I was privileged to participate in the Lumière Summit 2026 in France, held under the theme “Forging New Alliances for Cinema and the Moving Image.”

The summit brought together global leaders across film, television, technology, policy, investment, distribution, and culture to explore the future of cinema and storytelling.

A few key takeaways stood out:

Collaboration will define the future of storytelling. Stronger partnerships across borders, disciplines and the audiovisual value chain will be critical to unlocking investment, talent, technology and global markets.

Technology is transforming the screen industry. AI, virtual production, XR, immersive experiences and advanced visual effects are creating new possibilities. However, technology must enhance—not replace—human creativity, authentic narratives and emotional connection.

African stories are increasingly central to the global creative economy. Africa has an extraordinary reservoir of untold stories, talent and cultural richness. The opportunity now is to connect this creative potential to global audiences, investment and distribution networks.

International co-productions matter. They can facilitate cultural exchange, financing, skills development, knowledge transfer and access to wider markets.

Audiences and distribution are evolving. Streaming, digital platforms and creator economies are changing how content is discovered, consumed and monetized. The industry must innovate while protecting the artistic and cultural value of storytelling.

For Kenya, the opportunity is significant. These conversations reinforce our ambition to position Kenya as a leading filming destination and centre for creative excellence in Africa.

As the Kenya Film Commission, we remain committed to creating an enabling environment that supports filmmakers, attracts investment, develops talent, embraces innovation and connects Kenyan creators to international opportunities.

The Lumière Summit reminded us that the future of storytelling is not simply about new technologies or platforms. It is about people, partnerships, creativity and the power of stories to connect cultures and shape economies.

The future of storytelling is collaborative. It is global. And it is full of possibilities.

Timothy Owase, MBS
Chief Executive Officer, Kenya Film Commission

I take this opportunity to share key learning experiences from the just concluded Lumiere Summit 2026. Held in France. Under the theme “Forging New Alliances for Cinema and the Moving Image” the Insights from the Lumière Summit.

The future of storytelling is being shaped by unprecedented collaboration, technological innovation, and the convergence of creative minds from across the globe. It was therefore a privilege to join distinguished industry leaders, policymakers, filmmakers, distributors, investors, technology innovators, and cultural institutions at the Lumière Summit, a global platform dedicated to advancing the future of cinema and the moving image.
Held under the theme “Forging New Alliances for Cinema and the Moving Image,” the summit brought together some of the world’s foremost thinkers and practitioners in the audiovisual sector to examine the opportunities, challenges, and emerging trends that will define the next chapter of global storytelling.

For me, as the Chief Executive Officer of the Kenya Film Commission, the summit provided a valuable opportunity to engage with industry experts, exchange ideas, build strategic networks, and position Kenya within the evolving global screen ecosystem.

One of the most remarkable aspects of the Lumière Summit was the convergence of leading voices from across the film, television, digital media, technology, policy, and investment sectors. The discussions reflected a shared understanding that storytelling remains one of humanity’s most powerful tools for shaping culture, preserving heritage, influencing perceptions, and driving economic growth.
Industry leaders emphasized that the future of cinema will increasingly depend on collaboration across borders, disciplines, and technologies. In a rapidly changing environment, success will belong to those who can build strong alliances that connect creators, audiences, investors, distributors, and innovators.

The summit demonstrated that while storytelling methods continue to evolve, the demand for authentic, compelling, and culturally relevant narratives remains stronger than ever.

A major area of discussion focused on how technological advancements are transforming the way stories are conceived, produced, distributed, and experienced.

Experts explored the growing influence of Artificial Intelligence (AI), virtual production technologies, immersive experiences, extended reality (XR), advanced visual effects, and data-driven audience engagement. These technologies are redefining traditional production models while creating new opportunities for creators to reach global audiences.

While technological innovation featured prominently throughout the summit, there was broad consensus that technology should enhance rather than replace human creativity. The future of storytelling will continue to be anchored in powerful narratives, emotional connection, and authentic human experiences.

For African storytellers, these developments present a unique opportunity to leverage emerging technologies while sharing stories that reflect the continent’s rich cultures, histories, aspirations, and innovations.

The summit highlighted the importance of forging stronger partnerships across the global audiovisual value chain. Discussions underscored the need for deeper collaboration between governments, film commissions, studios, broadcasters, streaming platforms, educational institutions, technology companies, and private investors.

As production becomes increasingly international, partnerships are becoming essential for accessing finance, expanding market reach, developing talent, and sharing technical expertise.

Particular emphasis was placed on international co-productions as a vehicle for strengthening cultural exchange and enabling filmmakers to tell stories that resonate beyond national boundaries. Such partnerships not only unlock funding opportunities but also facilitate knowledge transfer and access to wider distribution networks.

