Producing Maka: Hybridisation and Dialogue in Academic Filmmaking

ABSTRACT Academic filmmaking has become a rich area of practice and inquiry, driving debates about academic rigour, affect, social impact, and knowledge production. While scholars have increasingly sought to expand their practice beyond strict, ‘academic' modes of filmmaking, little attention has been paid to the ways diverse approaches to film production may also offer opportunities for creative practice that extends beyond the academy. This article explores the production model underpinning Maka, a documentary biopic of Geneviéve Makaping and product of intensive collaboration between academic and industry-based filmmakers. Drawing on interviews with the film's producers, Graziano Chiscuzzu and Ermanno Guida, I explore Maka's status as a hybrid film, a dialogic project in which multiple positions and voices intersect. I trace the filmmakers’ negotiation of funding and prestige – from university grants to legitimation at film festivals – as well as their use of techniques such as retroscripting to cultivate a dialogic filmmaking process. I also discuss the ethos of social commitment that appears to unite both academic and documentary filmmaking, and explore avenues for expanding and measuring social impact through film distribution. I conclude that Maka offers an important case study of academic-industry hybridization, permitting further interrogation of the boundaries between the two spheres.