Role of Vjs in The Ugandan Film Industry

i
DECLARATION
ii
APPROVAL
ii
DEDICATION
This project is dedicated to my parents Mr. Kisakye Yahaya and Mrs. Nalubanga Kisaye Sarah.
Thank you for the words of wisdom, the love and care and support that enabled me accomplish
this project.
iii
ACKNOWLEDGEMENT
Completion of this research has been a result of a concerted effort and support of many people to
whom I owe an acknowledgement. First, I thank the almighty Allah for sustaining my life and
seeing me through this course at the University. He gave me the courage and wisdom to work
tirelessly to see to it that I accomplished this project. I would not have achieved all that I have
done without His mercy and grace and provision. I extend my sincere appreciation to my
supervisor Dr. Muhumuza Micheal for his high level of devotion, patience, monitoring,
intellectual guidance and critical comments he afforded to me right from the inception of this
study to its conclusion without which this work couldn‟t be a success.
I feel overwhelmed with indebtedness to my Dad Mr. Kisakye Yahaya, Mom Nalubanga Sarah,
my relatives and friends for the financial support, encouragement and assistance during the
course. I cannot forget to acknowledge the people that availed me with the required information
while in the field.
Finally, I would like to extend my gratitude to my fellow course mates and friends especially
Lubowa Ali Ahmed, Nakiyonga Margaret, Matovu Ivan, Nabugobagana Prossy, among others
for their encouragement throughout my study at Makerere University.
MAY GOD BLESS YOU ALL
iv
TABLE OF CONTENTS
DECLARATION ............................................................................................................................. i
APPROVAL ................................................................................................................................... ii
DEDICATION ............................................................................................................................... iii
ACKNOWLEDGEMENT ............................................................................................................. iv
TABLE OF CONTENTS ................................................................................................................ v
LIST OF TABLES ....................................................................................................................... viii
ACRYNOMS .................................................................................................................................. x
ABSTRACT ................................................................................................................................... xi
CHAPTER ONE ........................................................................................................................... 1
GENERAL INTRODUCTION/BACKGROUND ..................................................................... 1
1.0 Introduction ........................................................................................................................... 1
1.2 Background of the study ....................................................................................................... 2
1.3 Statement of the problem ...................................................................................................... 4
1.4 Objectives of the study .......................................................................................................... 5
1.4.1 Purpose of the study ........................................................................................................... 5
1.4.2 Specific objectives; ............................................................................................................ 5
1.5 Research questions ................................................................................................................ 5
1.5.1 Major research question.................................................................................................. 5
1.5.2 Specific research questions ............................................................................................. 6
1.6 scope of the Study ................................................................................................................. 6
1.6.1. Geographical scope........................................................................................................ 6
1.6.2. Content Scope ................................................................................................................ 6
1.6.3. Time Scope .................................................................................................................... 6
1.7 Significance of the study ....................................................................................................... 6
CHAPTER TWO .......................................................................................................................... 7
2.0 Review of Related Literature ................................................................................................ 7
2.1 Economic contributions of VJ ............................................................................................... 8
2.2 Businesses affiliated to VJ. ................................................................................................... 9
2.3 Benefits of translated film content to distributors and consumers ...................................... 10
v
2.4 Challenges of translated film content to distributors and consumers.................................. 13
2.5 Solutions to the challenges of VJ ........................................................................................ 14
CHAPTER THREE .................................................................................................................... 16
RESEARCH METHODS AND TOOLS OF DATA COLLECTION ................................... 16