These conversations align closely with Kenya’s aspirations to become a leading film production and content creation hub in Africa.

Another significant area of discussion centered on evolving audience behavior and changing consumption patterns. With audiences now accessing content across multiple platforms and devices, industry leaders stressed the importance of understanding audience preferences while maintaining creative integrity.

The rise of streaming services, digital platforms, creator economies, and direct-to-consumer distribution models has fundamentally altered how content is discovered and consumed. The challenge for creators and industry stakeholders is to adapt to these changes while preserving the artistic and cultural value of storytelling.

Participants agreed that future success will require innovative approaches to audience engagement, content monetization, and global distribution.

One of the most inspiring themes throughout the summit was the growing recognition of the importance of diversity and inclusion in storytelling. Industry experts emphasized the need to create space for underrepresented voices and perspectives that reflect the full spectrum of global experiences.

Africa was frequently highlighted as one of the most exciting frontiers for storytelling, with its vast reservoir of untold stories, creative talent, and rapidly growing audiovisual sector. There was strong acknowledgement that African stories have the power to enrich global narratives while contributing significantly to the creative economy.

This recognition reinforces the need for continued investment in talent development, production infrastructure, market access, and international partnerships that enable African creators to compete on the global stage.

For Kenya, the insights gained from the Lumière Summit are both timely and relevant. As we continue to position the country as a premier filming destination and a center for creative excellence, collaboration will remain central to our growth strategy.

The Kenya Film Commission is committed to fostering an enabling environment that supports filmmakers, attracts investment, promotes innovation, facilitates skills development, and expands opportunities for local content creators.

The summit reaffirmed that Kenya’s future in the global screen industry will depend not only on our ability to tell compelling stories but also on our willingness to build meaningful partnerships that connect our creators with international markets and opportunities.

The Lumière Summit offered more than a platform for dialogue, it provided a vision for the future of cinema and the moving image. It reinforced the understanding that storytelling is entering a new era, one defined by collaboration, innovation, inclusivity, and global interconnectedness.

As the industry continues to evolve, the relationships forged and ideas shared during the summit will help shape the future of storytelling for years to come. The challenge before us is to translate these conversations into action by building stronger creative ecosystems, supporting emerging talent, embracing innovation, and creating pathways for stories from every corner of the world to be seen and celebrated.

The future of storytelling is collaborative. It is global. And it is full of possibilities.

Timothy Owase, MBS
Chief Executive Officer
Kenya Film Commission

Women in Film: Powering the Future of Kenya’s Creative Economy

Across the world, the film industry is experiencing a transformative moment, one where women are increasingly stepping forward as storytellers, producers, directors, and industry leaders. In Kenya, this shift is not only welcome but necessary. As the Kenya Film Commission continues to champion the growth of our creative sector, the role of women in film remains central to building a vibrant, inclusive, and globally competitive industry.

Kenya’s film sector has made remarkable progress over the past decade. From compelling television dramas to internationally recognized documentaries and feature films, Kenyan stories are reaching audiences far beyond our borders. Behind many of these successes are talented women whose voices and perspectives are reshaping the narratives we tell.

Women in film bring unique viewpoints that enrich storytelling. They illuminate stories often overlooked and present complex, authentic portrayals of communities, cultures, and everyday life. When women lead creative processes, whether in writing, directing, editing, or producing, the result is a more diverse and representative screen culture.

However, despite significant progress, women remain underrepresented in many technical and leadership roles within the film industry. Globally and locally, barriers such as limited access to funding, mentorship opportunities, and industry networks continue to affect women’s full participation in film production. Addressing these challenges is not just about equity, it is about unlocking the full potential of our creative economy.

At the Kenya Film Commission, we are committed to creating an enabling environment where women can thrive in all aspects of filmmaking. Through capacity-building programs, industry partnerships, and policy support, we are working to ensure that more women have access to training, financing opportunities, and platforms to showcase their work.

We are particularly encouraged by the rise of young Kenyan women entering film schools, launching independent production companies, and leading innovative projects in animation, digital content, and documentary filmmaking. Their creativity, resilience, and entrepreneurial spirit are shaping the future of our industry.

Mentorship and collaboration remain critical. Established professionals must continue to open doors for the next generation, sharing knowledge and creating pathways for women to gain hands-on experience in technical and leadership roles. Industry stakeholders, including broadcasters, streaming platforms, private investors, and government institutions, have a role to play in supporting gender-inclusive policies and funding structures.

The global film industry is evolving rapidly, driven by digital technology and new distribution platforms. This presents an unprecedented opportunity for Kenyan filmmakers, especially women to reach international audiences and tell stories that reflect the richness of our culture and the dynamism of our society.

