rOIIC 
Film in Ghana will definitely lake a different direction if the arart or a 
National Film Policy for Ghana currently under debate and study is adopted 
and becomes operative. 
The draft policy recognising the economic and cultural potential of film and video 
in Ghana seeks 'to strengthen the role of the public and private sectors in the 
production, marketing, promotion, distribution and exhibition of film and video in 
Ghana'. 
Objectives 
The policy hopes to achieve this by evolving a dynamic, economically 
self-sustaining and culturally-conscious industry, which will among other 
things make film and video a vehicle for public enlightenment, education, 
entertainment as well as promoting national pride and unity. The creation of 
a favourable investment climate in addition to the 
Africanus requisite infrastructure, training and appropriate ad- 
. . ministrative machinery will ensure the attainment of Aveh ,. . . _ ' 
the set objectives. 
The Ghana Film Industry Corporation 
The policy recognises the contributions of existing 
institutions to the effective operation of the draft 
policy. The GFIC, which is a government corporation 
slated for conversion into a limited liability company 
under the State Owned Enterprise Conversion Act of 
1993, will among other business functions provide 
equipment and laboratory facilities, crew syndication 
and consultancy for film and video. 
The National Film and Television Institute 
(NAFTIF) will continue with its training of personnel to 
cope with the growth and susta inability of the industry. 
The policy seeks to make it mandatory for all TV 
stations in Ghana to allot 40% of their features' 
transmission time for local productions. It further 
encourages the formation of an association of film 
and video exhibitors and distributors to enable local 
productions to reach many parts of the country 
through regional and district viewing centres to be 
built. 
The draft policy gives recognition to the Film 
Guild of Ghana as an umbrella organisation of all 
involved in the making of films and videos in Ghana. 
The Guild among others will have to ensure professionalism 
in the industry in Ghana. 
National Film Board 
The main thrust of the policy is the proposed 
National Film Board of ten made up of representatives 
from recognised institutions and identifiable 
bodies in the industry, the Ministry of Information and 
government appointees to work with a permanent 
secretariat. 
The functions of the Board will include advising 
and representing government on matters relating 
African Quarterly 
on the Arts 
Vol.11 NO 4
to the industry; aiding in the administering of code of 
ethics and the maintenance of standards in production. 
It will also be expected to conduct research infilm 
and video, promote Ghanaian productions on international 
markets and collaborate with copyright administrators 
in the compliance of laws on piracy and 
disbursement of royalties. 
Some functions assigned the Board could be a 
duplication of the work of other existing institutions or 
bodies. For example, acting 'as an arbiter in all 
matters relating to jfie production, distribution and 
exhibition of film and video', strays into the Office of 
the Copyright Administrator and the law enforcement 
agencies. 
The Board is also supposed to 'ensure the 
maintenance of the highest technical standard for all 
local productions'. How does it achieve this? At the 
same time the policy recognises the Film Guild of 
Ghana as an overseer of this area. Wouldn't there be 
a clash somewhere as who is competent enough to 
dictate standards in the profession? 
NAFTI is recognised by the draft policy as the 
professional training outfit in the country and yet the 
Board is asked to 'set standards for training'. 
National Film Archive 
The National Film Board is to assist in establishing 
a National Film Archive. However, no mention is 
made of how it is to be set up. Who is to establish it 
and how is it to operate? Does the existing National 
Archives have the capability of modern film and video 
storage and cataloguing? It is disturbing how the 
policy recognises the potential of film and video as 
tools for the preservation and dissemination of our 
cultural heritage and yet does not place much weight 
on archiving and preservation. 
National Film/Video Fund 
The most interesting aspect of the draft policy to 
Ghanaian filmmakers is the proposed National Film 
and Video Fund to be overseen and administered by 
the National Film Board. This raises a lot of concerns, 
comments as well as criticisms. 
Unless there will be no Board member who is 
actively involved in production, distribution or exhibition, 
there is bound to be some undue advantage in the 
disbursement of the Fund. The National Film Board is 
supposed to compose of experts in the field to handle 
matters concerning all aspects of film and video in the 
country. These will surely be film directors/producers, 
writers, media practitioners, scholars, etc. What happens 
when a member of the Board applies for funding 
for a production? Does he sit on the assessment of his 
African Quarterly 
on the Arts 
Vol.1/ NO 4 
own work? The criteria for example to be used in the 
evaluation of applications for funding is not covered 
by the policy but rather left for the Board to formulate 
and implement. 
