In recent years we have seen a few Black British films break into the mainstream either on television or in the cinema. For her first book, community developer and film marketing specialist Nadia Denton pools together the knowledge amassed from her association with film festivals both in the UK and abroad. She wrote this guide as an aid to filmmakers through the entire filmmaking process from the initial financing to the marketing and distribution.

The theme of this book seems, at first glance, to be somewhat problematic. It is the Black British Film Maker’s Guide. Does this mean that it is specifically for filmmakers who are ‘black British’ or does the definition allow for films that consist mainly of black cast members?

Reading through the book you start to understand exactly what is important to funders when they are deciding whether or not to give their hard earned money to a film maker. One of the recurring themes, be it from the author or from the film makers featured in the book, is the need to appeal to possible investors by highlighting benefits that are specific to them, so for example a film maker might have to formally acknowledge funders through credits or offer tickets to an exclusive screening.

Most important for black film makers could be the need for content that is relevant to investors as an audience for their films. If a film is exclusively black and marketed as such then by proxy the number of possible funders is reduced.

Perhaps the overriding lesson is that any ‘black’ film must have a wider cultural appeal in order to succeed. Black British films that have been most successful in recent years seem to bear this assessment out. Adulthood could, for example, have been about any group of kids on a council estate. Indeed, anyone who has watched another British film Fish Tank will agree that it is strikingly similar to Adulthood, Bullet Boy and Kidulthood in both style and content.

Does the fact that, by the authors own admission, many independent, cultural specific filmmakers face the same challenges as black filmmakers make this guide irrelevant? One only needs to read through the opinions of the majority of experts to realise that this guide is far from irrelevant. Black British filmmakers may face very similar challenges to other cultural sub groups but they may not necessarily know this.

One of the contributors mentions that the main thing holding black filmmakers back is their need to overemphasise the ‘black’ aspect of their films as well as a failure to ensure that the films have a wider cultural appeal.

It has however been acknowledged by a number of voices in the book that the opposite could also be true. Black filmmakers might want to address mainstream subjects but the industry seems more interested in pigeon holing them to ethnic stereotypes. Dami Akinnusi director, writer, producer and owner of Darkling Productions cites this as a particular drawback of the industry and acknowledges the need for greater diversity in the types of stories black film makers are ‘allowed’ to tell.

These contradictory ideas mean that a guide specific to black filmmakers, who may be confused about the mixed messages sent out to them by the industry, is indeed welcome

The fact that a Black film might appeal to a restricted audience means that there is a greater need for guidance on the best way to gain funding in a highly competitive environment.

Having said all this, the style of the book gives way to any misgivings about the need for an exclusively Black filmmakers guide.

Its prescriptive tone allows the reader to weigh up the pros and cons of any course of action effectively and the aforementioned industry experts, such as writers, directors, and marketers entail that any decision made is well informed. The book is highly detailed and covers areas as varied as how to network and the importance of understanding intellectual property.

The book also features opinions and advice from investors. This is invaluable on two counts. It allows filmmakers to gain an insight on what is required of the. In addition, it points fund seekers, who may not have any clue about where to go for help, in the right direction for their particular projects.

As a personal development guide it highlights numerous funding opportunities and support mechanisms for good quality productions and allows the reader to make an informed decision based on their particular circumstances.

All in all, the book is a brilliant resource to have on hand for filmmakers. It can be read front to back by the novice filmmaker or dipped into as required over time. The list of organisations and websites at the end of the book is a particularly helpful starting point.

Go to the Black British Filmaker’s Guide site for more information.