When women succeed in film, the benefits extend far beyond the screen. The industry creates jobs, stimulates tourism, promotes cultural exchange, and contributes to national identity. Empowering women within this ecosystem strengthens not only the film sector but the broader creative economy.

As we look to the future, the Kenya Film Commission will continue to champion initiatives that promote diversity, inclusion, and innovation. Our vision is a film industry where talent, regardless of gender, can flourish, and where Kenyan stories resonate across the globe.

Women in film are not simply participants in the industry, they are pioneers, innovators, and leaders shaping the next chapter of Kenya’s creative journey. Their voices matter, their stories matter, and their contributions will continue to define the future of Kenyan cinema. Together, let us continue building an industry where every storyteller has the opportunity to shine.

 Timothy Owase, MBS

Chief Executive Officer

Kenya Film Commission

 

 

The screen industries, film, TV, animation, and digital mediahave always evolved with technology. But right now, we’re in the middle of one of the most exciting and disruptive shifts in decades. From AI and virtual production to immersive storytelling and data-driven distribution, technology isn’t just changing how content is made, it’s changing what’s possible.

Remember when shooting on a sound stage meant green screens and imagination? Not anymore.  Thanks to virtual production, filmmakers can now shoot scenes in fully digital environments using LED walls and real-time 3D rendering. This technology allows directors to see and adjust visual effects as they shoot, saving time, cutting costs, and unlocking creative possibilities. Whether you’re a major studio or an independent filmmaker, tools like Unreal Engine are making this approach more accessible than ever.

Artificial Intelligence isn’t just hype; it’s already reshaping everything from editing to visual effects to screenwriting. Need to match colour across scenes? Done. Want to localize your film with AI-generated voice dubbing? Easy. Some creators are even using AI to generate concept art or build first-draft scripts. The key here isn’t replacement, it’s acceleration. AI is taking over the repetitive stuff, so creatives can focus on, well, being creative. This calls for you to think of AI not as a threat, but as a really smart assistant.

Today’s audiences want more than just passive viewing. They want to step inside the story. Thus enters VR, AR, and interactive media. Projects like The Line or AR-enhanced documentaries let viewers experience stories in a whole new way, emotionally, physically, and even socially. For content creators, this opens up a fresh creative canvas and new ways to connect with fans. Today, If you’re a storyteller looking to push boundaries, immersive media is where the frontier lies.

Streaming platforms have given creators access to something they’ve never had before: real-time audience feedback. From pilot testing to understanding which characters are most loved, data is becoming an essential tool in shaping stories and strategies. It’s also helping platforms and studios make better decisions about what to greenlight, and how to reach niche audiences more effectively.

With all these new tools comes a need for new skills. Schools and studios are adapting fast, training the next generation in virtual production, interactive media, and AI collaboration.Whether you’re just starting out or deep in your career, staying current with technology is no longer optional it’s part of being a creative professional.

At the end of the day, technology is just a tool. What matters most is still the story, the emotion, the connection and the craft. These tools are evolving fast, and the creatives and companies that lean in, experiment, and adapt are the ones shaping the future of screen content. So, if you’re wondering whether it’s worth exploring the latest tech, the answer is yes. Not because it’s trendy, but because it’s where storytelling is going.

Let us all adapt to the trends as the industry evolves or else you will be left on the wayside.

Funding the Film Industry: A Cornerstone for Economic Growth and a Catalyst for Cross-Sector Development

In the 21st-century creative economy, the film industry has emerged not merely as an avenue of entertainment but as a strategic pillar of economic transformation. Around the world, governments and private investors are realizing that film is both a cultural asset and a financial powerhouse. Yet, in many developing economies, particularly across Africa, investment in film remains marginal — often treated as a luxury rather than a necessity. In truth, funding the film industry is not just an act of cultural preservation; it is a fundamental economic strategy that can unlock growth, create jobs, foster innovation, and catalyze the advancement of multiple sectors.

