Composing a narrative signature: “Legacy”.
Founded in 2011 by the Life House Film Company, Lights, Camera and African Film (LCAFF) is an annual showcase of Africa’s social, cultural and linguistic diversity in terms of cinema. It is an independent running film festival hosted across multiple venues in Lagos. It features 20+ films, curated discussions, in-depth conversations with film-makers, producers, scriptwriters, authors, screenings and workshop sessions over five days, drawing a diverse domestic, regional and international audience.
As one of Africa’s emerging traditions LCAFF faces the challenge of conveying its message to new audiences each year in a fresh way, as well as delighting its long-time partners, sponsors, volunteers and supporters.
OsanNimu’s relationship with LCAFF director-producer Ugoma Adegoke kicked off at LCAFF 2013. The catalyst for our relationship was Ayodele Onafeko CEO WoodStock Electronics Nigeria Ltd (WSE) – a long standing client/partner of OsanNimu. WSE has been a sponsor of LCAFF since its inception in 2011.
Entering its third year, the festival wanted to update its relationship with a growing arts, literary, enterprise and cultural base. Attracting a broader regional and international audience, progressive thinking sponsors, including young minded, culturally critical and tech-savvy film-goers became imperative.
2014 Life House Film, Lights, Camera and African Film: Legacy.
The 2014 theme “Legacy” is meant to remind us about the influence of film heritage, with its relationship to a emerging literary, stage and technology led media on human emotions. These emotions range from amusement, love and awe to disgust and sadness, all the while instilling audiences with excitement, inspiration, and curiosity.
“Legacy” also refers to how the festival enables movie lovers to connect the past and the future —not only with new screen based stories but with film-makers, producers, writers, artists, makers, animators, cinematographers, set-designers, costume-designers, production technologists, marketeers, investors and each other.
Guided by “Legacy” OsanNimu held an informal workshop with Ugoma Adegoke, Ayodeji Alaka and illustrator Phillip Wrigglesworth at a later workshop to investigate the transformative influence of African film, theatre, literature, social-cultural history of these mediums within and outside Africa and the power of technology.
Research was informed by how these disciplines impact the festival’s audiences and one another. We used archive material to ask ourselves about the past in combination with contemporary reference to visualize ideas. We drew on feedback from Ugoma Adegoke, her colleagues and Remi Kapo (former director of the Round House in London). Ensuing ideas centred around what the future can learn from the past? how audiences, the arts, creative and culture industry might imagine, visualize and perhaps conceptualise a constructive tomorrow?
The visual narrative for the 2014 LCAFF campaign and event experience depicts a layered story (a signature of different worlds expressed as time-travelled ideas, shared across different African periods).
These periods, much like the films to be showcased are all connected, as the film festival are multi-dimensional, like the human experience itself.
OsanNimu was responsible for creative suggestion for print and digital application of visual narrative, as an intrinsic aspect of audience experience during the festival.
In devising a visual narrative for this branded event experience it was useful to work with 2014 LCAFF in determining the kind of story it needed to convey to festival audience in Lagos, as well as across its international partnerships.
Will potential audience (and participants) be moved by the historical traditions of Legacy (theme of 2014’s content), their contributions to ‘Film-making’ culture space, recent innovations that have both a social and educational impact or lifestyle and taste narratives?
Who did Ugoma and colleagues want to engage with the Festival’s story – Africa Culture leaders, relevant film-making industry or film enthusiasts?
Questions such as these provided a sub-text to how we gleaned data from creative interaction, and use of storyboards to elicit responses from a small representation of target audience. Their response were helpful signposts to fine-tune ideas adopted as part of the Film Festival’s story-telling tool.