3.0 Introduction ......................................................................................................................... 16
3.1 Research design .............................................................................................................. 17
3.2 Survey population .......................................................................................................... 17
3.2.1 Sample size ............................................................................................................. 17
3.2.3 Sampling design ........................................................................................................... 17
3.3 Data sources ........................................................................................................................ 18
3.4 Data collection................................................................................................................ 18
3.4.1 Secondary sources ................................................................................................... 18
3.4.2 Primary source ........................................................................................................ 18
3.5 Data analysis ....................................................................................................................... 19
3.6 Limitation of the study ........................................................................................................ 19
CHAPTER FOUR ....................................................................................................................... 20
PRESENTATION, ANALYSIS, INTEPRETATION AND DISCUSSION OF FINDINGS 20
4.0 Introduction ......................................................................................................................... 20
4.1 Response rate....................................................................................................................... 20
4.2 Personal data ....................................................................................................................... 20
4.3 Findings from film distributors (20 respondents) ............................................................... 20
4.3.4 Findings on the businesses affiliated to video jockeys .................................................... 22
4.4 Findings from the final film consumers (20 respondents) .................................................. 32
4.5 General overview (Film distributors &Final film consumers) ............................................ 40
4.5.1 Economic contributions of video jockeys to the film sector (40 respondents) ................ 40
CHAPTER FIVE ........................................................................................................................ 43
SUMMARY, CONCLUSION AND RECOMMENDATIONS .............................................. 43
5.0 Introduction ......................................................................................................................... 43
5.1 Summary ............................................................................................................................. 43
5.2 Conclusion........................................................................................................................... 43
5.3 Recommendations ............................................................................................................... 44
vi
5.3.1 Recommendations to the VJs and distributors ............................................................. 44
5.3.2 Recommendations to the government .......................................................................... 45
5.4 Areas for further research .................................................................................................... 45
REFERENCES ............................................................................................................................ 45
APPENDICES ............................................................................................................................. 47
Appendix I: Film distributors‟ questionnaire ............................................................................ 47
Appendix II: Final film consumers‟ questionnaire ................................................................... 50
vii
LIST OF TABLES
Table 3.2.2 showing the targeted sample size……………………………………………………17
Table 4.3.1 showing the gender of the film distributors…………………………………………20
Table 4.3.2 showing the age range of film distributors……………………………………….....21

Table 4.3.3 showing the education level of the film distributors…………….…………………..22
Table 4.3.4.1 showing Film agent distribution business…………………………………………22
Table 4.3.4.2 Video shacks/halls business.………………………………………………………23
Table 4.3.4.3 Retail film distribution business…..………………………………………………23
Table 4.3.4.4 showing expenditure on translated film content by film distributors..……………24
Table 4.3.4.5 showing the cost of selling translated film content………………………………..25
Table 4.3.4.6 showing period of distributing translated film content by film distributors………26
Table 4.3.4.7 showing where translated film content is bought…………………………………27
Table 4.3.4.8 showing purchase of translated film content………………………...……………27
Table 4.3.4.9 showing sale of translated film content...…………………………………………28

Table 4.3.4.10 showing the Status of the film distribution business………………….…………29
Table 4.3.4.11showing the benefits of distributing translated film content………………..……29
Table 4.3.4.12 showing the challenges in distributing translated film content…………………..30
Table 4.3.4.13 showing the solutions to challenges in distributing translated film content……..31
Table 4.4.1 showing the gender of the final film consumers…………………………………….32
Table 4.4.2 showing the age range of the final film consumers…………………………………32
Table 4.4.3 showing the level of the final film consumers………………………………………33