Film as an Economic Engine
Film production is a high-value chain enterprise that activates numerous sectors simultaneously. Every shilling invested in film circulates through the economy from script to screen, generating demand for goods and services.
Film productions hire writers, directors, actors, and technical crews, but they also engage construction workers, set designers, tailors, make-up artists, transporters, caterers, equipment suppliers, and hospitality providers. In turn, this stimulates SME growth, increases tax revenue, and expands employment opportunities, particularly for youth and women.
Countries that have prioritized investment in film such as Nigeria (through Nollywood), South Africa, and Morocco — have witnessed measurable GDP contributions and expanded creative exports. According to UNESCO, the global creative economy, with film at its core, contributes over 6.1% of the global GDP and employs nearly 50 million people worldwide. This underscores the film industry’s power as a formal economic driver when adequately funded and supported.
Cultural Capital and Global Branding
Beyond its financial return, film is a powerful tool for nation branding and cultural diplomacy. It tells the nation’s story, projects soft power, and shapes global perceptions. Every successful film that emerges from a country amplifies its image, influences tourism patterns, and attracts foreign investment.
A vibrant film sector builds cultural confidence, enabling citizens to see themselves as agents of innovation and value creation. When backed by sustainable funding, local films can compete globally, showcasing authentic stories that resonate with audiences while simultaneously marketing national products, landscapes, and heritage.
A Catalyst for Other Industries
The multiplier effect of film extends far beyond the creative domain. When well-funded, the industry becomes a growth catalyst for multiple sectors:
Tourism: Films shot in local destinations create powerful visual marketing for the tourism sector. “Film tourism” has become a global phenomenon, where audiences travel to locations featured on screen.
Fashion and Design: Costume and wardrobe demands drive creativity and sales in fashion design, tailoring, and textiles.
Technology: Film’s growing reliance on visual effects (VFX), animation, and digital post-production stimulates innovation in tech, ICT, and software development.
Education: Film stimulates the growth of media schools, technical training institutions, and research in storytelling and technology.
Real Estate and Infrastructure: Studios, cinemas, and creative hubs attract real estate investment and urban regeneration, transforming neighborhoods into creative districts.
Every film produced therefore acts as an economic accelerator, drawing value chains from multiple disciplines and fostering cross-industry linkages.
Employment and Skills Development
The film industry is one of the most labor-intensive creative sectors. It offers diverse roles for people of varying skill levels from informal artisans to highly skilled technicians. By investing in film, governments and private financiers are essentially investing in human capital development.
Funded productions offer training grounds for young professionals, nurturing technical competencies in editing, cinematography, sound design, and production management. Over time, this leads to knowledge transfer, professionalization, and the growth of creative entrepreneurship. In economies with high youth unemployment, such an industry can absorb thousands into sustainable livelihoods.
The Economics of Distribution and Export
Film is a high-margin export product. Once created, a film can be distributed across multiple territories and platforms- cinemas, television, streaming, and educational outlets,yielding revenue for years. Unlike commodities, cultural content does not deplete; it accumulates value over time.
Strategic funding ensures that films meet global standards, enabling local creators to tap into the digital streaming economy (Netflix, Showmax, Amazon Prime, etc.), where African content is increasingly in demand. This generates foreign exchange, stimulates copyright protection systems, and supports a creative export strategy aligned with national economic plans.
Social Impact and National Cohesion
Film is a mirror of society. Beyond economic returns, it plays a vital role in social cohesion, education, and values formation.
Funded local stories can address pressing national issues from climate change and gender equality to governance and innovation in ways that resonate emotionally with citizens. This soft power impact supports national development agendas and strengthens shared identity.
Why Strategic Funding Matters
For the film industry to thrive as an engine of growth, systematic and sustained funding mechanisms must be established. These include:

1. Film funds and incentives that reduce production costs and attract co-productions;
2. Tax rebates and grants to stimulate investment;
3. Public-private partnerships (PPPs) to leverage both capital and expertise;
4. Credit facilities for creative entrepreneurs;
5. Investment in infrastructure such as sound stages, studios, and cinemas;
6. Capacity-building programs to equip creators with technical and business skills. Without such measures, even the most talented storytellers remain locked out of opportunity, and the economy forfeits billions in untapped potential.

Therefore let’s look at Film as a National Development Strategy
Funding the film industry is not an indulgence; it is an investment in inclusive economic growth, cultural identity, and industrial diversification. Every well-funded film becomes a platform for employment, innovation, and soft power.
In an era where nations compete on creativity and ideas, those who finance and nurture their film industries will not only tell their own stories but also define their economic futures. For Kenya and Africa, the question is no longer why fund film, but rather how fast can we scale investment to ensure the creative sector becomes a central pillar of our economic transformation.

Writer – Timothy Owase
Certified Film Commissioner
Chief Executive Officer
Kenya Film Commission

Sometimes, I look at the creative industry with very reflective eyes. Having been in it for many years. More than 15 years in showbizness, you see it for what it is.I can attest to have seen it grow, expand andright now, even about to overflow.

Watching actors, directors, producers, technical crew and writers receiving recognition at the Kalasha awards this year, many of them in their colorful gowns and great attires, with such passion for the
industry, gave the film commission a sense of pride.

That the artists who put in much labor to their craftcan finally have a taste of reward for the work they have put over the years. Without a doubt, their
commitment as performers and creatives, has moved the industry forward.

