Why are Ethiopia and India so Innovative?

Philip Morris: "...Probably IndiaandEthiopia because they are very innovative people who find the most amazing ways of doing things with little funding." (Missing Episodes Group Facebook Q&A)

Ethiopia:

 As I stated in a previous post about Ethiopia http://theshuzblog.blogspot.co.uk/2015/05/the-best-things-in-life-arent-always.html  the country had imported 60% of its programmes up until the early to mid-seventies. Then after the Marxist regime came into power in Ethiopia more and more programming became locally produced having a detrimental effect on the quality of programmes being offered by ETV. By the nineties, an incredible 98% of ETV's output was locally sourced material. An achievement of some merit in terms of self-sufficiency, but utterly dire in terms of programme quality.

India

Compare this with India. TV was introduced in the late-1950s by All India Radio, but on a very small scale. It was only by 1972 that things started to take off and viewing hours were increased to more than the usual five with seven stations broadcasting on a regional basis. There had also been numerous fallouts with the BBC over various issues and ITV reps had started visiting the country.

"A regular service with a daily news bulletin was started in 1965. In 1961, the broadcasts were expanded to include a school educational television project. In time, Indian films and programs consisting of compilation of musicals from Indian films joined the program line-up as the first entertainment programs. A limited number of old U.S. and British shows were also telecast sporadically. The first major expansion of television in India began in 1972, when a second television station was opened in Bombay. This was followed by stations in Srinagar and Amritsar (1973), and Calcutta, Madras and Lucknow in 1975. Relay stations were also set up in a number of cities to extend the coverage of the regional stations." - http://spacejournal.ohio.edu/issue18/kunhikrishnan.html

In 1970, production of TV sets in India climbed from a mere 16k (with 60k in operation) to 40k in 1972 (with 180k in operation). In 1964, Africa had 490k still amazingly small but well ahead of India a good six years earlier. In 68/69 India had 12k TV sets and Cambodia had 50k; Singapore 131k. Cambodia was a bigger market than India at that time.

"In the decade 1981-90, the number of transmitters increased from 19 to 519. There was also a steady increase of the Television Centres which produced limited hours of local programmes. During other timings all the transmitting stations, including those located in Studio Production centres, were relaying the programmes from New Delhi, and those limited hours of television was also mostly in the language of Hindi, which the southern Indian states did not really understand, leaving a big gap in communication."
https://books.google.co.uk/books?id=aTvbCgAAQBAJ&pg=PA110&lpg=PA110&dq=Doordarshan+television++local+programmes&source=bl&ots=gSD2nWM5aJ&sig=HfevfXqfKKU9g_q3_XkhgfJa7KY&hl=en&sa=X&ved=0ahUKEwjui4LyrtTKAhVFXhQKHUtuBgk4ChDoAQg5MAY#v=onepage&q=Doordarshan%20television%20%20local%20programmes&f=false

We can see here: theshuzblog.blogspot.co.uk/2015/05/uk-television-programme-sales-figures.html that India in 63/64 bought 17hrs of COI and 9 hrs of BBC with no ITV purchases listed at all. Totalling a mere 26hrs of UK programming for that year.

So why were India and Ethiopia Mentioned?

Simply because they both had firm commitments to producing locally TV which was immeasurably hard and that is an amazing achievement and qualifies them as places that would most benefit from TIEA's services. Although, I think Ghana was much more organised but never became the massive market that it later did in the eighties and nineties. Also, this quote, from a US film expert, perhaps sheds light on why TIEA's service may be so vital to the country:

With several countries, including India, warming up to the concept of film preservation and restoration, do you see it emerging as a possible career option in future? "Yes, it is. Because young people who will pick up the art of preserving and restoring films today, are going to possess skills that are extremely rare and important. The person who will be able to understand both the analog and the digital part of film preservation, is going to be very much in demand because there will be a need of such people." - http://indianexpress.com/article/entertainment/entertainment-others/india-is-in-a-critical-situation-in-terms-of-film-archiving-says-us-expert/#sthash.U3iLtyeI.dpuf

India could eclipse China as a superpower. China has a lead in manufacturing but the great uptake of the Franca Lingua English in India which has drawn in so many call centres means that they are more suitable for banking and financial services.

