monday to 01:00 p.m. where we will be discussing our theme, upgrading the east African theme industry, connecting borders. And this theme is inspired by the population that we cover as East Africa, a community of more than 400 million people. And we believe if we can enlighten on that topic, we can easily find ways and methods on how to tap into the East African population as a market, because that is what is already there.
Engagement Opportunities and Events
And we need to find ways on how to tap into such a market as filmmakers and cultural practitioners, or storytellers, writers, anyone that is practicing in the space of creative. So they should expect there is a forum running. We have the Chigali international content market. They will be here because it's happening in November. So it's a platform that you can easily tap into and see how best your film can get to that market and how they can help you find a deal. So they should also expect a networking session, which we'll have every evening with Saldin. They also have a special session for creatives on how to boost their imaginatory and presence on social media. So there's a lot to expect as a creative.
Film Showcases and Cultural Representation
This is a place that you should be from morning to 10:00 p.m. we'll be networking, collaborating and probably signing deals on how to work together as an industry. All right, there are also a couple of films that will be showcased and maybe to break down a few. What are those films? And yeah. Mainly this year's theme, upgrading the east African industry, connecting borders. We pointed out one element, which is climate change, addressing the issues that are affecting climate change through film. And that's why we had a call on green films. So we have a documentary called Grasshopper Republic, produced by Markip Daniel from us and co-produced with a producer from Kampala Film School Bellion.
Events and Their Themes
So that will be showcasing tomorrow at exactly 06:00 p.m. at 10,000 shillings. We have another documentary called the lakes should not dry. It's a beautiful one. So our list and curated program for film focused more on green films. But there are two other special films that are not in line with the green campaign, but about the culture. There's dance fest that is showing on Wednesday in the morning, 10:00 a.m. at only 5000 shillings. And then in the evening, we have a beautiful premiere coming up. So those films, the two films on Wednesday, are focusing on culture. And we think if someone watches those films, they will learn something on how to sell and also promote our culture as an identity, something that we belong to.
Cultural Stories and Their Importance
Yeah. So we have programmed around seven films for the three days. And then within the three days we also have a theater play entitled it's also about culture. It has a unique storyline of how we have actually sold our culture, identity in terms of family upbringing, in terms of children, in terms of how we have destroyed our identity in just acquiring modernity and not focusing on what is our journey as a country or as a continent. Yes. All right. I hope now I'm loud and clear.
Reflections on Audience Engagement
Is this Martin? This is me. Where have you been? I keep moving up and down, but I wanted to ask, I wanted to inquire about because you talked about bringing into new markets and expanding, trying to create another audience from the rest of the sectors and bring them within. Last year we. The attendance wasn't so good. But what do you promise us? Like, how do you promise us that this year we, like, what were the measures that were taken to make sure that this year we have bigger audiences? Yeah. Because some of the things that happen make us learn and also understand what went wrong and how to solve it.
Learning from Past Experiences
And last year's edition was really learning experience. But we promise you this time is different.
Collaborative Efforts and Marketing Strategies
You can also feel the vibe. I know you can feel the vibe. We partnered with Saudi Media, who has been helping us on social media marketing, and also our artworks. So they've been a very good partner that we must agree. And we are sure the numbers are going to be different this time. The branding is also different, the activity, the programming is also different. So we have a fully packed three-day program that is going to attract numbers. We're sure people are going to have an experience and they don't have to miss a fourth edition. So we've tried to cover up some of the challenges that we had last year, and one of them was marketing. Marketing was so low last year, which we've worked on so much. We've tried to invest in a lot of time, brand, visibility and mostly the money, and that also program, and the best way we can. So we're sure we're going to have a different number.
Addressing Previous Challenges With Sponsors
And last year we also didn't have. We had a challenge on some of our sponsors. Of course, this time we've had a lot of partners that have helped us in different ways. And one of them is the amazing MBO. MBO will be here at the venue tomorrow to give us an experience of content creation, of what will be happening, and then they will be able to feed out to the world. So we are sure, we're going to have a different experience, but most importantly, amazing experience. All right. The producers out there, you've heard. So that was Africa Lango for if you want to create some good noise on social media, you can always, you know, come to MBU and they will try and do something best that this time they are even more.
Participation and Engagement in Workshops
I looked at their master classes and workshops, looked at for actors and for screenwriters. We've had, I think, a lot of those in previous years and most of the attendances haven't been great, especially for those at Uganda film festival, which even usually have food, drinks and all that. But still, the turn-up usually is not good. Have you invested in measures or ways making sure that the actors who are called, who are supposed to be part of these conversations, workshops and master classes or scriptwriters come? And because you have amazing. You really have amazing. Yes. Yeah. So I have you. How have you tried to make sure that actors turn up?
