The Ghanaian film industry finds itself at a critical juncture, grappling with concerns of politicization that threaten to stifle its artistic expression and creative growth. Filmmaker Leila Djansi has voiced her apprehension about the current state of the National Film Authority (NFA), arguing that its entanglement with political agendas undermines the very essence of filmmaking as an art form. Her critique centers on the perceived politicization of the NFA, a development she believes hinders the industry’s potential to flourish. Djansi argues that filmmaking should remain a realm of creativity and artistic expression, free from the constraints of political allegiances. This concern underscores a fundamental tension between the NFA’s role as a regulatory body and its perceived susceptibility to political influence. The intertwining of these two spheres raises questions about the NFA’s ability to effectively support and nurture the film industry while maintaining its impartiality.
Djansi’s decision to distance herself from the current NFA leadership stems from her desire to avoid political entanglement. This choice, she clarifies, is not a reflection of disinterest in the industry’s progress but rather a strategic move to preserve her artistic independence. She maintains her commitment to supporting the Ghanaian film industry through various avenues, but she draws a clear line when it comes to engaging with the NFA under its current leadership. Djansi’s stance underscores a growing concern among artists and filmmakers about the potential for political influence to compromise artistic integrity and creative freedom. This apprehension highlights the importance of establishing clear boundaries between artistic endeavors and political agendas to safeguard the industry’s artistic vibrancy.
Beyond the issue of politicization, Djansi also champions the decentralization of the NFA’s operations to better serve the needs of filmmakers across Ghana. She argues that the current centralized structure, where all permits and support must be sought from the Accra office, creates unnecessary barriers for filmmakers outside the capital. This centralized approach, she contends, hinders access to essential resources and impedes the growth of filmmaking activities in other regions of the country. Djansi envisions a more accessible and responsive NFA with district-level offices equipped to cater to the specific needs of local filmmakers. This decentralized model, she believes, would empower filmmakers throughout Ghana and foster a more inclusive and vibrant film landscape.
Djansi’s proposal for a decentralized NFA builds on the principle of bringing regulatory services closer to the filmmakers they serve. She emphasizes the practical benefits of such a system, using the example of a filmmaker in Ho needing a drone permit. Currently, this filmmaker would have to navigate the cumbersome process of obtaining permission from the Accra office, involving time-consuming travel and bureaucratic hurdles. In contrast, a district-level NFA office in Ho would provide a readily accessible point of contact for obtaining permits and other necessary support, streamlining the process and enabling filmmakers to focus on their creative work. This localized approach would not only enhance efficiency but also foster a stronger sense of connection between the NFA and the diverse filmmaking communities across Ghana.
The core of Djansi’s argument lies in the need for a more accessible, efficient, and responsive NFA that serves the needs of all Ghanaian filmmakers, regardless of their location. Her call for decentralization is not merely a logistical proposal but a vision for a more inclusive and equitable film industry. By establishing district-level offices, the NFA could create a more supportive environment for filmmakers in various regions, fostering local talent and promoting the growth of diverse cinematic voices. This distributed model would empower filmmakers throughout Ghana, ensuring that they have access to the resources and support they need to thrive.
Djansi’s concerns about the NFA’s politicization and centralized structure underscore the challenges faced by the Ghanaian film industry as it strives to reach its full potential. Her advocacy for a more decentralized and depoliticized NFA reflects a broader desire within the industry for a regulatory body that effectively supports and nurtures creativity while remaining free from political influence. The future of the Ghanaian film industry hinges on finding a balance between effective regulation and the freedom of artistic expression. By addressing the issues raised by Djansi and embracing a more inclusive and decentralized approach, the NFA can play a crucial role in unlocking the industry’s full potential and fostering a vibrant and thriving film landscape in Ghana.
