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1 Th ough many South African critics despise this whole area of production, even a cursory glance shows that, like the quota quickies produced in Britain in the 1920s, it does deserve consideration. A decade later, aft er the refusal of a normal commercial distribution (that is to say, in whites- only cinemas) for his widely praised fi rst feature on the workings of the pass laws, My Country My Hat (1983), David Bensusan turned almost exclusively to low- budget African- language production. In most African states pro-duction levels are too low for the notion of a national cinema to be meaningful: we have at best a collection of disparate fi lms made by dedicated but diverse individuals. Ironically, the particular fl avor of a na-tional production may be given by the nature of the foreign training received: of thirteen Malian fi lmmakers, fi ve were sent to the Vsesoyuznyi gosudarstvennyi insti-tut kinematografi i (VGIK) in Moscow and one to (what was then) the German Demo-cratic Republic, whereas most Cameroon-ian fi lmmakers were Paris- trained, a third at Conservatoire Libre du Cinma Franais (CLCF). Even the production of many hun-dreds of fi lms within the national bound-aries may arguably not truly constitute a national cinema. Th ereaft er there has been a largely English- language and par-tially state- funded cinema, oft en aimed at an international audience, of around ten to twenty fi lms a year. But this latter has been distorted by two ill- conceived government interventions. Th e fi rst was a funding ini-tiative which led to the production of more than 450 cheap and exploitative so- called B fi lms made ostensibly for an exclusively segregated black audience (but increasingly produced largely to pick up the government subsidy). Th is began with the production of a single Zulu- language fi lm in 1974, peaked at some 90 fi lms in 1985, and came to an end only with the cancellation of the scheme in 1990. Th e second government intervention was an ill- draft ed 1985 tax incentive scheme for exporters, a loophole which led in the late 1980s to the making of an additional 200 English- language fi lms, again aimed at exploiting available government rebates rather than seeking to develop a South Af-rican fi lm audience (most were destined for video or cable release). But at least in the 1990s and early 2000s, exciting new possibilities for South African fi lmmaking have emerged with the appearance of a growing number of black fi lmmakers. Th ere is, however, one country about which it is meaningful to speak of a na-tional cinema; this is Egypt, which has pro-duced around 56 percent of all African feature fi lms. Th ough notionally an inde-pendent monarchy from 1922, Egypt re-mained under British economic dominance from 1882 until the Offi cers Coup in 1952 that eventually brought Gamal Nasser to power. Th ough the very early days of Egyp-tian cinema refl ect the interests and enthu-siasms of members of its thriving cosmo-politan urban communities, the creation ofa fi lm industry was intimately associated with the sociopolitical developments link-ing industrialization to the growing sense of national identity in the early part of the twentieth century. Th e Bank Misr, which set up the Misr studios in the mid-1930s, was the institution at the heart of Egyptian ef-forts to foster industrial development, and indeed by the end of the 1970s it had come to dominate the whole Egyptian economy. Th e nationalization of the banks assets in 1980 was rapidly followed by the state take-over of the fi lm sector under the Gen-eral Organisation for Egyptian Cinema just as the subsequent return of the national economy to private enterprise was fully re-fl ected in the changed structures of the fi lm industry. Contemporary Egyptian cinema has an organized infrastructure and a di-rect link to its national audience, as well as a thriving export trade. It has its own training for access to the industry through the Cairo Higher Film Institute and a recognized path to the role of di-rector through years of work as assistant director. Hardly any Egyptian fi lmmakers have trained abroad and the country is stable enough for its artists and intellectu-als not to need to go into exile. By any com-mon defi nition, Egyptian cinema is a na-tional cinema.

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