From propaganda films projected in remote villages to queer love stories banned at home but celebrated abroad, Kenyan cinema has had a long, complex journey. In this special episode of The African Cinema Podcast, we trace the rise of Kenyan cinema from colonial control to digital creativity — uncovering how power, technology, censorship, and storytelling have shaped Kenya’s film industry over more than a century.

This episode explores:

• The colonial-era film apparatus and its use as a propaganda machine

• The erasure and exoticization of Kenyan people in early cinema

• The slow post-independence build-up toward local production

• The game-changing rise of Riverwood and digital storytelling

• Key films and figures that have defined Kenya’s cinematic identity

• The contemporary struggles and the growing global promise of Kenyan filmmakers

If you’ve ever wondered why Kenya, with its rich culture and powerful stories, took so long to emerge on the global film stage — this is the history you need to hear.

📌 Key Topics Covered:

1. The Colonial Gaze and Cinema as Control (1909–1963)

• 1909: First film shot in Kenya documents Theodore Roosevelt’s safari

• Colonial Film Unit (CFU) and its mobile cinema vans produce “instructional” propaganda

• African stories sidelined; censorship institutionalized by the 1912 ordinance

• Hollywood arrives: Trader Horn, Men Against the Sun, and Mogambo filmed in Kenya — with zero Kenyan input

• Film as an imperial project: reinforcing British rule and racial hierarchy

2. Post-Independence Struggles and Sparks of Storytelling (1963–1990s)

• Kenya Film Corporation (KFCp) founded in 1967 to promote local production

• Feature filmmaking begins slowly: Kolor Mask (1985) and Saïkati (1992) break ground

• A mix of government short films and co-productions dominates the era

• Limited infrastructure, outdated equipment, and a lack of funding stall progress

• National identity on screen remains elusive but emerging

3. The Riverwood Revolution and Rise of the Digital Filmmaker (1990s–Today)

• Cheap VCD tech and DSLR cameras spark Riverwood: a grassroots film movement

• Hundreds of titles made in Swahili, Sheng, Kikuyu, and more — shot in under 7 days

• Distribution via matatus and DVD stalls; actors paid in DVD shares

• Riverwood gives Kenya its own low-budget but high-volume film culture

• Critics attack quality, but audiences respond — and new talent rises

4. Institutional Frameworks, Censorship, and Policy Gaps

• Kenya Film Classification Board (KFCB) and outdated colonial censorship laws still shape content

• Rafiki (2018) banned for queer themes — sparking legal and global conversation

• Kenya Film Commission (2005) and Kalasha Awards offer limited support

• Piracy, limited distribution, and lack of copyright enforcement plague growth

• Current initiatives include regional hubs, digital streaming, and school-based film training

5. Contemporary Cinema and Cultural Representation

• New wave directors: Wanuri Kahiu (Rafiki), Judy Kibinge (Something Necessary), Likarion Wainaina (Supa Modo), David Gitonga (Nairobi Half Life)

• Stories explore LGBTQ+ identity, urban poverty, Maasai traditions, and post-election trauma

• Visual storytelling is evolving: from neorealism to Afrofuturist aesthetics and genre play

• Films like Kati Kati, Veve, and From a Whisper put Kenya on international festival circuits

• Docubox, Lola Kenya Screen, and Hot Sun Foundation fuel new voices and documentary storytelling

6. What’s Next for Kenyan Cinema?

• Youth-led film collectives and content creators on the rise

• Netflix, Showmax, and YouTube shifting the distribution game

• Growing calls for a distinct “Kenyan film voice” — rooted in local languages, stories, and aesthetic choices

• Mobile filmmaking, AI dubbing, and co-productions with Nigeria, Uganda, and South Africa point to a bold, diverse future

• Kenya’s cinematic potential lies in its ability to balance commercial viability with cultural truth-telling