Table 4.4.4 showing the period for the consumption of translated film content by final film
consumers………………………………………………………………………………………..34
Table 4.4.5 showing where translated film content is bought
from………………………………………………………………………………………………34
Table 4.4.6 showing purchase on translated film content by final film
consumers………………………………………………………………………………………..35
viii
Table 4.4.7 showing the cost of buying translated film content…………………………………36
Table 4.4.8 showing the status of watching translated film content……………..………………36
Table 4.4.9 showing the benefits of watching translated film content…..………………………37

Table 4.4.10 showing challenges in watching translated film content……………….………….38
Table 4.4.11 showing Solutions to challenges faced while watching translated film content…...39
Table 4.5.1.1 Buying and selling of translated film content by video jockeys has generated
revenue to the government through the film sector of Kampala……………...…………………40
Table 4.5.1.2 Video jockeying has created employment opportunities for people in the film
sector of Kampala………………………………………………………………………………..40
Table 4.5.1.3 Video jockeying has promoted growth of culture in the film sector through the use
of local languages in the film sector of Kampala…………………………………………….….41
Table 4.5.1.4 Video Jockeys have promoted market for goods and services in the film sector of
Kampala……………………………………………………………………………………….....42
ix
ACRYNOMS
AFPUL…………..…………………………… Association of Film Practitioners Uganda Limited
CBC …………………..………………………………………………… Central Business District
CD……………………………...………………………………………………..…. Compact Disk
DVD.…………………………………………………………….…………..… Digital Video Disc
TV………………………………….……………………………………………………Television
UCC……………………………………………………….Uganda Communications Commission
UFC………………………………………………………….………………Uganda Film Council
URSB……………………………..………………………….Uganda Registration Service Bureau
UVJA…………………………………………………...……..Uganda Video Jockeys Association
VCD……………………………………………………………...………….. Video Compact Disc
VJ…………………………………………………………….……Video Jockey/Video Jockeying
x
ABSTRACT
The purpose of this study was to assess the economic contribution of video Jockeying to the film
sector in Kampala basing on the following objectives; to find out the businesses affiliated to
video jockeying in Kampala; to investigate the challenges faced by consuming content produced
by video jockeys and to assess the possible solutions to the challenges faced by consuming
content produced by video jockeys in Kampala.
The study was descriptive in nature involving quantitative methods of data collection which were
administered through questionnaires to guide the collection of data. The total sample comprised
of 40 respondents of which 20 were film distributors and 20 were final film consumers. Simple
random sampling was used whereby the researcher went to Kampala district and administered
questionnaires to selected film distributors and final film consumers of content produced by
video jockeys. Primary data was obtained from class notes, library materials, News Papers,
textbooks, film brochures, internet and journals.
Data analysis was carried out through concentration on content and narrative analysis of the data
that was obtained from the field.
Findings revealed that the preference of translated film materials is on the rise in Kampala and
capital is a big challenge affecting the distribution and expansion of the film businesses.
It was concluded that improvement in business skills, acquisition of low interest loans and
enactment of a law governing the distribution of film content would increase the performance of
the film business and economically contribute to the film sector in Kampala.
xi
CHAPTER ONE
GENERAL INTRODUCTION/BACKGROUND
1.0 Introduction
This study was set to assess the economic contribution of Video Jockeying (VJ) to the film sector
in Kampala. This chapter comprises of the background, problem statement, objectives, research
questions, scope and significance of the study. VJ is a „voice over‟ commentary by a VJ in a
local language, supposedly to enhance the drama (Moses Talemwa, 2018). A VJ is a person
(mostly men but women‟s presence is increasing) who have made it a profession to translate
films into Luganda, the language that is commonly spoken in Kampala and its surroundings
(Prince Nakibinge Joe, 2007). VJ is becoming more and more popular career today because of
the increased interest of youth in film. VJ is also defined as a style of entertainment popularly
known as VJ in Uganda. VJs are professional performers that translate and narrate over foreign
films in makeshift shacks all over the country (Tina L. Zeng, 2015). VJs are quite popular and
are even hired to work on television stations. Some of the well-known names of VJs in Kampala
include; VJ Ron, who is known for his intricate translations of detective thrillers, the Love
Doctor, who specializes in romantic dramas and comedies, VJ Jingo, as his public knows him, is
most noted for his cheeky renditions of American action films, VJ Junior who specialized in
almost all genres of films with his charming choice of words that engages the audience, VJ
(Omutaka) Ice P, VJ Venus, VJ Emmy, VJ Abbey among others.
A VJ acts as an intermediary between audience and film. He energizes the audience through his
powerful words. For film lovers who want to have a career in the field of film, VJ is one of the
best option. VJ is a career that brings popularity and fame. In order for one to become a
successful VJ, more than academic qualification and certain skills are important. Communication
skills, presentation skills and approach among others, will help a VJ in becoming attractive.
There is no formal academic qualification necessary to become a successful VJ but having
academic credentials like a diploma or degree in courses related to this field enhances ones
career and gives him a better position.
1
VJ is now a central form of local entertainment. But the art involves much more than translation.
