A Case for Jamaican Cinema
The Harder They Come (1972) dir. Perry Henzell
Jamaica is a small country in the Caribbean, with a population of approximately 3 million people, but is perhaps one of the most culturally innovative and influential nations of the West Indies. Whether it be in music, sports, fashion, or other areas of culture, a Jamaican in some way or some form has made a name for themselves and thereby the country. However, despite being one of the first Anglophone countries in the Caribbean to produce a feature film, the Jamaican film industry is lacking. Jamaica doesn’t have the cinematic history that Puerto Rico, Cuba, or even Trinidad and Tobago have, but has had several stunning and poignant films that prove the small island nation has what it takes to become a cultural influence in the film industry as well. Dancehall Queen (1990), The Harder They Come (1972), and Rockers (1978) are all local productions that prove when provided the resources, Jamaicans (diasporic and local) can make a movie. So why is Jollywood (a portmanteau of Jamaica and Hollywood sometimes used to refer to the Jamaican film industry) so far behind its Caribbean cousins? Let’s explore.
Jamaica has been a popular destination for many film productions since 1903. From the James Bond franchise to Papillon (1968) and Island in the Sun (1957), Jamaica has been the classic island backdrop for productions looking for an idyllic paradise as their backdrop:
The main reason why Jamaica is such a popular location for Hollywood companies is that the geography offers a great variety of locations, promoted by the governmental office dealing with filmmaking on the island through the Internet and on dedicated filmmaking circuits. Jamaica can also stand in for other countries, especially those on the African continent… Moreover, Jamaica is less expensive for American companies than any location in Africa (Ceccato)
Much of Jamaica’s film industry beginnings are tied to foreign productions. Dozens of films shot on the island use the country and its people as set dressing for their narratives, sometimes perpetuating stereotypes of a population of free-wheeling, weed smoking, happy-go-lucky people living in an island paradise. Frustrated with these depictions, Jamaicans decided to create their own cinema.
Smile Orange (1976) dir. Trevor D. Rhone
Perry Henzell’s The Harder They Come (1972) is probably the most famous film in Jamaican cinematic history. The film “charts the electrifying rise and fall of Ivanhoe “Rhygin” Martin, a poor musician from Jamaica’s countryside who travels to the capital, Kingston, to change his fortunes.” (Drummond) Films that followed like Smile Orange (1976), Rockers (1978), Dancehall Queen (1997), Third World Cop (1999), and Shottas (2002), showcased the aesthetics and technical prowess of what would be defined as Jamaican cinema. These films demonstrated that with the right support and incentives, Jamaica could develop a robust and prolific film industry. However, with much of Jamaica’s foray into film involving hosting studios from abroad, there was a lack of investment in cinema on the part of the Jamaican government. After all, in 1972, Jamaica was only independent of British rule for 10 years and was struggling to establish its political system- with the two major political parties waging war against each other causing bloodshed across the nation. There wasn’t a focus on establishing a national cinema to accompany the country’s newfound socio-political dynamics, the way Fidel Castro had established in Cuba after the Cuban Revolution. “The music and film industries remain stifled by the absence of national and regional legislative and regulatory frameworks geared at fostering innovation, knowledge-based training of industry practitioners, and at generating the innovative financing necessary to increase competitiveness and sustainability.” (ECLAC) Because so much focus has been poured by the Jamaican government and the Jamaica Film Commission (JAMPRO) into maintaining relationships with foreign productions, Jamaican filmmakers and industry professionals have suffered. “‘A key part of our marketing as a destination is held in the depth of relationships that we cultivate and the track record for business that we are making for ourselves,’” [Jamaica Film Commissioner Renee Robinson] told Loop via email.” (CreativeTT). Like many industries across Jamaica, film has been sectioned off and sold to the highest bidders. There needs to be more investment in building up what the films of the 1970s and 1990s have shown is capable in the country. So, what has been done to remedy this situation and what more can be done?
It’s clear one of the main issues plaguing the Jamaican film industry is money. While countries like Cuba and Canada have grants and funding for local filmmakers, Jamaica largely has not had the capital to support something of that scale:
In Jamaica, few investors are willing and able to provide funding for cinema. As I learned from talking to people involved in the film industry, apart from the unsupportive government, many people who have the capital underestimate cinema, viewing it as unimportant. Moreover, profits are unsure, and this risk is a strong deterrent for possible investment. Thus Jamaican directors often have to find the necessary capital on their own (Ceccato)
Not only is it hard to get support from the government who is more likely to help a foreign studio set up production in the country, it is hard for Jamaican filmmakers to convince both local and foreign investors to cough up the cash needed to make the industry more prolific. If the government and wealthy private citizens are not willing to take the chance and fund these films, how can Jamaica become a voice in global cinema any time soon? 50 years after its release, the Jamaican film industry is not too far different than it was when The Harder They Come released. Part of that skepticism comes in investing in local talent, comes from the lack of, or lack of access to film training and education. Jamaican director Storm Saulter spoke about this in an interview:
We need more training, but there are opportunities, like the film and TV production program at the Caribbean School of Media and Communication – CARIMAC – which is a part of the University of the West Indies, in Kingston, Jamaica,” Saulter said. “There are also a few visual and performing arts schools. So while Jamaica would do well to get more infrastructure in place, we’re very much headed in that direction right now (Obenson)
Third World Cop (1999) dir. Chris Browne
The opportunities to learn film in an academic context are few and seemingly far between, so a fair percentage of filmmakers are not “technically trained”. Many learn by experience, which is not unheard of in the industry, but presents a unique issue in this context because it makes investors less willing to fund films. Lack of film programs also means Jamaican filmmakers are at a disadvantage as to when they begin to develop their cinematic knowledge and skills. “[Jamaican filmmaker Donovan] Watkins speaks out against the lack of dedicated training, infrastructure and support for local filmmakers, while lamenting the prohibitive costs of access to the tools of the trade, such as sound and lighting equipment, for example.” (Wilson) Without enough investment in the basics, Jamaica cannot develop the foundation necessary to give its filmmakers the skills and technique that would put them on par with other filmmakers of the Caribbean. The lack of education, training, and access to equipment is another factor deeply affecting the growth of the Jamaican film industry.