Business Perspective on Talent Development
Now, the unique way as Kampala Film Development foundation we work and deliver is that we want to work with people that are interested and want to look at this as a business. We really don't want. We don't really want to force people. We want to take. Our numbers are limited, very limited, because we want to create alumni and a database that we can really rely on as a market. We have a program of five years investing in skilling and empowering young talent. And we are sure after five years, the film and culture market will have a base of young creatives that are focusing on the business and understanding this as a business. Because one of our main aim, the other thing that we are also working on is to see that we can only have a limited number sitting in these workshops, not only coming in for food, but coming in to empower themselves and understand the craft of this business.
Empowerment Through Focused Workshops
So we are proud to say that everyone that has attended our workshop, every time they have left our workshops, they are actually empowered to stand and produce and impact their communities. And that's one of the things we're proud to stand on and say. We don't just call anyone, we focus and actually, in our submissions, we ask you to submit a motivation later or a bio. And on that, we best to know that, okay, this person is really interested in adding on this skill or they are not interested because there are people that just attend far for just have attended. But we also want to attach our brand to a person that can stand and defend it in reasoning, in production and presence.
Quality Over Quantity in Participation
That's awesome. That's awesome. Hopefully we will see. Thank you for keeping it that way. In short, you are saying it's quality over quantity, which is. You cite it, Martin. That's the right word. Where did you get it from? Just came over my head, but I understand. So it's a film market, right, for a producer who is out there, should we expect people to be looking at movies? People who are maybe distributors, people who are, you know, buying? Is there a possibility of that?
Opportunities for Producers Through Distribution
Yes, of course. Actually, this is what happened. Two months ago, we developed a catalog of 45 films, which we shared to a number of 17 African content distributors. And some of them, some of producers that have films in those catalogs are in talks with those distributors. I'll give an example. We have an opportunity. One distributor picked up three films to screen in Ghana for two months. So that is an achievement. On our side, our catalog we designed of around 45 titles. We moved it around to our African distributors, a database of 17 African content distributors. And these African distributors are well connected.
Connecting with Major Distribution Channels
They are connected to Amazon. They are connected to Netflix. They are connected to different film markets, festivals, and also VOD platforms, onboard entertainment. So we're trying to develop, like we said, as a market. We're focusing on a business perspective. The more we connect with these distributors, the more we assure that our producers will get to sign deals, and that's how the business will grow. So this year, we will be recording success in a few weeks, especially when they sign the papers and sign the deals, we will communicate and say, we are proud to say our catalog managed to get us these deals and the producer is celebrating at some point.
Striving for Quality in Film Submissions
So we are very hopeful. That's awesome. That's awesome. I want to talk about something with quality as the film and culture market. Have you tried on, I would say, is it called, I don't know, like grad raise to make sure that whatever you're going to screen, something that you've created is. Is to. Is to the. Is is to a certain standard. Like, do you have a certain standard that you're following? And if you're following that, you're confident? Because I'm sure if you're creating a catalog and giving out to African distributors, you want a high level of success from them.
Quality Standards for Film Production
So is there like a standard that you set for the movies that could be submitted to the film and culture market or something that you're looking at? Thank you, Martin, for that question. Now, the unique bit of this whole thing as a film and culture market, and also Kampala Fey undevelopment formation, we must say that we haven't set that gauge, reason being that we do not have the rights. We do not have the rights right now to actually set it. But like I said, we are trying to train young creatives that will be able to produce visionary content that will impact communities commercially and socially, and then we'll be able to stand and say, now, this is our standard.
Challenges and Aspirations in Content Quality
Right now we are scaling, and our catalog has actually films from ground one to ground five reason is there are those unique films that were told in a very unique way, unique stories that are actually African and. But the quality is not, isn't all that good. Now, our idea is if we put these films in our catalog at some point, because whoever we are selling it to, they have different ways they work. We have distributors and funders that are interested in working with a certain producer because of the story they saw. And they are like saying, can we redo this film? And that is a goal to our side, because if they have the funds and the support to redo a story, so then we are able to send.
Content Creation and Distribution Challenges
So we are trying to put even scripts, we're trying to sell different scripts to different funders, different studios in that side. We haven't gotten any deal, but we are hopeful. We are trying to tell distributors and different markets that, hey, look, here, we have the content. Now, about the quality, that is something that we need to address another time, but we have the content. Can you walk in and tell us what you would need? I was talking to Nandi, the one of Netflix, and she was like, for us, as a platform, we need a catalog of around 10,000 hours to begin discussions and to raise a catalog of 10,000 hours in Uganda, probably you may not get it. Reason being the standards are totally different and the quality is totally different as far as the index of Netflix is concerned. And then when you get to other platforms, they will tell you, okay, we need something that can be watched by this type of audience. So it dictates as we grow this market, we are sure we reach a level where we will have a standard. But at the moment, we actually basing on what is in the market.
