Jamaican Film (and) Culture

"So Jamaica makes films?" I will keep returning to this question as it simply expresses why this research is so important. This article will outline the importance of Jamaican film and what effect it can have on Jamaican society beyond employment or the economy. 

Many people in Jamaica speak of a ”film culture” that exists or is lacking on the island without pointing to exactly what they mean. Is culture a wider acceptance by Jamaicans more broadly, or is it, in fact, speaking to the creative lens?

Many felt ‘film culture’ should be a discussion around styles and aesthetics. A feature of well-known film clusters (like Bollywood or Hollywood) is that their movies are distinguishable from others, whether in story, structure or visual style.

Many interviewees seemed to think Jamaica had yet to develop anything original that could be identified as Jamaican:

"It’s gonna be an attempt to replicate avant-garde. They want to make, based on what they see in Europe. Or they're going to replicate Hollywood. And that's just because those are the standards that we get judged by." (Interviewee)

Or commented that the style that is currently recognisable is one that is not particularly positive:

“I think we accidentally ended up with something that I don't want us to keep......Guns, ghettos and gang signs, which is what our signature has become.” (Interviewee)

Others instead focussed on the geographically recognisable elements of Jamaica and argued this was what made Jamaican films so special – the sheer fact that they were made on the island:

"There is something about the aesthetic of filming in Jamaica that the country itself becomes the character" (Interviewee)

This idea that Jamaica had something to offer in and of itself and had strength and value that could be marketed globally positions Jamaican film production in a valuable and tactical position.

“Our country is a global icon for the process of creativity and the determination of talent. We are culture trendsetters. We are tastemakers. When it comes to what is culturally astute or what is culturally desirable, the world looks to Jamaica." (Interviewee)

Tourism is an important sector of the Jamaican economy, contributing over 30% of the nation’s GDP and employing over a third of Jamaica’s population. This concept of “film tourism” (Martens, 2018, p. 200) is an additional quality that the film industry brings to Jamaica’s shores:

“When I make my movies, I ensure that my locations are tourist friendly.....we can take visitors to see where this was shot." (Interviewee)

Beyond this evident causal effect that film production can have, others also spoke to the concept of ‘Brand Jamaica’. The collective marketing strategy of Jamaican products, intellectual property initiative, promotion for trade and investment, and finally the global “share of mind” (CCIV Task Force, 2009, p. 32). Despite its broad and perhaps all-encompassing idea, film holds much potential for this performance indicator:

“There's so much romance internationally for this country that I don't feel like we spend enough time to harness them and harvest them." (Interviewee)

By focussing on this attribute of cultural facilitation and nation building, film production could provide a valuable tool for policymakers that would not only positively affect culture within Jamaica but also expose its culture to those internationally.

Creative output can be considered as a tool for national pride and identity formation. Respondents were acutely aware of the considerable influence and power filmmaking can have as a reproduction of symbols to communicate cultural meaning (Hall, 1997, p. 11). Economic growth and employment are the typical signifiers for film industry success. Thus, when asked about their perceptions of the JSDI - Jamaica Screen Development Initiative, several respondents spoke of the outcome of a prospective film rather than just the act of making it. Films that were given grant funding would need to be deemed ‘successful’ - typically defined using commercial performance indicators like ‘highest grossing’:

"1% of Hollywood pays for the 99% of the losses. So, we really just need to hope that we have one breakout project”(Interviwee)

Many respondents seemed to see the JSDI as the advent for financially successful projects; while others also identified the need for sensitisation of politicians and stakeholders:

“A big obstacle is just that support and backing from government, from other organizations, the private sector which is a big driver outside of government, just realizing that creativity and film making production, the arts, the creative industry and orange economy is also a viable means of income and a valid career path." (Interviewee)

In relation to film, there is a need to educate those outside the industry on timelines, as the completion of projects can be far longer or harder to track than other industries. This is true for the creative sector as a whole, that takes longer to mature compared to other industries (Gwee, 2009, p. 250).

The lack of a Jamaican aesthetic is because it has not been developed yet. While the industry lacks a distinct stylistic identity, there is a palpable sense of potential and optimism fuelled by strategic initiatives like the JSDI and the unique cultural cachet of Jamaica. The path to developing a robust film cluster involves enhancing training programs and fostering a supportive policy environment.

“It's not just about business, but it's also about our identity as a people and what that means for the development of our country, for nation-building, because .... that is the tandem role of the entertainment industry, and it's different from every other industry in that sense.” (Interviewee)

By using these research insights and tackling the gaps in the system, Jamaica has a real chance to grow a thriving, inclusive film industry that celebrates its rich culture and creative talent. Even with the strong reputation of Brand Jamaica, the country hasn’t quite made its mark internationally in film, partly because it lacks a signature creative style.

What do you think Jamaica needs to do to stand out in the global film industry? Drop your thoughts below! 👇

Sources:

Culture, C. I. and V. T. F. (2009). Culture, Creative industries and Values: Sector Plan. https://www.vision2030.gov.jm/wp-content/uploads/sites/2/2022/11/Culture-Creative-Industries-and-Values-Sector-Plan-1.pdf

Gwee, J. (2009). Innovation and the creative industries cluster: A case study of Singapore’s creative industries. Innovation: Management, Policy & Practice, 11(2), 240–252.

Hall, S. (1997). Representation: Cultural Representations and Signifying Practices. In S. Hall, J. Evans, & S. Nixon (Eds.), Representation: Cultural Representation & Signifying Practices (2nd ed.). SAGE Publications.

Martens, E. (2018). The History of Film and Tourism in Jamaica. In A. Bandau, A. Brüske, & N. Ueckmann (Eds.), Reshaping Glocal Dynamics of the Caribbean. (pp. 193–215). https://doi.org/10.17885/heiup.314.534