And here is a clipping from the Times of India 5th of October 1972:

Vinegar Syndrome: What is it and how does it work?

Vinegar Syndrome: What is it and how does it work?

I was going to write something but this first link is unbeatably comprehensive and brief:

https://www.imagepermanenceinstitute.org/resources/newsletter-archive/v12/vinegar-syndrome

These two are also very good:

http://www.filmpreservation.org/preservation-basics/vinegar-syndrome

https://en.wikipedia.org/wiki/Cellulose_acetate_film

Prove it: Evidence Vs. Proof

People attempt to prove something with evidence. Proof is certainty, evidence is probability. An argument without evidence is an assertion. Evidence without an argument lacks interpretation. 

Anything may be presented as evidence, you can deny that the evidence proves something but if you deny that it is evidence then you are a denialist. When evidence proves something beyond all reasonable doubt it becomes a fact. When it is a fact you know something and if it isn't you believe it rather than know it. All very simple. But, honestly, what is the point of discussing evidence when so many don't seem to understand the difference between proof and evidence?

"Denialist (noun): A person who refuses to admit the truth of a concept or proposition that is supported by the majority of scientific or historical evidence"

http://www.oxforddictionaries.com/definition/english/denialist

Further Reading:
https://en.wikipedia.org/wiki/Evidence

Ghana Broadcasting and Local Programme Production

Everybody wants to be first and everybody wants it now. Nigeria, with the help of Overseas-Rediffusion, was the first country in Africa to install a television service, in October 1959. Just in time for the 1960 Olympic Games. Specifically, to service ex-pats, educate the masses and spread government propaganda. Also, it was a genuine source of pride for one of the (then) poorest nations to be the first to have a television service, but at what cost? 

“In 1975 the average production cost per hour BBC was $30k; it was not unusual for an hour long BBC or ITV for an hour-long drama to cost $100K. Compare that with the estimated production cost for Nigeria for local production of $150 per hour (not 150k just 150) and we can see that cost wise it was cheaper for Nigeria to buy an hour of American programming at $60 per hour. It wasn't just the cost that was prohibitive but a lack of expertise. Yes engineers may have been trained abroad but there was no such training for actors, writers, producers, directors and so on.” - 'Broadcasting in the Third World' by Elihu Katz and George Wedell. Chapter 5 programming patterns.

The inauguration of Nigeria’s television service was rushed, not properly orchestrated or implemented and relied heavily on imported TV material. 65% of the nation’s television output was imported and 35% was locally produced, despite initial pledges. However, it was the first Television service in Africa. Ghana, on the other hand, took longer but was always efficient. Originally known as GBC TV (Ghana Broadcasting Corporation), GTV (Ghana Today Television) is the national public broadcaster of Ghana and commenced broadcasts on the 31^st of July 1965 with the help of a Canadian consortium. They remained the sole television broadcaster till the 1990s. Consequently, GTV is by far and away the dominant channel and has a 75% local programming quota but this seems to be mainly comprised of educational programming, the news and an over-emphasis on current affairs programmes in the main but also shows a significant number of foreign films.

 "The basic problem has been the financial cost in building local television systems on an economically sound foundation. Often, this is only possible by importing low-cost American productions. Films and television programs produced in the industrialized countries (especially the United States) are offered at dumping prices if you compare the cost of local productions. In most cases, the commercial and non-commercial television stations and networks extensively use these inexpensive imports. In Ghana, for example, an hour of Ghana-produced, television program cost between US$800 and $2,400. By contrast, American-produced television is offered to African countries at a cost of $130-150 per one half-hour. Along with the entertainment value, political and cultural attitudes and values are also being imported in what is known as cultural invasion, cultural levelling, cultural imperialism, or `picture tube imperialism."