From a time, where the country could barely list 10 films, to a time more and more films can be attributed to the land.

This is not without the effort of the many artists who have devoted their service to the film industry in Kenya,without fail, in-spite the challenges that they have faced over years.

The team at the Kenya film commission are committed to have more and more films through workingtogether with more and more creatives and performers, not only to tell the Kenyan story, here in theregion, but even more to the world at large.

As Artists, we are the custodians of culture, thus we believe that art should not only be supported, but especially respected.

Through our art, the world will know
more about our world. Generations will rely on our trade, to tell their stories and even preserve history.
For which, we will be committed to ensure, we will not let you down, as a support for the film industry inKenya. My team spends sleepless night to ensure that.

Our greatest fulfilment has been to go to the Communities in the rural parts of Kenya, to the people in the communities, even the youth.

Going in to every County, has been the most exciting. Encouraging film
from the roots, where stories live, will ensure, every county has a chance to tell their stories and take pride in that art of telling stories through film.

The hope for the future is seemingly brighter, without a doubt, seeing from the many entries of films that come in every year. They get better and better each
year.

We already have been to 15 Counties and hope to reach all the other Counties as programmed in building capacity. We want to be taken as seriously, as we take ourselves. I personally, have spent good amount of time, knocking doors, to welcome as many players as possible.

I believe that this is an industry worth investing in. A lot more support from; corporates and the public service in to the film industry, will see the Kenya film industry with as much potential have the most returns. But above all, the greater responsibility as a Nation, to support and encourage our home grown talent and effort.
My quest, to the corporates, as well as the government, is to continue, even in a smaller scale, as well as large, to support this industry in as many ways as possible. For the Kenyan film industry is now on the
race as a world player, from walking and even crawling a few years back.

My team and I, are working to create that understanding, that what we have is a massive giant, massive talents as we have seen, overflowing with massive opportunities.
Happy to have such great interest from the ICT Cabinet Secretary, Joe Mucheru, who even graced our recent Kalasha awards as the guest speaker.

Friends, this goes to show, that in-spite of the fact that we are not there yet, we have made progress as the Kenyan film industry.

The Cabinet secretary has shown massive
interest in supporting the industry, as well as many players in Kenya. Being part of the ministry of ICT, is a blessing in more ways than one, for now we are no longer competing with sports, we have our own
space.And to the artists, we should always remember.

In Kenya, “we are long distance runners,” our race is long, but certainly we will get there. What we have for the future is even greater, that what we could
ever possibly imagine for this industry, but this great future can only be forged together.

The writer is a Chartered Marketer and a Communication Professional who serves in the creative industries.

The Creative Industries were defined in the Government’s 2001 Creative Industries Mapping Document 2 as “those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property”.

Cultural and Creative Sectors are increasingly getting recognized as one of the most dynamic and innovative sectors in Africa, contributing to peoples’ quality of life, attractiveness and economic growth. The rise of the creative economy is reflective of the larger shift occurring within the global economy – the shift from economies based on the production of goods to economies based on the provision of services. This change is expected to be as big and as challenging as the transformation in the 1700s from agrarian to industrial societies (MPI, 2009).
In the post global development agenda, the United Nation and its leaders are working to ensure the importance of the creative economy is reflected as a driver and an enabler of sustainable human development in the future development goals. Countries around the world are transitioning into functioning within a knowledge economy where information and knowledge are important drivers of economic growth.

As we navigate this move to a post-industrial knowledge economy from an economy purely based on the production of goods to an economy significantly fueled by ideas and innovation, the role of creativity in shaping that growth can no longer be ignored.

The creative economy in general is increasingly getting recognized for economic and their non- monetized social benefits. The sector empowers people with capacities to take ownership of their own development processes. As a people centered and place based approach by governments is integrated into development. As economies take calculated interventions to the creative economy, a structured approach is put into account for trans-formative and sustainable change across the sector.

During the debate on culture and development held in New York in June 2013, the United Nations Secretary – General Ban Ki Moon, recognized in his opening remarks that too many well intended development programmes had failed because they did not take cultural settings into account and thus development failing to focus on people.

To jam start the sector, we must mobilize people by first getting to understand and embrace their culture. In essence, for acceptability, stakeholders must encourage dialogue at all levels by listening to all partners and issues at stake. This will inform the new course for sustainable development. There are varying trends in understanding of the relationship between the creative economy and economic development, but what stands out is that, the society today is shaped and conditioned for development by the arts and culture within the creative economy.