Part sports announcer, part street preacher, part comedian, a VJ must fill in cultural gaps and
keep the audience engaged, which for many VJs often means taking considerable creative
license. The VJ is an offshoot of the distinctly home grown phenomenon of the video hall.
Makeshift shacks commonly made of plywood and tin sheeting, they function as the main form
of cinema for the Ugandan masses, most of whom cannot afford theater tickets or rentals of
pirated DVDs (Rachel Scheier, 2006)
Globally, film production and distribution is on the rise and therefore genres of different film
content is at the disposal of many video jockeys in Uganda and Kampala to be specific. The job
of a VJ is to provide information about film and host related shows on television. In an era of
increasing competition, different television channels are starting all kinds of new shows in order
to increase viewer ratings, and tap into the youth of today who offer the biggest market for films.
This has hiked the importance of a VJ, hence providing new opportunities. Besides hosting film
shows on televisions, their work now includes promotional activities of goods and services.
Through VJ, various employment opportunities are created for the people majorly in the field of
film distribution. Government earns revenue licensing businesses owned by VJs and the
equipment used by them which contributes to the growth of the film sector and the national
economy.
1.2 Background of the study

The research was about the economic contribution of VJ to the film sector in Kampala which
will therefore help the film industry to gain green pasture and information about the ways to curb
their social political and structural limitations of the industry to develop. The history of film
translations comes from way back at the time when video halls came up in Uganda. VJ is an
income generating business which is one of the ventures that support the film sector in Kampala
and Uganda at large through creation of employment opportunities to the people involved in the
film sector, generation of savings got from profits made out of the sale of translated film content
and revenue obtained by government through taxation imposed on businesses selling translated
film content.
Video halls mushroomed around the country in the mid-1980s, when a measure of relative peace
and prosperity made copies of foreign movies more accessible. But since most of their patrons
2
did not speak English well, owners brought in translators, who usually sat near the TV set,
ideally with a microphone. Video halls proliferated in Uganda in the '80s and '90s, and today
they are a thriving local industry. According to the Union of Video Owners and Operators, a
trade group in Kampala, there are some 600 video halls in greater Kampala and 2,500
countrywide. With better technology, video jockeys have become increasingly sophisticated,
dubbing their translations onto tapes and discs that they then offer for rent or sale. In particular,
the advent of the DVD, which made dubbing easier, has fueled their success. (Rachel Scheier,
2006).
By around 1987, work began with 300 meters video hall where people watched videos, paying to
somebody some money to enter. By then, they could not allow young children to enter into the
video halls unless in company of the parents. Around 1988, video jockeying started with a man
called Lingo. People then could not watch movies without him because they could not
understand. This man was not educated and he didn't understand English well, but he could get
the story and what the movie was about or he would tell you that a certain person was going to
die. So he was not professional at that time, but people enjoyed this. He had not machines that
you can switch off and on the sound of the movie, so he was telling like that. So he was not
translating, only describing and commentating the movie and all of that. In the beginning people
didn't see video jockeys as a serious persons, they saw VJs as people that had nothing to do.
With time people started taking them seriously, so around mid-90s so many people started
enjoying the work of VJs, and video halls were mushrooming day after day. Then, the
government avoided them because of insecurity at the time and because most of the people that
were unemployed ended up in the video halls. They spent most of their time watching movies
because they had no employment opportunities (Prince Nakibinge Joe, 2007)
VJ has broken the language and cultural barrier between nations for instance, Mary Smarts
Matovu translated the community screened movies at the Euro-Uganda Film festival. Some of
the movies he translated included Land of Mine, Jack Strong, Patients, The secret of Kells
among others. The film festival was held in multiple venues in Kampala including the National
Theatre, Kamwokya Playground, Alliance Franchise, Design Hub, Jazz Ville Bugolobi among
others (Matooke Republic, 2018).