"Will such an alleged cultural imperialism via TV hinder the creation of a national identity in African countries? This is feared by H.I. Schiller in his book Communication and American Empire. Referring to Friedrich List, a communications analyst, he calls for "cultural protectionism," which, like the trade protection of an earlier era, is said to have an educational function."
"This fear and caution, finds expression in the various mass media legislation that govern electronic media in most African countries. In Ghana, for instance, the Ghana Frequency and Control Board stipulates that the content of private TV transmission should have positive-bias ratio in favour of local production of 60:40. As of the late 1980s, foreign TV programs formed less than 20% of Ghanaian television. Other countries however, import at least 60% of their TV programs, most of which are aired during prime time."

"It is for the same logistical reasons that the state-owned GBC is stuck with one channel. The government had hoped to open another channel to solely air indigenous languages in the radio sector. This requires the provision of satellite technology to redistribute TV programs throughout the country. Currently, there is only one post and telecommunications microwave link available in the country and GBC requires digital control technology to introduce another channel. There is also a need for refurbish and rehabilitate the GBC before the country can look at a second channel."
http://www.culturalsurvival.org/ourpublications/csq/article/media-and-preservation-culture-africa

In 1992, DWB reported, in issue 105 & 107 that Ghana had screened The Power of the Daleks in 1986, and that the missing serial had been destroyed in a fire in the Ghana TV film library had been destroyed in the fire of 23 May 1989. Later this was all revealed to be a hoax, apart from the fire which was a genuine event. More details and footage of the fire can be found here: http://gallifreybase.com/w/index.php/Ghana Along with details of the countries actual showings of Doctor Who in 1965 and 1966.

Finally, in a Country that accepted so little in the way of imported programmes, it is hard to see that much could have been found here. Paul Vanezis (of the BBC Restoration Team) stated that: "...it's unlikely that there is any material in Ghana, Uganda or Zimbabwe. However, nothing has been ruled out regarding them." It is hard to disagree with that statement. However, during an interview with JR Southall for Starburst magazine, Philip Morris (Head of TIEA) did mention he found an unspecified amount of ITV material there but didn't say whether it was missing or not. So there is still hope. Ghana did buy the first series of Z-Cars and Dr. Finlay's Book.

http://missingepisodes.proboards.com/thread/5751

Ghana Broadcasting Corporation - Accra

Sources:

National Archives file: DO 35/9466

http://missingepisodes.proboards.com/thread/5751

http://www.culturalsurvival.org/ourpublications/csq/article/media-and-preservation-culture-africa

'Broadcasting in the Third World' by Elihu Katz and George Wedell.

http://downloads.bbc.co.uk/worldservice/trust/pdf/AMDI/ghana/amdi_ghana_full_report.pdf

Unseen Treasures

All research is a quest for knowledge, and as such begins with a question. We seek information driven by our curiosity; hunt out those dark areas where the known ends and the unknown begins. Then we attack them. We throw every conceivable “how”, “where”, “why”, “when” and “what if” at them in order that may give up their secrets and elucidate the dark areas of our perception. The beginnings are usually easy and plentiful, but then we begin to struggle as our gains become smaller and harder won. Consequently, we go further, try harder and become more inventive with our queries and where we search for answers. Along the way there are people and organisations that both help and hinder our progress. There are the libraries, archives and various publications that often dispense valuable particles of information and then there are other libraries, archives and custodians such as universities who for various reasons such as potential copyright infringement refuse entry to many avid researchers of a non-academic status making their exhibits closely guarded secrets for the exclusive privilege for a select few. For the few who offer a wealth of information (such as www.broadwcast.org, the National Archives and the British Library) for the enrichment of anybody who cares to seek it out, there is an even greater number of academic institutions and archives that withhold potential treasures from those that would enjoy them the most, and even commercial projects, while remaining criminally underfunded. Indeed, they could allow access and charge a fee, yet they don’t. Copyright is often a binding issue but clearly something needs to change. Education for whatever reason is something that most would agree should be encouraged across all classes and benefits our society.

