Articles

November 1, 2007

FILMMAKING AND THE ANC SUCCESSION BATTLE

Msizi moshoetsi, south african cinema— ABRAXAS @ 9:58 pm

Taken as a separate entity, the ANC succession debacle might not merit a footnote in one’s personal diary but taken from the perspective of the totality of life and the interconnection of things, possibilities abound. In my opinion, (bearing in my mind of course that opinions are cheap), filmmakers as storytellers need to be equipped with that uncanny ability of approaching stories in a holistic manner. Let me expound on this theory by digressing a bit:

ANC members have always been passionate about their political standpoints. In fact they have been known to be prepared to kill or be killed to uphold their moral high ground. They have always been proud of their vibrant culture of debate, which they have fought for within their movement and in South Africa as a whole. Disturbingly enough, of late they have shown increasing signs of being prepared to take the debate outside. It has been interesting to note that recently in quite a number of incidents they have chosen funerals and memorial services of struggle stalwarts to engage in their running battles with each other.

And so daggers are drawn, comrade is pitted against comrade as 4000 thousand delegates descend on Limpopo in December to chart the way forward in a conference that would affect the direction of South Africa and its more than forty five million citizens including filmmakers. As a storyteller I have often assumed the luxurious role of a grandstanding psychologist in trying to dissect the minds of the various forces at play.

Which brings me to the question of political films. If one was to make a film on the nature of the succession debate, will it be a political film or just riveting human drama that has opted for a political stage as its setting? For me the latter seems the most obvious answer.
Also, as a storyteller, I have often asked myself: what happens after the December conference? Political commentators have ignored one minor fact: that after Limpopo, no matter which camp prevails, these comrades would still have to belong to the same party. When the comrades have settled their political scores with each other how will they deal with dissent in the broader society? If party cadres can display such levels of hostility and intolerance towards each other what more of simple minded creatives from outside?
There are various factors to note here: Artists as a conscience of the nation have always had an uneasy relationship with the politicians. The powers that be have always regarded artists as a constant irritation and an unnecessary evil they can do without. This largely stems from an erroneous, paternalistic but well intended assumption that they know what is good for the masses and they do not need mirrors that would reflect society.
Filmmakers operate best under a climate of free speech. Once party cadres have purged the political opponents within their own party it becomes easier too deal with political dissent outside. And we know that truth and freedom of speech becomes the first casualty in this eventuality.
South Africa at present enjoys one of the most liberal constitutions the world has ever seen. But there are some within the ruling party who are already feeling freedom of speech is exaggerated. What will happen when leaders call for more “patriotic films?” Will there ever come a time when funding is tied to political allegiance? Will we still have the luxury of debating whether we should or should not make political films after December? Is it possible for filmmakers to find a good story with regard to this historical event and still maintain their impartiality? Time will tell.