3
Neighboring countries are getting caught up in the trend, prompting video jockeys for instance
VJ Jingo to begin mixing Swahili into some of his Luganda translations. That has earned him an
audience from as far away as Rwanda and the Congo. Jingo estimates that he has translated
about 3,000 different movies during his career (Rachel Scheier, 2006). This therefore has earned
the government to get foreign exchange earnings from thus developing the film sector. Although
the art of VJ has not yet emerged as a rags to riches path, it has helped a number of impoverished
Ugandans who dreamt of making it big by tapping into their creative and entrepreneurial sides
rather than spending their days driving boda-bodas, selling clothes, selling vegetables among
others. This therefore has created employment opportunities for the people that are involved in
the film business for instance, agents, film distributors, television hosts, graphic designers, critics
among others.
1.3 Statement of the problem

In the recent years, VJ has brought up many individuals that translate copies of Western movies
into local languages and they have actually become so popular that a handful have become local
celebrities. In Kampala alone, there are more than 500 video halls which can‟t accommodate live
VJs. Therefore, VJs started coming up with video libraries through which they distribute the
already translated films to reach the final consumers who either buy or rent them. There are a
series of film festivals in Uganda through which VJs showcase their work to people among
which are the Amakula International Festival that takes place in March every year, the Uganda
Film festival, Pearl International Film festival among others. The government of Uganda through
the Uganda Communication Commission licenses VJs and monitors their work through
regulation of the content they produce in the public domain. The VJs have also formed
associations governing them that streamlines the productivity of their businesses. The prominent
one is the Association of Film Practitioners Uganda Limited (AFPUL) that was started by Mary
Smarts Matovu alias VJ Junior. AFPUL is responsible for advocating for the rights of all VJs in
Uganda, determining prices of translated films, represent the views of VJs to the relevant
authorities among others. However, VJs have faced competition from foreign film companies
such as Netflix and Showmax that have attracted subscribers that stream untranslated film
content online making the work of VJs irrelevant in a way. Time and again, video jockeys have
also been caught up on the wrong side of the laws governing Uganda for instance, VJ Junior was
at one time arrested together with a colleague and arraigned before court over charges of
4
harassment of members of the Uganda Film Council (UFC) in a Whatsapp group over
disagreements of who was to lead the Uganda Film industry. There is however limited research
about the economic importance of VJ to the film sector. There is need to find out how VJ as a
business has developed the film sector and its contribution to the economy in terms of
employment, foreign exchange earnings, revenue through taxation among others. The research
also focused on investigating the businesses that are affiliated to VJ given the fact that there is a
chain of distribution through which translated films reach the consumers. There is little research
to get the consumer point of view about watching translated film content and therefore this
research investigated the challenges faced by final film consumers that watch translated film
content and the solutions to these challenges.
1.4 Objectives of the study

1.4.1 Purpose of the study
To assess the economic contributions of VJ to the film sector in Kampala.
1.4.2 Specific objectives;

The study shall be guided by these specific objectives and they are;
 To find out the businesses affiliated to VJs in Kampala.

 To establish the challenges faced by people consuming translated film content produced
by VJs in Kampala.
 To establish the solutions to the challenges faced by people consuming translated film
content produced by VJs in Kampala.
 To identify benefits achieved by film distributors and consumers in the film sector in
Kampala.
1.5 Research questions

These research questions guided the study include;
1.5.1 Major research question
What is the economic contribution of VJ to the film sector in Kampala?
5
1.5.2 Specific research questions
 What businesses are affiliated to VJs in Kampala?

 What are the challenges faced by people consuming translated film content produced by
VJs in Kampala?
 What are the solutions to the challenges faced by people consuming translated film
content produced by VJs in Kampala?
 What benefits are achieved by film distributors and consumers in the film sector in
Kampala?
1.6 scope of the Study
1.6.1. Geographical scope
The research was carried out within Kampala District. The researcher carried out the study in
Kampala because of easy accessibility and supervision.
1.6.2. Content Scope
The research focused on assessing the economic contributions of VJ to the film sector in
Kampala.
1.6.3. Time Scope
The research ranged from 1986 to 2020.