As fans of Doctor Who and other vintage television we all know the story behind episodes that are not currently held in the BBC archives, but will history repeat itself:

“At the moment, everything is recorded and everything is kept for a minimum of five years. But we do exercise a selection policy on that.  We keep what you would expect us to keep, so all the drama is kept, all the entertainment is kept, all the very high value, expensive programmes to make. We keep our news; we keep all the current affairs. The areas where we tend to be more selective would be, for example, in a long-running quiz show, where it's really important to have examples of that, but we wouldn't necessarily keep them all forever. Because when we're talking about keeping something here, we're saying we're going to keep it forever and that's a big overhead to have.”– Adam Lee, BBC Archive http://www2.warwick.ac.uk/newsandevents/features/dr_who_missing_episodes/

Archiving is an expensive business, few would deny that but television is becoming cheaper and more ubiquitous and plentiful. Has TV’s cultural significance been in decline as a consequence:

"Music videos and other content such as presentation are equally valid. The rightful place for all this is in a National Television Archive. Who are we to judge what the future deems important or not? The current system of haphazardness though means that valuable content could be lost and worthless content could be kept because current systems are increasingly being driven by commercial - and not cultural - systems of selection and preservation. Modern digital technology means that everything can be kept easily - and yet less material is archived now than in 1980." – Chris Perry, Kaleidoscope

Also, in January 2015, the British Library launched a campaign to raise forty million pounds in order to digitise the nation’s sound archive totalling more than six million items before degradation and lack of playback technology becomes an insurmountable problem. This includes formats such as wax cylinders, lacquer discs, cassette players, reel-to-reel tapes and minidiscs. Contained within the archive is the voice of Florence Nightingale, full recordings of theatre productions going back 40 years, including the opening night of Hamlet in the Old Vic, starring Peter O'Toole and directed by Laurence Olivier. As well as recordings of local accents and dialects used to monitor the evolution of the English language and sounds of rare or extinct wildlife: All unique and invaluable to many.

http://www.bbc.co.uk/news/entertainment-arts-30781320

So, lack of funding is one issue but what about negligent copyright holders? 

https://www.linkedin.com/pulse/20141128012313-66434591-when-worthless-archival-footage-becomes-valuable

http://www.gerryanderson.co.uk/gerry-anderson-archive-december-2014-update/

Both links are about negligent copyright holders and I think are good reasons to have a national television archive. There are some obvious drawbacks as to the cost of maintaining such an archive as well as deciding what should be kept. Also, copyright law can be an obstacle when it comes to storing multiple copies; although, the emergence of digital storage eases problem it also provides a whole new fresh set of problems: http://www.vulture.com/2014/12/perils-of-an-all-digital-movie-future.html

The problem is just limited to visual media either:

“Vint Cerf, a ‘father of the internet’, says he is worried that all the images and documents we have been saving on computers will eventually be lost.
Currently a Google vice-president, he believes this could occur as hardware and software become obsolete.He fears that future generations will have little or no record of the 21st Century as we enter what he describes as a ‘digital Dark Age’.”: http://www.bbc.co.uk/news/science-environment-31450389

Everything changes and nothing stays the same. The very nature of the universe is impermanent. We are on a rock moving through space around the sun on the arm of a galaxy that is spinning in a constantly growing universe. Change is a given but should lose be so easily accepted? Then again what is the point keeping a lot of this material if so few get to see it?

June 2016: http://www.archivingtomorrow.com/

Options

I thought I would try and assess the likelihood of returns from certain avenues of investigation - just for my own amusement.
Cinemas and Mobile Cinemas:

In Brazil the TV signal didn’t extend over what is a very large land mass indeed; therefore, prints had to go into distribution through Cinema circulation. I imagine something similar could have happened in Nigeria, but as Philip Morris said, at the Pandorica Convention, Nigeria’s Cinemas largely went bust in the eighties, things changed when Nollywood started up in the early nineties, but that isn’t strictly relevant. Places like Jamaica had Mobile Cinemas, but as always these were mainly for educational purposes and the prints would not have had a stable resting place. I personally feel prints are unlikely to have turned up via this avenue and would most likely be educational or locally produced material and news films if they did. As the countries that are most likely to have been the final resting place for these items don’t have much economic stability then I think this compounds the unlikeliness of something being recovered via this route.

