Financing films in Jamaica
- Cleo A
- Jul 13
- 5 min read
A vibrant and thriving Jamaican film industry would support creatives who directly work on films and television productions, and it would also become an economic driver for the wider country and/or region. Yet the typical conversation with filmmakers in the region is about the lack of money and resources. While there are examples of blockbuster films being made on a shoestring budget, the average Hollywood movie costs millions of dollars to make. So, arguably, for Jamaicans to make money from film, they have to have money to invest in it.
Of course, it is no surprise that the Jamaica Screen Development Initiative - JSDI has sparked optimism among Jamaican creatives as it represents a significant milestone for many in the industry. A $1-billion Jamaican Dollar (approx. $6.4 million USD) screen fund that seeks to provide financing for the development and production of film and television on the island. For many, it signals a change of tide, as policy before JSDI made filmmaking a “struggle”.
My interviewees were very positive about the fund, expressing excitement and high hopes for the outcome:
“I personally believe it's one of the best things that they [Jamaican Government] could have come up with. I think it's something that gives filmmakers this beautiful asset that we all need, called hope." (Interviewee)
While many were optimistic about the fund, there was still recognition that the government could do more. Jamaican film policy has been inconsistent over the years.
"The direct correlation between the cyclical booms in the film industry and certain policy measures [meant] whenever those measures were changed or adjusted or diminished, or if there were external factors like politics or violence - you could see the resulting slump and then another industry cycle would happen.” (Interviewee)
While the JSDI is seen as an opportunity for local filmmakers to create Jamaican movies, the inclusion of a foreign rebate means that there is a hope to attract further foreign productions as they present the potential for the wider Jamaican economy to grow, bringing foreign investments and local jobs. However, an interviewee based in Hollywood provided a tempered perspective on the current offerings. They underscored the critical role of budget and financial planning in studios' decisions when choosing locations for filming. Comparatively, the attractiveness of incentives offered by other countries, such as the Dominican Republic's 25% rebate, poses a formidable challenge to Jamaica's newly introduced rebate, capped at 10% of the total budget spend or up to US$1.5 million (whichever is less).
Beyond financial incentives, international collaborations play a pivotal role in supporting local film production by providing essential training opportunities and employment prospects for local talent:
“I cannot tell you how much I learned just doing that.... And for me that is invaluable.....Yes, the money is phenomenal. We're not doing it for free, but there is so much more than the money that we gain when these international productions come in.” (Interviewee)
The value beyond financial reward can be seen in the recent Bob Marley feature film that was released globally in February 2024. It has publicised the investment and development to ‘give back’ to the island. In Fig. 1, some of the projects that Paramount supported before, during and post-production in Jamaica are shown. Taken from social media (Instagram), this PR and marketing on the part of Paramount is still a useful source to demonstrate the role of film in the development of Jamaica. While these schemes may be atypical, they do provide a convincing example of the potential of such international film partnerships. They bolster not only the economic viability of the Jamaican film industry but also foster skill development and cultural exchange, contributing to long-term sustainability and global competitiveness.
International productions have undoubtedly brought economic benefits to the Jamaican film industry, but it has also introduced complexities regarding workforce dynamics. One notable repercussion is the displacement of local workers from domestic projects, such as commercials or short films, in favour of crew members hired exclusively for international productions. This pattern of workforce substitution often leads to a lack of continuity in employment opportunities for local talent once international projects conclude.
Similar phenomena have been observed in film industries worldwide, where the presence of international productions creates a two-tiered system within the workforce. This system delineates between those primarily engaged in international productions and those relegated to local projects, resulting in limited interaction and little collaboration between the two groups (Szczepanik, 2016, p. 88). This was said implicitly during an interview:
"The production funding is low, but we can make low-budget films here and then people who make the big money on the big pictures have to understand that they have to cut down their rate. Because they will need to help with smaller producers here”(Interviewee)
This draws on the multiple comments that, despite well paid roles with foreign productions, many workers find themselves out of work until the next production arrives, which can go into months or even years.
Lack of governmental support was often named as the number one barrier for the film industry, even with the announcement of the JSDI. Specifically, there were suggestions that mandates requiring local television stations to prioritise Jamaican-made films could serve as a catalyst for enhancing distribution opportunities. Yet despite money being important, support goes beyond that:
"I think support from the government .... I mean, they've provided the money. But it didn't even have to be money, because in Colombia they have a local content quota. Where they've mandated that a certain amount of content on local TV has to be locally made." (Interviewee)
By implementing policies that promote the showcasing of Jamaican-produced content on television platforms, policymakers have the potential to amplify the reach and exposure of local films to wider audiences. This, in turn, could contribute to the cultivation of a vibrant domestic market for Jamaican cinema, fostering greater appreciation and recognition of indigenous filmmaking talent. Beyond television, respondents also looked to cinematic distribution, not just island-wide but regionally too:
“In order to become a Hollywood.... We need to think more Caribbean at every phase of filmmaking.... We're only doing 3 phases: pre-production, production and post-production. That's it. There's no distribution... We don't have control of that because we don't control the cinemas. And I'm talking Caribbean-wide in my opinion. Our films could work if there was a central network." (Interviewee)
While there is much hope for the financing of film in Jamaica, the outcome of current initiatives is yet to be seen. However, the JSDI does signify a formal acknowledgement of the film industry as a sector and its potential. Therefore, the effects of a tiered production system and the prioritisation of local content should be taken seriously. By prioritising Jamaican narratives and perspectives, such policies not only stimulate economic growth within the film industry but also serve as a means of preserving and celebrating the country's cultural heritage.
What is the most valuable way forward for the Jamaican creative industries? Should Jamaica be encouraging local content creation through government funding, further economic investments from foreign productions or policy changes around local content quotas? Let me know your thoughts on this!
Sources:
Lorenzen, M. (2009). Go West: The Growth of Bollywood (26; Creative Encounters Working Paper).
Szczepanik, P. (2016). Transnational Crews and Postsocialist Precarity: Globalizing Screen Media Labor in Prague. In M. Curtin & K. Sanson (Eds.), Precarious Creativity: Global Media, Local Labor. University of California Press. https://doi.org/10.1525/j.ctt1ffjn40.11