> This is a bit out of date, but some interesting information about a
> very
> important Fund available to African film makers. Chris Kabwato sent
> it
> to me to post. If anyone is interested contact him at the address
> below. Sounds like a very necessary and useful step to develop
> African
> cinema.
> cheers, Steve Smith, moderator
>
> ----------
> From: Chris Kabwato[SMTP:asdf@icon.co.zw]
> Sent: Wednesday, March 04, 1998 10:41 AM
> To: Steve Smith
> Subject: Re: Script Development Fund
>
> Dear Steve,
>
> Thanks for your request. Please find below info on the fund:
>
> FORGING A COMMON AFRICAN IDENTITY
>
> African Script Development Fund
>
> Background
>
> The idea of creating an African Script Development Fund emerged from
> a
> workshop, on the distribution of African films and television
> productions,
> held in Zimbabwe, at Victoria Falls in 1994. However, a clear plan
> of
> action was later developed at a 1995 follow up workshop.
>
> Both workshops were conducted by the Media for Development Trust with
> funding provided by the Rockefeller Foundation. The follow up
> workshop
> also received funding from the Netherlands Ministry of Foreign
> Affairs.
>
> The participants, in both workshops, comprised of African public and
> private broadcasters, independent film/video producers and
> distributors,
> cinema owners and philanthropic organisations interested in the
> development
> of the quantity and quality of African films.
>
> The workshops found out that the problem facing the African film
> industry
> can be solved by an integrated framework which takes into account
> improving the quality and increasing the supply of African
> productions,
> whilst, at the same time, building a distribution infrastructure.
>
> Starting with the premises that without production there is no
> distribution
> and vice versa, the plan of action is based around three key
> projects;
> the
> establishment of a film and television market, the creation of a
> script
> development fund, and the dubbing of selected popular films and
> videos
> into
> the different languages necessary for reaching the African audience.
>
>
> The Film and Television Market was institutionalised as a non-profit
> making
> organisation and the first edition was held in 1996. Future editions
> will
> take place annually at Cape Town in South Africa.
>
> In order to fully realise the action plan, it is therefore important
> that
> the Script Development Fund component be implemented as soon as
> possible so
> that the momentum is kept at a level which will ensure the carrying
> out of
> the component, i.e., the dubbing of selected films and television
> productions.
>
>
> Mission Statement
>
> The African Script Development Fund seeks to increase the number of
> quality
> African films and television productions through promotion of quality
> screenplays whose story and plot use distinctive African cinematic
> forms of
> narration grounded on an appeal that is universal.
>
> Objective
>
> The African Script Development Fund aims to secure the production of
> at least 5 African films annually.
>
> Strategy
>
> To achieve its objective, the African Script Development Fund will
> use
> an
> integrative approach which unifies the processes of idea development
> and
> the execution of the idea with financing, marketing and distribution
> related activities.
>
> Within this context, the African Script Development Fund will also
> train
> screenplay writers, create opportunities for co-productions in
> Africa,
> and
> promote collaboration between screenplay writers and
> diectors/producers/commissioning editors.
>
>
> Selection Criteria
>
> The Script Development Fund is interested in screenplays that push
> forward
> the African story. Other Africans must be able to see themselves in
> the images and meaning of the story.
>
> Following are some of the guiding criteria that will be used to
> identify elements of the African story in an application.
>
> * search for common African principles reflecting the African
> identity
> * foster an awareness of cultural attributes shared in common by
> all Africans
> * think African and not just think in national terms
> * use a style which stimulates critical social perspectives
> * embody experiment, e.g., using new technologies
> * recognise Africa as consisting of rich, individual, contributing
> cultures rather than a monolithic super-culture
* reflect the new process of cultural interpenetration
>
> Selection Process
>
> The African Script Development Fund, assisted by a team of
> independent
> advisors, will select ten screenplay ideas every year. Once the
> screenplay
> ideas are selected, there are four stages to go through.
>
> * a contract is agreed with the screenplay writers
> * secondly, the screenplay writers plan and write
> * next, five screenplays are selected from the original ten
> * finally, these five screenplays are turned into film and
> television productions
>
>
> Eligibility
>
> An applicant must be a national of an African country
>
> How To Apply
>
> Interested and eligible individuals should send a three page outline
> which includes the following:
>
> * synopsis
> * an explanation of how the idea has potential for film and
> television
> * a statement that shows how the screenplay meets the selection
> criteria
> * a brief CV
>
> DEADLINE for submission - 15 December, 1997
>
> APPLICATIONS must be sent to the
> AFRICAN SCRIPT DEVELOPMENT FUND
> 36 McCHLERY AVENUE
> EASTLEA, HARARE, ZIMBABWE.
> E-MAIL ADDRESS: asdf@icon.co.zw
>
> SUCCESSFUL APPLICANTS will be notified by 15 January, 1998
>
>
> The Board
>
> This comprises of African film makers, producers, broadcasters,
> distributors and exhibitors from member countries.
>
> Management
>
> The coordination and implementation is done by a secretariat based in
> Harare, Zimbabwe.
>
>
> TRAINING FOR SCREENPLAY WRITERS
>
> The training programme will run from February 1998 to July 1998.
>
> Training module I
>
> Synopsis and treatment development
>
> Workshop 1 - Intensive residential training
>
> In this workshop, the screenplay writers, working with experts in
> plenary
> sessions, are introduced to the notion of film in the larger context
> of
> culture and society. In particular, there is emphasis on authorship,
> film
> form, film syntax and related narrative strategies. The screenplay
> writers
> are also introduced to the mechanics of screenplay writing necessary
> for
> the qualitative transformation of concept into synopsis, treatment
> and
> rough draft of the screenplay. In particular, stress is placed upon
> the
> components of screenplay structure, e.g., plot and story,
> characterisation,
> conflict.
>
>
> The screenplay writers are divided into two groups according to the
> form of
> their screenplay ideas. Each groups works under the guidance of an
> expert
> who acts as a group leader. She remains in close contact with the
> group of
> screenplay writers throughout the entire programme. Each screenplay
> writer
> develops a synopsis and treatment during group work sessions.
>
> By the end of module I, the screenplay writers will have developed a
> synopsis and treatment of their story ideas.
>
> Training module II
>
> Working towards the final screenplay
>
> Between modules I and II, the screenplay writers return to their
> countries
> and work on their treatments by turning them into rough drafts of
> complete
> screenplays. During this period, the screenplay writers are in
> contact
> with group leaders to ensure that the work on the rough drafts is
> proceeding.
>
> Workshop 2: intensive residential training
>
> The criticisms of the rough draft screenplays are presented by script
> analysts during group work sessions where each screenplay is
> examined.
>
> Individual meetings are organised between script analysts and
> screenplay writers. Feedback is therefore individual and general.
>
> By the end of module II, the screenplay writers will be able to work
> on the final screenplay.
>
> Training module III
>
> Final screenplay
>
> Between modules II and III, the screenplay writers, in their
> countries
> of residence, turn the rough draft into a final screenplay.
>
> By the end of module III, the screenplay writers will have produced a
> professional screenplay.
>
>
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