Universities, Embassies, Hospitals and other Governmental institutions:
The BBC always offered first refusal to the National Broadcaster when it came to selling televisual material and most National Broadcasters in the poorer countries were run under Government or Quasi-Governmental departments: The Department of Education or the Department of Information, for example. Some Embassies actually edited film prints, which were sent out to Universities for educational purposes and in the case of ETV in Ethiopia, the Broadcaster was actually located in Addis Ababa City Hall. As I have mentioned before, there were plans to use localised Hub distribution from educational or information departments under the guise of Media Centres.

National Broadcasters:
These places didn’t have a lot of storage space. If there was any kind of recall, and in the case of VT which was expensive and reusable there certainly was, then locating these prints to return or destroy should have been fairly easy. However, paperwork is notoriously unreliable. It isn’t hard to imagine a whole plethora of ways in which material could have survived and leaked into circulation. Logistically unless things are somehow misplaced then they are unlikely to have survived. ‘Tomb’ was sent back along the bicycling-chain so there was no record of its location. ‘Web’ and ‘Enemy’ were sent to another local broadcaster supposedly illegally – I say supposedly because no paperwork has survived which doesn’t guarantee this was an illegal transaction, although it’s a fair assumption to make and we know they did happen. Phil Morris has even contradicted his, “They never throw anything away” statement from the original Facebook Missing Episodes Q&A at the Pandorica Convention with a story about how Lagos dumped prints on the beach and a couple of other references I can’t recall right now.

Private Collectors and Ex-Employees of TV stations:
Prints are most likely to have entered circulation through Employees of TV stations or people retrieving items from skips. Prints being returned via this route could depend upon the philanthropic nature of the individual and would certainly be one of the hardest to quantify the chances. Auctions would be untraceable and every instance is unique.

Audition Prints:
Audition prints are nothing special. Once it was purchased it was no longer an audition print, but then set could be used or broken up for audition purposes. I have a theory that a set would be sent out for audition purposes but if other requested an audition print rather than get another print sent out it would be more economical to split a set. There was a broadcaster in Brazil, Global TV I think, that used to order Audition Prints; broadcaster them and then return them refusing to pay for them. Obviously, sending part of a serial rather than the whole thing would be a wise move to prevent this kind of practice.

National Archives:
A lot of countries in Africa still don’t have National Film Archives. I don’t think TIEA would even entertain the idea of searching a whole archive without reason, be it financial or otherwise, despite Morris’s famed tenacity.

TV recordings:
Illicit copies by employees are possible and did happen on a small scale, but this is a situation that’s very similar to the Private Collectors scenario. Obviously, prints would more likely than not be close to their point of origin, but the story about illicit copies being made and then the guy moving to Ireland are could be true. It’s been a long time and neither people, or prints are static, but obviously big cities or capitals are more likely locations for recoveries provided they haven’t been passed along the Collector chain.

Hubs/Distribution Points, Airports, Bonded Storage and Customs:
I could have just given this the heading, “Red-Tape”. This would obviously, be only relevant to poorer, more corrupt and disorganised countries, but would be a massive boost for the chances of returns. If proven true. I could write quite a long post about this, but I think that’s outside the scope of what this post intended to achieve.

Private Auctions:
This is a no go really, as lot descriptions are often vague and bidders are usually untraceable.

Other:
There is something unconsidered, or an outlier. Prints have been found frozen inland fill under the permafrost of the Yukon, Ivor the Engine episodes were found in a pig pen on a farm and the recent ‘Do Not Adjust Your Set’ episode found with a French Awards Organisation are all clear reasons to, “Expect the unexpected.”

DWB ISSUE 40