1.7 Significance of the study

The findings of this study will be significant to both academicians and policy makers in a
number of ways: first, it will add to the knowledge base of the drama and film researchers in this
field of study and secondly it will serve as a guide to policy makers coming up with policies that
will develop the film sector in Kampala and Uganda a large. The study will equally benefit
students of drama and film that will pick interest in joining the VJ business to help them gain
more knowledge about the film business.
6
CHAPTER TWO
2.0 Review of Related Literature
An interview with Prince Nakibinge Joe, president of the Union of Video Jockeys/Translators
Association (UVJA) and one of the most popular vee-jays in Uganda as reported by Didac P.
Lagarriga, February 2007 revealed that a vee-jay is that person(s) that has made it a profession
translate movies into the Luganda, language most spoken in Kampala and its surroundings.
Nakibinge said that mostly men engage in the art but that the presence of women is increasing.
When asked what it means to be a vee-jay in Uganda he responded that a vee-jay, just like a
deejay who spices up music in a discothèque and puts things that can have you moving till
morning, does the same but with films, movies and television dramas. He states that vee-jays put
some jokes in the film, at the same time translate them, at the same time they are also like an
actor, because they are also acting. He further argues that VJ's are the subtitles for the
community, without us people cannot understand the movie. "We live in the slum areas, but we
can read and write, so we speak on top of the movie. We must be there", he says. He also states
that some people in the audience look more to the VJ than to the movie, because they see a man
speaking alone for 90 minutes, or three hours, moving, narrating, exclaiming. "They enjoy a lot",
he concludes. When asked where they get the movies, he says "There are some big libraries in
town owned by Indians, but in these days there are so, so, so, so many libraries, and almost every
shop has movies, because the new technologies, duplicating DVD's and VCD's, and people now
can afford to buy TV sets and all of that. Some VJ's are ripping big, they are getting money. So
one can buy their machines and put his own video hall or a video studio, so he makes a lot of
money with the copies." About the issue of legal problems with copyright he says, "Yes, in 2002
we came up with an idea of forming some associations, because the government disturbs us. Is
not a legalized job and we are not licensable and the broadcasting companies want to come in,
7
because we should pay license for broadcasting. So we form several organizations. One is called
Union of film operators and owners association, another one is united video operators and
owners association. In 2005 we came with UVJA)
2.1 Economic contributions of VJ
Bernadine Racoma (2019), wrote that millions of people around the world watch films more so
now because film translations have allowed them to enjoy foreign films in their own language.
Foreign films are tools that spread the culture of one country, especially their food, behavior,
events, celebrations or modes of dressing. Artistic license is expected but there will always be
economic, cultural and artistic elements of a country that are mixed into the film. Film is
considered an art as well as an industry. It is an essential element for continental and national
cultures‟ survival. Moreover, foreign films are said to be an important learning tool to know
about other people, cultures, and countries and so on. She said that whatever type of film you
see, contains a bit of documentary because it is filled with information and images about the
country where it came from. Through film translations (dubbing and subbing), it is able to reach
a bigger audience and movie goers are able to see customs, cities, modes of dress and landscapes
of places that they have not visited. When a film is translated or dubbed, it becomes a bicultural
product so you can see for example, an Italian actor speaking your language and using your own
idioms and slang. The translated film now has an additional element. First, the images from the
country of origin that cannot be replaced and a new language, which is going to be different,
based on the country where the translated or dubbed film is going to be shown. There is however
limited research about the impact of how film translations have developed the cultures of the
people watching them. This study will therefore investigate the how translated film content has
developed the cultures of different ethnic groups of people living in Uganda and to be specific
Kampala.
