New media a game-changer for documentary makers
Daniel Nelson
Miners Shot Down is a shocking and disturbing documentary about the killing by South African police of 34 striking platinum miners. Another 78 were injured.
The 2012 “Marikana massacre”” was the single most lethal use of force by South African security forces against civilians since 1960. The miners say the attack was premeditated: the police claim self-defence.
It’s not just a matter of establishing what occurred and apportioning responsibility – though that should be done. The clash raises questions about the African National Congress’ attitude to workers and to investment, to living standards and to policing, and to the links between big corporations and leading ANC figures.
Director Rehad Desai uses police footage, TV archives and his own interviews with lawyers and other participants to reconstruct the seven-day strike and its deadly climax.
Focussing on three strike leaders, he vividly chronicles the rising tension, the confusion, the anger, the duplicity, the brutality.
It’s an unashamedly campaigning film, but not an unfair one, and the doc has proved effective in maintaining the pressure for justice.
OneWorld asked Desai about his powerful documentary:
· At what point did you decide to make the film?
RD: I decided to make this film, rather than the one I was shooting of the pros and cons of platinum mining, the day after the massacre.
· Did you have a South African audience primarily in mind, or did you also have an eye on international audiences?
RD: My primary audience was always South Africa as I wanted the film to create impact and I feared that I would have to make a version for the international broadcasters. We soon jettisoned that idea when we realised, through work-in-progress screenings, that similar questions were coming up in South Africa and abroad. In short, the context that we required, that often slows down the narrative pace, was required for both settings.
· After seeing the film, a colleague wrote to me, saying, “It made me thankful for all the footage, which we never had in the past. Mobile phone footage and low-rent cameras, plus the filmmakers' professional gear, were crucial to that film. We didn't have so much of all this at Sharpeville, Stonewall, Tiananmen, etc.” Do you think that new media, such as cellphones and videos, has changed the game for documentary makers?
RD: Yes, very much so. This must have been the most filmed massacre to date. Nowadays police are required to film public order situations and CCTV is everywhere. Security units and companies also film, news crews are obsessed with live coverage, policemen like to film themselves in action, sticking the cellphones on the end of their rifles, and we as citizens often have video capacity on our phones.
· Has the film helped create or maintain interest in the issues raised by the shootings?
RD: The film has been instrumental in getting individuals and most importantly mass organisations involved in the campaign for justice and stir a bigger debate about the state of democracy in South Africa, the levels of inequality and the rising power of corporations – this is something which is not exceptional to South Africa.
· What were the main problems in making the film?
RD: The police footage in particular was gruesome and very difficult to go through and edit day after day, month after month … the amount of footage we gathered and shot – we had over 1,500 hours of footage from the commission of inquiry alone, tens of hours of archive. Piecing it all together was not an easy feat. Balancing the context with the narrative is always a challenge, context needs to be placed in the right place and needs to be kept to the minimum so it does not unnecessarily weigh the narrative pace down.
· Were there official attempts to get it stopped?
RD: No, but the funding which was provided by our local film foundation was not awarded without some considerable debate.
· What is your experience of audience reactions?
RD: Very heartfelt, emotional response. South Africans were often convinced of the police narrative of self-defence before they watched the film. The film has moved many to ask what can they do ensure justice is done.
Attending scores of screenings was often very difficult in the first few months while I was still processing my own emotions. At a number of screenings I was moved to tears by the amount of emotion in the room.
· Have reactions varied in different communities and places?
RD: Yes very much so. Mining communities in and close to Marikana often feel very affirmed by this story and we have sold many thousands of dvds at cost price to miners. Supporters of the ANC [the ruling African National Congress], particularly the older generation get very angry, younger audiences feel outraged, which is often born out of a level of naivety.
· What do you hope will come out of the Commission of Inquiry?
RD: What I hope for is that numerous police commanders and rank and file police are recommended to be prosecuted; that at least eight Lonmin [the UK company that is one of the country's main platiunum producers], senior managers, including Cyril Ramaphosa, are recommended to be prosecuted; that government ministers, where there is evidence that there was collusion, be prosecuted. Will this happen? Highly unlikely.
· Do you think documentaries have a role to play in mobilising opinion and activism?
RD: Documentaries that can move people emotionally around issues that people can collectively act on are critically important. Having a campaign attached to a film, with clear goals and action organisations and individuals can take, are critical.
+ The film has been nominated for the Cinema for Peace Award in Berlin on 9 February Image by Miners Shot Down
Miners Shot Down
+ Marikana Support Campaign London Branch: James Nichol +44 7802 812787