It should however be possible for the Board to 
be made to undertake the initial professional assessment 
and screening of applications on the basis of 
quality and standards with the expertise at their 
disposal and a separate three-fnan committee operating 
outside the Board handling the final allocation 
and disbursement of the Fund. 
The sources for servicing the Fund are very 
elaborately identified. These include a government 
grant, 50% of entertainment tax on film and video 
shows, 50% of fees charged on cinematographic 
products either locally manufactured or imported, 
interest on loans taken from the Fund and revenue 
from specialised events and souvenirs under the 
industry. 
The private sector is also listed in line with 
encouraging private investment and they are to en joy 
tax relief on their contributions to the Fund. Additionally, 
non-governmental and foreign organisations 
and agencies are also expected to contribute with 
reference to current active roles they are playing in 
many sectors of the country. 
Film and Video exhibitors and distributors are 
required under the policy to assist the Fund by buying 
rights for premiere showings. The policy should 
however further ask them to contribute a small 
percerttage of their profits to the Fund in order to 
sustain the industry as they stand to lose if no 
productions come out. Beneficiaries of the Fund 
should also be made to repay their loans within 
specified time in order for others to benefit. This will 
prevent total depletion of the coffers of the Fund. 
Historical development 
The GFIC possessed the bestcinematographic 
infrastructure in the sub-Saharan region when it was 
established during the colonial era. It continued to 
operate and assist in national and international drive 
of the policies of Nkrumah after independence, 
especially with the production of documentaries and 
newsreels. It also provided training grounds for 
Ghanaian filmmakers in the late 60s through the 70s. 
Successive governments however did not give it the 
needed attention and as such it went obsolete. Film 
production in Ghana therefore came to rest on the 
shoulders of individuals who could brace the storm 
with all sorts of funding methods Ghanaian films that 
lifted high the nation's flag in international circles 
have all been privately produced with no state 
support.
The proliferation of video production in Ghana 
was also by private individuals, mostly amateurs with 
low-cost equipment. Currently, the modern-equipped 
production studios in Ghana are all privately owned. 
The banks in Ghana still do not see the economic 
viability of film and video production and so will not 
easily grant you loans as they do for other businesses 
Standards and quality work have been sacrificed in 
the face of financial constraints. 
A National Film/Video Fund is therefore a very 
welcome idea whose birth is long overdue. Filmmakers 
would no longer have to compromise on artistic 
excellence due to inadequate funding. However this 
Fund raises many questions not covered by the draft 
policy, especially its disbursement criteria. Will it seek 
to assist only established and experienced filmmakers 
who have marketing potentials and ignore newlytrained 
and inexperienced ones badly in need of 
exposure and some good start? What about productions 
of national significance politically, socially and 
culturally but commercially not very promising? What 
will be the ratio of documentaries to features, celluloid 
to video? 
AFRICAN 
O U R N A 
• Okike -Imodoye • Opon Ifa • Transition • Black Orpheus • African Notes 
• African Report • Odu: A Journal of West African Studies • Orita: Ibadan 
Journal of Religious Studies • Idoto: Ibadan Journal of Creation • Review 
of English and Literary Studies • Journal of Cultures and Ideas (JCI) • 
Dialogue in Africa Philosophy - Monograph Series • Journal of the Historical 
Society of Nigeria • Journal of African Philosophy and Studies • Nka: 
Journal of Contemporary African Art • Yoruba Ideas • Callaloo 
Direct enquiries about current and rare African Journals to: 
Glendora Review, 
168, Awolowo Road, Ikoyi, Lagos, Nigeria. 
Tel: Lagos (2692762) 
The draft policy is still under scrutiny. The 
Goethe Institute in Ghana in conjunction with the 
National Film and Television Institute (NAFTI), Ghano 
Films Industry Corporation Limited (GFIC) and the 
Ministry of Information, organised a two-day seminar 
(10-1 1 June) in Accra on the draft policy. It was led 
by a German expert on film policy and promotion, 
Prof Klaus Keil, also the Executive Director of the 
Filmboard Berlin Brandenburg It was-well attended 
by filmmakers, scholars and policy makers 
It is hoped that the final draft policy will be in 
a better shape judging from the trend of the debates 
going on amongst those concerned. Thus if it becomes 
Law after passing through Parliament it would 
revamp the industry and raise professional levels on 
the video scene in Ghana. This will definitely affect 
the future of cinema on the African continent as a 
whole. GR