An online study and analysis on VJs shows that with the TV audience under their belts, VJs in
Uganda are now shooting for the stars. The study states that in order to reach a wider audience
and increase their revenue, VJs turned to recording their translations and selling them on DVDs
in various movie shops around the country. It further states that in order to legitimize their
profession, the UVJA was established in 2005. The study also shows that the popularity of VJs
has been attributed to the unfamiliarity of the local masses with the English language. The study
8
credits VJs as individuals who not only translate movies but also help people with a short
attention span to follow movies to the end without the need of fully concentrating on them. The
study claims that VJs are setting their eyes on the internet since the future of almost all
businesses lies on the internet and since the VJs have conquered the video halls and television
but translated movies to date have never made it online, the internet appears to be their next
target. There appears to be hope since an online website, www.munowatch.com has been set up
by the MUNOCLUB COMPANY LIMITED, an ICT club registered in Uganda. It is to act as a
bridge between VJs and the internet and for the first time ever, a wide range of translated
blockbusters by various VJs will be available online internationally for all to access at an
affordable subscription fee. This will not only broaden the market for translated movies but also
open up VJs to the rest of the world. Anyone across the world will be able to access the movies
anywhere, anytime. The website hopes to achieve this by uploading translated trailers of all
available movies on the site for free viewing by the public. In short, the website is ushering the
VJ industry into the digital era which will not only help VJs expand their fan base but also help
the fans have access to their favorite translated movies available at their own convenience.
Josh Ruby (2018) wrote that VJ Junior due to his popularity among the locals earned privileges
in the social spheres and also won the Bwaise Councillor elections. He said that VJ Junior
managed to build a home and has various other businesses around Kampala. Josh wrote and said
that through agents from the European Union, VJ Junior was among the several other Ugandans
that were set toplay a big role in the forthcoming Euro Uganda Film Festival (EUFF). He was to
translate community screened movies to help bridge the communication gap and break the
cultural barrier between Europe and Uganda among the local audience.
2.2 Businesses affiliated to VJ.
Marisa Morán Jahn in an article on Video Slink Uganda that video Halls (commonly known as
Bibanda) are often no more than small huts where viewers pay a few cents to watch pirated
DVDs on diesel-powered television screens. She said that in the majority of villages and towns,
they are the only form of popular visual entertainment, reaching millions of Ugandans every
month and hundreds of thousands each day more than television and newspapers put together.
VJs translate Hollywood actions, Nollywood dramas, Bollywood musicals, cartoons, and porn
9
into the primary local language of Luganda. Acting as translators, stand-up comedians, and
carney barkers, VJs thus operate as nodes of distribution to the “bibanda”.
A daily Monitor article “Lwanga used tution to start business” (2016), investigates the business
life of a young entrepreneur Shaban Lwanga who opted to start up a video library business
instead of joining university. He opened a video library, an idea he had toyed with for some time
because he liked entertainment. The self-made young entrepreneur says he has been able to grow
his business due to financial discipline. During his first month in business, he made a profit of
Shs200, 000.
In the subsequent months, the profits kept increasing, so he developed appetite for expansion and
growth. To maintain his books, he has an accountant who visits his offices to audit so that he is
at per with URA. Besides making sure he worked day and night, Lwanga also made sure that he
took good care of his customers.
Nakibinge Joe in an interview with Didac P, Larriga said that these days as compared to the past
where big libraries in town were owned by Indians, so many libraries and almost every shop has
movies because of the new technologies, duplicating DVD‟s and VCD‟s and people can now
afford to buy TV sets and all of that.
Dominica Dipio (2014) in a journal wrote that in an Interview he had with VJ Ronnie (secretary
of the UVJA), he learned that a number of VJs became video hall and video library owners. He
went on and said that the business had improved their personal incomes and wellbeing of their
families.