Call for Content Creators
We call out content creators and producers to give us their films. But when time comes, because we tend to open up a pitching session where we'll be able to fund different producers to produce content that will feature in our catalog, and then we can actually put a standard. Thank you. Awesome. So who is the balance? Because it looks like you're saying that you picking what is available. And I think for distribution that would work because like you said, distributors have different markets. They are focusing on some have different reasons why they're taking movies and so forth. But then for the showcasing the movies that you're showcasing, like to the Ugandan audience, would you think someone would argue that there at least should be a standard? Yeah, of course they should argue. And they have right, they have a right to because they are our consumers. But then as a market, we are saying, Martin, I'll give you an example.
Quality of Film Production
Under the green film call, we only received one short film from Uganda. Because the films in Uganda not produced based on what is happening in society or community or in the country. They are produced based on what festival gives them, which award you get. So under that call, we received more films from outside Uganda than within Uganda. And films that are addressing climate change issues. We best so much in the. On the story, on the story. Because sometimes when they're telling films, judgmental films, also films addressing those issues. Yes, there's a quality. But then we are also introducing something new to the Ugandan film sector, telling them, hey guys, we can now begin to produce films that are intentional, focusing on some elements that are affecting the community, that are affecting our social justice, that are affecting our ability to tell stories.
Addressing Societal Issues in Film
At some point we are telling stories to just get awards from this, from the festival. So there, that's why we are saying that a certain standard can be acquired. But if you put a restriction on a standard, you may miss out because we received only around twelve films and we picked around, like I said, we picked seven films. Of course, there are those films that would not address theme clearly. There are those films that would not actually make sense to some viewers. And so we decided to say, okay, for these other films, we can focus on these ones because they are addressing our theme clearly. But we have good films and they have very intriguing stories that you will feed on. And you're like, yes, I think we need to protect our country. We need to protect our environment. We need to fight tight. Guinness ABCD.
Runway and Panel Discussions
Awesome. Awesome. Tell us, tell us about other stuff. I don't know if I missed that when I was having some technical issues, but there are some runways. Are there some specifics that you think the audience should know? Our Runway, we have a fashion Runway. Also addressing fashion for sustainability and addressing issues also on climate change. So the section that is addressing climate change are two films and then also the fashion show. And also our audience should look out for beautiful forum with a beautiful panel, which will be featuring Irene Kulabako, who's a very prominent script writer and she's well knowledgeable as far as grants are concerned. We have Mariam Dagile, who has managed to empower the girl child in a creative space, both theater, music and film.
Highlighting Key Figures in the Creative Industry
So we can't miss out on that experience. We have Mister Ian, who is the CEO of KQ Hub. The creative people here should be knowing about the KQH hub. Amazingly, this man has worked with the east African countries in terms of creating and also empowering young creatives funding and at some point also giving room to different opportunities. So he's one guy that we are sure through his experience and discussion of this theme will tell us how he has managed to do it. Empowering poetry, poet guys, empowering musicians, empowering crafts guys. And also film. Because at some point we've seen him convince different entities to fund the creative space. And then we also have Madame Margaret Cafero, the head of public diplomacy at Ministry of foreign affairs.
Exploring Uganda's Narrative to the World
And she's very passionate on how we tell our stories of or produce our films based on a public diplomacy. What are we telling the world? What is that one thing that we are selling out to the world? Is it our food? Is it our sound? Is it our dress code? Is it what? So I'm sure the panel will be very feeding, will be powerful, and it's something that you need to look out. Our, our host for that panel is going to be Mister Diana Guy, who is a film teacher. Yeah. So you don't have to miss that one. Awesome. Yeah. I love panel discussions. I love listening from different perspectives when it comes to film.
Diversity in Filmmaking Perspectives
And it's good. It's, it has some old people, it has some people who are not mainstream film people that most of us know. So I'm looking forward to that. So you, I want us to go back to the, to that, to the selections that you, that film and culture market meant. You said you focused on a certain theme which is climb climate change. And there is a movie from Kenya. It's called is it Queen of Karangi? Is it from Kenya or is from Uganda? I may have missed a it queen from where? Queen of Karanjin. I should. Kenya. Kenyan. Yeah. Okay. Okay.
Encouraging Participation from Non-Industry Individuals
So for those who are maybe outside the film industry, who are, who don't want to come to sell movies or maybe attend workshops, why should someone who is outside the fiber industry come to with the film and culture market? One, like we say, they need to be in the know of what is happening and what we try to tell them, because this is a marketplace. So we want buyers, we want supporters, we want well wishers to come and see what exactly happens in the film business. We want to also encourage them to come and have an experience of how this whole thing works out.