As the creative economy sector become an increasing driving force at the market place, it is essential to measure its impact to the economy and the community at large. In the environment full of continuous change, and globalization, many agree that creativity and innovation are the new driving forces to the world economy. With an acknowledgement of the same by the United Nations, it’s now for the Nations, organisations and individuals to embrace the sector as a significant contributor of revenue as well pose a bright and stable future through enhanced development activities.

To capture attention and build value, PWC outlook shows that, companies need to understand how local and global markets are impacted by the changing pace of the entertainment and media industry. According to Outlook, Kenya’s total entertainment and media industry was worth US$2.2 billion in 2015, a 9.1% rise on the year before. An 8.3% CAGR will lead to nearly 50% growth in absolute terms, with total E&M revenue rising to be worth US$3.3 billion by 2020.

From the above, it is evident that reliable data in the sector is important for the understanding of both economic and social dimensions of the creative economy. Statistics therefore is needed if any country want to develop and implement evidence based industry policies as well as the need to monitor and evaluate overall performance and effectiveness within prescribed time-frame.

The emerging importance of this sector globally is increasingly gaining currency to policymakers and economists. This is so as to establish the value of these industries in their respective economies, need to understand the trends in consumption, trade, impact and other benefits that emanate from the sector. This calls for a purposeful management and planning of key infrastructural facilities that would enable a structural approach to the creative economy business.

The writer is a Chartered Marketer and a film industry professional and can be reached at timothy.owase@live.com 

Countries, Institutions, Families and individuals, set core values as the cornerstone for their day to day operations. The values determine how we live and interact; service delivery, coexistence, culture and the general sphere of life. In this respect, film as a business carries and has the capacity to influence our values a great deal. It is with the given background that I wish to look at the film classification and rating systems as used universally. Film classification decisions in various countries, reflect and are based on certain norms, values, virtues and standards or levels of tolerance of each country. In Kenya, the constitution is supreme and provides clearly the set of values the citizens must uphold. Although counties may share many common cultural values, there are also values and virtues that are unique to a particular country. Therefore, classification decisions in any given country reflect the norms, values, virtues and standards set for the country within which a particular classification or rating authority operates.

Based on the set background, film regulating bodies strongly believes that the film classification systems and the voluntary rating procedures represent the best approach and structure in meeting the set of values in film products. There are usually 4 categories that have been accepted globally to secure freedom of expression, to respect human rights and to protect children from early exposure to potentially harmful film material and expressions. The categories include the following;-

G:        General viewing, suitable for all ages

PG 13: Parental guidance requested for young people less than 13 years

R 16+: Viewing for persons aged 16 and above only (No one under 15 admitted)

R 18+: Viewing for persons aged 18 and above only (No one under 18 admitted)

Films are classified according to the treatment and impact of the eight main classifiable elements of public concern, specifically theme, language, sex, nudity, violence & cruelty, horror & menace, drug use, and acts of criminal behavior. Film classification also depends on the context in which the film content is presented. It is illegal to show indecent images of minors under the age of 18, and to show a work that is obscene. Real explicit sex and detailed exposure of sexual organs are not allowed, nor is pornography. Not only is this a concern for regulatory bodies, but a concern for all caring citizens who desire a society grounded on core moral values.

Looking at the general principles informing both age-categories and guidelines are almost universally acceptable. The main principles include; and will sample just a few. The British Board of Film Classification (BBFC), for instance, operates on the principles that: (i) Adults should be free to choose what they see, providing that it remains within the law and is not potentially harmful to society (ii) works should be allowed to reach the widest audience that is appropriate for their theme and treatment (iii) the context in which something (like sex or violence) is presented is central to the question of its acceptability, and (iv) the Guidelines will be reviewed periodically in the light of changes in public taste, attitudes and concerns.

In  Australia, the regulator is required to ensure that its classification decisions give effect to the; principles that: (i) adults should be able to read, hear and see what they want (ii) minors should be protected from material likely to harm or disturb them (iii) everyone should be protected from exposure to unsolicited material that they find offensive, and (iv) the need to take account of community concerns about depictions that condone or incite violence, particularly sexual violence and the portrayal of persons in a demeaning manner

The Film and Publication Board (FPB)  of South Africa, operates and established the following principles in implementing the objectives of the Act: (i) while adults should enjoy freedom of choice, children must be protected from exposure to potentially disturbing and harmful materials (ii) the policy of imposing age-restrictions to protect children in the relevant age groups from premature exposure to adult experiences or materials which may be inappropriate in the context of South African society (iii) the need to alert members of the public, through consumer advice, to material which they may find offensive, both for themselves and for children in their care, and (iv) the requirement that guidelines be published annually and revised on the basis of public representations so that guidelines reflect, as far as possible, contemporary South African standards and values.

