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Ethiopian cinema and, more broadly, the film industry are still in their infancy. The Ethiopian film industry is expanding, but various barriers are preventing it from reaching its full potential. In Ethiopia, live stage theater has traditionally been more popular, leading in the emergence of a small number of relatively successful stage actors. Since the 2000s, Ethiopian films have been modernizing by using the Amharic language. However, they are continuously irritated by copyright infringement and piracy as a result of the widespread sale of home video and DVDs. This was reduced as a result of government intervention and policy enforcement in the early 2010s. Despite recent progress, Ethiopian cinema production has remained weak in terms of quality when compared to international premieres, as well as amateurish in terms of budget. Prior to the 1990s boom of foreign grossing films, little was known. Haile Gerima, Salem Mekuria, Yemane Demissie, and Teshome Gabriel are the most well-known people responsible for Ethiopian film’s international recognition. The Ethiopian Filmmakers Association (EFIMA) was established in 1993 to promote the growth of Ethiopia’s film industry. At the time, the group’s founding members included only 27 employees of the Ethiopian Film Corporation, the country’s sole public corporation representing the film industry. According to the Addis Ababa Culture and Tourism Bureau, the number of films produced increased from 10 to 112 between 2005 and 2012. In 2013, the Ethiopian government intended to implement a new cinema strategy in conjunction with stakeholders from many businesses. Licenses are imposed, film institutes are expanded, taxes are imposed, equipment is augmented, and filmmakers are encouraged to produce work that is culturally and ethnically diverse. Historians like Aboneh Ashagrie and Alessandro Jedlowski, on the other hand, have suggested that Ethiopian films may never be accepted for international premieres due to their preference for novice filmmaking approaches and foreign filmmaking norms. Rebuni (2015) and Yewendoch Guday (2007) were both economically successful, although Difret (2014) and Prince of Love (2015) got the most critical accolades.

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