Digital screens, contested identities: Cultural representation in the era of streaming and social media in Kenyan cinema

Caleb O. Ratemo

doi:10.51867/ajernet.7.3.16

Autores

Caleb O. Ratemo Pan Africa Christian University, Kenya https://orcid.org/0009-0005-0763-5580

DOI:

https://doi.org/10.51867/ajernet.7.3.16

Palavras-chave:

Algorithmic Resistance, Cultural Representation, Digital Technology, Identity Negotiation, Kenyan Cinema

Resumo

The rise in digital technology in the form of video streaming, social media and online movie distribution has brought about changes in Kenya's film industry. This study aims at establishing how digital technologies influence cultural representation and identity in Kenyan cinema. Although digital technology provides greater accessibility for the production of films within the industry, it poses new challenges which could potentially impact negatively on the authenticity of such movies. Glocalization theory and the idea of cultural brokerage formed the theoretical framework of this study, which positioned filmmakers as negotiators of the conflict between local cultural authenticity and the demands of the global market. Qualitative research methodology was adopted in conducting the study. Semi-structured interviews with Kenyan film directors, producers, cultural commentators and platform intermediaries who participated in the production of films on digital streaming platforms between 2018 and 2023 were conducted. The study adopted purposive sampling in selecting 15 participants (10 filmmakers, 3 cultural commentators, and 2 platform intermediaries) and 20 Kenyan films from YouTube, Showmax and Netflix using purposive sampling. Interview data were analyzed using thematic analysis while directed qualitative content analysis was conducted on the films. Cross-case comparison was conducted between the datasets. Some of the main findings include the presence of the paradox of liberation and subjugation by digital technologies among filmmakers. An "authenticity-market crunch" arises due to three main fault lines, namely language, resulting in vernacular elimination; narrative structure, with a preference for individual hero over community narratives; and visuals, with an indication of bias in algorithmic programming towards lighter skin color and studio lighting. The research reveals that the films made in Kenya have not been either liberated or colonized through the use of digital technology but have rather worked towards negotiating their identity. It is recommended that the Kenya Film Commission supports professional subtitling into vernacular languages, puts in place vernacular quotas, and offers digital literacy lessons about algorithmic resistance.

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