The significance of film classification systems

The Constitution guarantees everyone the right to freedom of expression, which includes freedom to receive and impart information or ideas and freedom of artistic creativity. The system of classification provided for in the Films and Stage plays Act allows for limitations but not absolute prohibitions on the right to freedom of expression. For example child pornography is a criminal offense and not classification. The Act provides a clear balance between the constitutional rights of adults to choose what content they want to watch, view and the duty to protect people, particularly children and women, from exposure to harm-resulting forms of violence, sexually explicit films.

The purpose and significance of classification is, therefore-

(i) by means of classification, to prohibit distribution and exhibition to children of films and publications with content intended only for adults, as well as to protect members of the public from unsolicited exposure to content which some may find offensive by means of the imposition of age-restrictions, to prohibit distribution and exhibition of films and publications with disturbing, harmful or age-inappropriate content to children in the age-group likely to be at risk of harm from such content, and (iii) by means of consumer information, to provide the public with such information as will enable them to make appropriate viewing and reading choices, both for themselves and for children in their care.

How do we balance film industry development and regulation

The development of the film industry is critical to the growth of our economy and thus requires nurturing. In retrospect, we must also recognise that just like any other business, we must go about the film business with clear lines of operation. That is; core values should drive our stories, encourage self-regulation through adherence to the classification code, ethics and overall respect to our constitution. With this, we will have an understanding as a people with more stories told, more jobs created, more revenue to government and an enlightened society.

The writer is a Chartered Marketer and Communications professional and can be reached at timothy.owase@live.com

Copyright-based industries form part of creative industries, which are economic activities based on the creation, management, use and trade in original creations expressed in tangible form. Creative industries are referred to as copyright-based industries and products there-from as copyright-based goods when they are protected under intellectual property rights. There is a growing interest in the copyright-based industry today due to the recognition that creativity is the very basis for social, economic and cultural development of nations.

Based on the World Intellectual Property Organization (WIPO) Guide (2003), studies have been conducted to quantify the contribution of copyright based industries in several European, American and Asian countries. As an emergent subject of interest to individual inventors, creators, firms, their agents, governments, economists, financiers (OECD, World Bank, UNIDO), investors and intergovernmental organizations (such as WIPO and its constituents). Intellectual property management is a highly sophisticated topic and requires an understanding of IP law, technology, economics and finance.

The common interest among these seemingly disparate levels of society is the practice of innovation and the corresponding promise of wealth creation. Reflecting on this point, all other activities of management beyond new combinations seem like housekeeping or the pursuit of an efficiency frontier that has diminishing returns (for example mergers, acquisitions and other efficiencies sought during market maturity). Legal professionals are classically trained using the lenses of doctrine and the corresponding tools of contract, policy legislation and case law. In acting as intellectual property professionals, intellectual property practitioners are the agents of their clients (managers) and know how to procure rights from the various granting entities and enforce them, when necessary, in a court of law or other legal dispute resolution forums.

Creative entrepreneurs, executives and managers, typically have a responsibility of a different kind something akin to fiduciary responsibility. Fiduciaries are charged with the responsible management of firm assets for the benefit of all stakeholders (shareholders, employees, etc.). To “manage” is to actively reconcile opportunity with market context and allocate resources to realize a profitable business. This requires knowledge of management disciplines such as economics, marketing, operations, finance, accounting, technology, organizational form, distribution and all possible combinations thereof.

Intellectual property now makes up a large proportion of a companies’ market value, and IP management can no longer be left to technology or legal departments alone. Managers need visibility and control over the things they “manage”. This means that the firms are further formulating strategies that focus on lead time, before products are developed, to strengthen competitively the existing and relatively ”strong” industries while at the same time building up dynamically as a function of available resources and competitor analysis around their strengths.

This growing focus on knowledge and innovation has placed IP rights under the spotlight and highlights the need to learn the best practices for IP management. Internationally, as access to data on IP has improved, examples and cases of IPM at national and international levels are also emerging.

The world of business has changed at a high rate. In the recent past, the development of information technology and the arrival of the Internet have created the “Global Village” we all live in today. Applications of new technologies spread quickly around the world and as a result, more people have become familiar with these new technologies through the products they use in their everyday lives. We are in the age of knowledge thus managing technology and its ability to differentiate market offerings is the key to economic success.

It is true that, companies in industrialized countries have decided not to manufacture the products they develop and sell. This is because it is difficult for them to maintain or gain a competitive edge in manufacturing given the low cost, and skilled labor available in, for instance, developing countries. This growing importance is occasioned by fundamental shifts in how value is created and measured in global equity markets. While access to raw materials, energy sources and robust markets remain important components of competitive advantage, globalization and commoditization of production inputs coupled with their price changes has shifted long term competitive advantage.

