How China is using film diplomacy to project a better image across Africa

China’s foray into film diplomacy has long been of interest to scholars and policymakers. However, it’s only recently that the full extent of Beijing’s cinematic ambitions in Africa has become clear. The Chinese government’s latest effort involves hosting film screenings and cultural exchanges in countries such as Burundi, Kenya, and Morocco, aiming to project a softer image abroad.

China’s “cultural diplomacy” initiatives appear benign on paper – an attempt at people-to-people exchange through film screenings and cultural events. Yet, experts warn that these efforts are merely a thin veil for more calculating goals: cementing China’s economic and strategic influence in Africa. As Zhu Kewei, the Chinese ambassador to Burundi, noted, cinema “carries a nation’s historical memories, cultural traditions, values, and the emotions of its people.” Beijing seeks to export this image.

The numbers are impressive: China-Africa co-productions have surged in recent years, with over 100 such projects underway. However, upon closer inspection, these collaborations often serve Chinese interests more than they benefit local filmmakers or audiences. The Burundi film festival in July is a telling example: seven Chinese films were showcased, but what about local talent? Were there any screenings of Burundian films or discussions on industry development?

Beijing’s expansion into Africa raises questions about the role of cultural exports in its strategy to solidify relationships with host countries. China’s film diplomacy is less about showcasing African culture and more about projecting a sanitized image of Chinese soft power. This approach has uncomfortable implications: what exactly does China hope to achieve through these cinematic forays? Is it merely a means to further entrench economic interests, or are there deeper strategic goals at play?

Historical precedent suggests that cultural exchange programs have been used as tools of imperial influence – the British and French empires come to mind. Now, Beijing is following suit by leveraging film as a tool for diplomatic engagement. This creates a lasting narrative of China’s benevolent presence on the continent. It’s not merely a matter of cultural exchange; it’s a carefully calibrated exercise in shaping public opinion.

As Africa’s economies continue to grow and diversify, Beijing will likely ramp up its efforts to secure strategic partnerships and resource deals. However, beneath the glossy veneer of cultural diplomacy lies a more calculating calculus: China’s increasing reliance on African resources and markets. Will local filmmakers and audiences be able to resist this juggernaut, or will they find themselves caught in the crosshairs of a cinematic propaganda machine?

African policymakers must remain vigilant as Beijing continues to export its own brand of soft power through film. Rather than acquiescing to Chinese dominance in cultural exchange, they should seek to establish their own institutions and platforms for artistic expression. This requires a delicate balance between cooperation and resistance – a tightrope that few African nations have managed successfully.

The question lingers: what exactly does China hope to achieve through its film diplomacy? Is it merely a means to further entrench economic interests, or are there deeper strategic goals at play? As this narrative unfolds, one thing is clear: Beijing’s cinematic ambitions on the continent will not be easily derailed.