This brings us to the question: Is there anything that can be done about this? Not only because of their desire to make an impact, but also their frustration at the state of the film industry, some Jamaicans are stepping up to the plate to bring the Jamaican film industry into the cinematic conversation. Saulter co-founded the New Caribbean Cinema collective with St. Lucian filmmaker Michelle Serieux (Sugar) which is described as “‘A new approach to Caribbean filmmaking, by any means necessary…’” (Obenson) The collective released an anthology of seven shorts called “Ring Di Alarm” which ultimately spawned the Jamaica Film and Television Association (JAFTA). The anthology also led to the development of the Propella Project which annually provides five filmmakers with $4,500 USD to complete their short films. In 2020, it was announced that JAMPRO, with approval from the Jamaican government, would launch the Screen Fund Initiative, which would provide filmmakers and producers (both local and international) with up to 45% financing for a project, however, from what I have researched, the fund has yet to launch. JAMPRO does have other initiatives that are currently available on the island. The Business of Sustainability for Studios Programme (BOSS) “is aimed at giving those in the business of running animation studios the tools, experience and skills to achieve success in the industry…The project is set up to provide the tools needed to allow animation businesses to participate in global markets by developing more business savvy and strategic planning skills.” (Film Jamaica) JAMPRO also boasts its Film Lab which “allows local filmmakers the opportunity to experience greater successes overseas as it focuses on strengthening storytelling skills. Further work in the Film Lab will continue to focus on script development, production, and distribution training in order to encourage more activity in the local film industry.” (Film Jamaica) There is some effort on the part of the government and local filmmakers to try and give the Jamaican industry the revitalization it needs.
The Wrong One (2022) dir. Alton Gordon, Richard Brown
While the Jamaican government and JAMPRO are putting some things in place within the country, partnered with and paid for by outside entities, it’s just not enough to support the industry in the way it needs to be supported. Until the Film Commission focuses more on allocating funding to local filmmakers and less on trying to attract foreign productions, Jamaicans will always be at a disadvantage when it comes to bringing their ideas to life. There is not enough effort being put into uplifting local creators who are putting in the work to make the films Jamaicans want to see, which represent Jamaica and Jamaicans in a way movies like the James Bond franchise never could. It will take the perseverance of people like Saunders and Henzell, reinvesting and reinventing the current infrastructure to give Jamaican film the push it needs. Because the issue is not a lack of ideas, look what Jamaicans have done on a national level in the past, and what some filmmakers are doing now on their own. Jamaica has what it takes and with a little bit of elbow grease, this small island nation can make a global impact in cinema the way it has in sports and music. As a person of Jamaican heritage who has been in love with film her whole life, there’s nothing I want more than to see Jamaica on that world stage.
Works Cited
Alemoru, Kemi. “Revisiting the Harder They Come, Jamaica's First Feature Film - Gal-Dem.” Gal, 26 July 2022, https://gal-dem.com/revisiting-the-harder-they-come-jamaicas-first-feature-film/.
Ceccato, Sabrina. “Cinema in Jamaica – The Legacy of The Harder They Come.” Imaginations, 23 Nov. 2016, http://imaginations.glendon.yorku.ca/?p=7888.
Economic Commission for Latin America and the Caribbean. “New ECLAC Study Explores Film and Music Sectors of Jamaica.” Economic Commission for Latin America and the Caribbean, CEPAL, 23 Jan. 2018, https://www.cepal.org/en/news/new-eclac-study-explores-film-and-music-sectors-jamaica.
Levine, Sydney. “Jamaica's New Film Commissioner Brings Shorts to the Forefront.” Medium, SydneysBuzz The Blog, 21 Aug. 2017, https://blogs.sydneysbuzz.com/jamaicas-new-film-commissioner-brings-shorts-to-the-forefront-aca3af12651b.
Obenson, Tambay. “'Sprinter' Director Storm Saulter Shows That Jamaica Means More than James Bond.” IndieWire, IndieWire, 15 May 2019, https://www.indiewire.com/2019/05/storm-saulter-sprinter-will-jada-smith-overbrook-1202131740/.
“Programmes & Initiatives.” Film Jamaica, 11 Feb. 2022, https://www.filmjamaica.com/programmes-initiatives/.
Wilson, Tyrone R. “My Vision for Jamaica's Creative Economy.” Medium, Medium, 10 June 2017, https://medium.com/@calltyrone_w/my-vision-for-jamaicas-creative-economy-dfb8bc9b8a43.