As governments in developing countries adopt IP management practices, it is envisioned that the creative economies are poised to greater development. As the key players in the sector, let us all embrace the art and grow the sector to its full potential.

Timothy Owase is a Chartered Marketer and practicing Communication professional in the film industry. Can be reached at timothy.owase@live.com

I have found the vast majority of filmmakers are passionate to tell their story – this is primal. And now more than ever, that stage on which to tell your story/show your film has never been more crowded. Most filmmakers have a vision and passion to make their film, and many have been highly trained in great film schools to make that film, but what most aren’t trained for is the commercial line of film-making.

In this article, I explore in brief aspects of film marketing. A film’s life cycle is typically the actual making of the film from pre-production, production and post production.  This can take years to fully develop the product, finance it, market and distribute.

Today, a filmmaker must consider combining creativity and business essentials for the art to make any sense. As film maker’s we all want our final products to be recognized. Then how do we ensure the success we are yearning for?  As a creative, it is essential to be an all-round professional with skills and knowledge of creative, legal, financing, production, marketing and distribution, and be able to practically apply them.

On a set, a filmmaker is faced with various caliber of people, thus  must be able to multi-task, handle all types of personalities, pitch, coach, stand their ground, corral, cajole, and yes, sometimes scream and demand to get results. As we endeavour to perfect the art, let us attempt to give the independent filmmaker an overview of all the areas he/she must take into account and take responsibility for in order to succeed. The key areas include; development, packaging, financing, production, marketing and distribution.

Film Development is one of the least understood and least prepared for phases of a film’s cycle in Kenya. It is the foundation on which your film will stand or fail for the rest of its phases. Understanding this, filmmakers ought to ensure that each aspect of their film’s development is just as perfectly planned, budgeted and sufficiently funded as its production. As an all rounded Producer, you must be fully funded and prepared to get the film from option of material to fully funded and ready to start pre-production.

At this stage, consider paying for writing, legal work for contracts generated, business plan, memorandums, budget and schedule, location scouting, visual pitch and promotional materials, marketing among others.

The Pitch – Pitching is an important step in getting a film financed, produced and distributed. Consider addressing 3 pitch audiences and be prepared to respond to each of their different expectations and needs; the finance, distributors or and International Sales Agents and the consumer of your product.

Film Finance – Financing a film can be the trickiest part of making the film. Hence until the day you are totally funded, you need to pay constant attention to detail on your potential sources and approach.

Film Production – at this stage, the film is now fully developed financed and you are now finally able to begin production. Production here refers to: Preproduction; preparatory measures that include opening of a production office; hire all crew; engage a locations scouts, secure the locations, rentals for camera and lighting packages; prepare shooting schedules among others.

Principal Photography: This refers to the period when the principal photography will be shot. After this time, all of the scenes for the movie are completed. Postproduction: the period, the director and editor will select the best shots of the various scenes and edit those that take into an assembly of the entire film.  After these, various departments consider inclusions that are not limited to music, visual effects, sound design, color corrections and the final Sound Mix.

Film Marketing – the film has been made and now you want to get it to the market. So what are the best ways to market your film? This challenge can be an uphill task to the filmmaker. It requires a lot of hard work and time, provided the filmmaker is willing to take some responsibility for developing and implementing a well-thought out marketing plan.

The plan may include among others various marketing tools, that may comprise; social media, niche-targeted advertising to reach their audience. It is important to begin this process as soon as you start development of the film. I suggest that you must have a line item in your development and production budgets for Marketing, which should include, but not be limited to, social media, website, film festivals, and blogs, among others. To maximize your marketing effectiveness, all marketing pieces must work together.

Filmmakers should connect with viewers online and at screenings, establish direct relationships with them and build core personal audiences. Ask for their support, making it clear that DVD purchases from the website will help you break even and make more movies. Every filmmaker with a website has the chance to turn visitors into subscribers, subscribers into purchasers, and purchasers into true fans who can contribute to new productions.

Film Distribution – Distribution is simply the method by which distributors or the aggregators get your film into the marketplace via theatres, VOD, DVD or television. Theatrical distribution arguably is the single most beneficial release window, as it can establish a film’s brand extending to all other ancillary markets.

However, you need time, money and effort to create that brand. During production, the director and producer are kings and in almost total control over hundreds of people and millions of dollars. Once the film is delivered, the distributor is in near total control.

In the advent of the digital platforms, media revolution is having a massive impact on the delivery and options for distribution, as well as, the marketing and brand creation of the project. This is a window for empowering filmmakers to explore alternative distribution options.

Film is serious business, let’s get serious!

The writer is a Chartered Marketer and film industry professional and can be reached at timothy.owase@live.com