ABSTRACT In recent years, Zimbabwe has suffered a political and economic crisis, which has generated impulses that have traumatised the country's film industry, among many other sectors. Resultantly, Zimbabwe's cinematic context of production has been reimagined and reconfigured in recent years. The southern African country's ruling elite, during former president Robert Mugabe's tenure, championed controversial policies of indigenisation in economic sectors, partly as a way of countering external economic and political hostilities. This article explores how the Zimbabwean film economy has responded to postcolonial indigenisation impulses and how the production context has developed parallel to or in tandem with this reality. It teases out the challenges and prospects posed by impulses of indigenisation in Zimbabwe to the country's fledgling film production industry by analysing the video-film production value chain post-2000, when the indigenisation agenda emerged and was consolidated. Informed by the theorisation of the shadow economies of cinema, the study employed in-depth interviews to collect data from purposively selected Zimbabwean filmmakers and policymakers. Thematic analysis was used to analyse this data. The study shows that indigenisation has been a pragmatic response to the economic trauma facing the film industry, although it has, in turn, sent out its own traumatic impulses that continue to affect the industry's structure and aesthetic.

中文翻译：

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津巴布韦本土化与电影制作的影子经济

摘要 近年来，津巴布韦遭受了政治和经济危机，其产生的冲动已经给该国的电影业和许多其他部门带来了创伤。因此，近年来津巴布韦的电影制作环境已经被重新构想和重新配置。在前总统罗伯特·穆加贝 (Robert Mugabe) 任职期间，这个南部非洲国家的统治精英支持有争议的经济部门本土化政策，部分原因是为了对抗外部经济和政治敌对行动。本文探讨津巴布韦电影经济如何应对后殖民本土化冲动，以及制作环境如何与这一现实平行或同步发展。它通过分析 2000 年后本土化议程出现并得到巩固的视频电影制作价值链，梳理出津巴布韦本土化冲动对该国刚刚起步的电影制作业构成的挑战和前景。受电影影子经济理论的启发，该研究采用深度访谈从有目的地选择的津巴布韦电影制片人和政策制定者那里收集数据。使用专题分析来分析这些数据。研究表明，本土化是对电影业面临的经济创伤的一种务实回应，尽管它反过来也发出了自己的创伤性冲动，继续影响着电影业的结构和审美。当本土化议程出现并得到巩固时。受电影影子经济理论的启发，该研究采用深度访谈从有目的地选择的津巴布韦电影制片人和政策制定者那里收集数据。使用专题分析来分析这些数据。研究表明，本土化是对电影业面临的经济创伤的一种务实回应，尽管它反过来也发出了自己的创伤性冲动，继续影响着电影业的结构和审美。当本土化议程出现并得到巩固时。受电影影子经济理论的启发，该研究采用深度访谈从有目的地选择的津巴布韦电影制片人和政策制定者那里收集数据。使用专题分析来分析这些数据。研究表明，本土化是对电影业面临的经济创伤的一种务实回应，尽管它反过来也发出了自己的创伤性冲动，继续影响着电影业的结构和审美。