2.3 Benefits of translated film content to distributors and consumers
Ibrahim Buwembo's essay about translated foreign television dramas and films, credits vee-jays
as individuals who create depth, give a clearer interpretation and appreciation of the subject
matter and enhance the dramatic action that may not have earlier been felt by the audience. He
argues that they do this through creating a familiar environment between the audience and the
foreign films and television dramas that is to say given popular and familiar local names to
foreign characters and places, adding hilarious word play and dialogue beneath the dramatic
action which is more or less entertaining and worthwhile to the audience and makes them more
attached to the content for they can relate to it and appreciate it further. In a course we studied
10
with Mulekwa, “Trends in Film and Television Drama”, he credited VJ as a purely original and
creative Ugandan art that it steadily progressing in the nation. He commended it as a means to
earn a living rather than resorting to a life of crime. He stated that vee-jays not only voice over
television dramas and film, but also do extensive research hence provide life lesson and skills
and an interpretation of the subject matter that has depth and is compelling to the audience. In the
class, we also deliberated and actually discovered that vee-jays are also promoting the growth of
Uganda films and television dramas since they have also started translating them. A report by
BBC news states that vee-jays are also known as the "subtitles of the community". They based
this on the crowds of Ugandan movie lovers that had turned up in Kampala to watch the
country's top video jockeys battle it out to win the VJ Slam. The VJ Slam organizer, Ras Jingo
claimed that majority of Uganda would have no experience of film without vee-jays. The report
states that the films and movies are initially and primarily translated for the thousands of people
who do not speak English and cannot read subtitles. This somewhat justifies the statement of
vee-jays being the subtitles of society Ras Jingo also states that they couldn't hold a film festival
without celebrating vee-jays. He was one of the organizers of the VJ Slam, which is held as part
of the Amakula Film Festival in Kampala. He adds that vee-jays are the backbone of the
thousands of video halls which show movies across the country. In the competition, each of the
five entrant vee-jays would get five minutes to prove his worth other than the full length movie
as is done in normal circumstances. The judges look for good story telling skills, correct
vocabulary and also whether the audience responds to the vee-jays. A good vee-jay would have
done their preparation beforehand. Important to note is that different genres of the film require
different approaches. VJ Haruna Tamale says that for love stories, you have to use all the sweet
words there is but for detective stories with a twist, you must get all the translations right. The
report shows that video jockeys are celebrities in their own right in Uganda, none more so than
the winner of the slam, VJ Jingo. One of the spectators reports that VJ Jingo just has such a good
way with words. Another says that they've grown up with him and is fascinated by his style.
An article by Rachel Scheier, Contributor to the Christian Science Monitor, April 13th 2006
shows that Ugandan VJ give western films a home grown spin. It states that the VJ bring
Hollywood into the slums and villages of Uganda and tell the moral of the story since every story
has a moral. VJ Jingo, Uganda's premier video jockey as states the article says that he discovered
that one can learn a lot about the world through a screen. The article states that VJ is now a
11
central form of local entertainment and that the art involves much more than just translation. A
VJ must fill in cultural gaps and keep the audience engaged. For many VJ this means taking
considerable creative license. The article states that a video jockey is an offshoot of the distinctly
home grown phenomenon of the video hall. The article further states that VJ Jingo, as his public
knows him, is most noted for his cheeky renditions of American action films in Luganda, the
local tongue. Hand grenades might become passion fruits in a Jingo translation; characters
played by Arnold Schwarzenegger and Bruce Willis evoke proverbs about crocodiles and
chickens. Lee Ellickson, the American co director of the Amakula Film Festival, an annual event
in Kampala states that “He is not the most precise, but he is certainly the most colorful,"
referring to VJ Jingo. Mr. Ellickson says the organizers had tried to include video jockeys in the
festival from the beginning, as they are such an integral part of movie going in Uganda. The
festival features a "Vee-jay slam," in which some of the country's best-known video jockeys
display different styles and compete for the best audience response. VJ Jingo held a workshop on
technique for aspiring VJ. He is, after all, one of a handful of video jockeys who have managed
to parlay this relatively new street form into financial success, in the mode of hip-hop artists in
the US, as reports the article. The article states that although the art of VJ has not yet emerged as
a rags-to-riches path, it holds allure for a growing number of impoverished Ugandans who dream
of making it big by tapping into their creative and entrepreneurial sides rather than spending their
days driving a boda-boda (motorbike taxi) or selling vegetables. Also, with better technology,
video jockeys have become increasingly sophisticated, dubbing their translations onto tapes and
discs that they then offer for rent or sale. The article urges that neighboring countries are getting
caught up in the trend, prompting VJ Jingo to begin mixing Swahili into some of his Luganda
translations. That has earned him an audience from as far away as Rwanda and the Congo. Jingo
estimates that he has translated about 3,000 different movies during his career. But, like an actor
whose first love is the stage, Jingo still vee-jays live most evenings at a video hall in his home
village of Kajjansi, a trading center about 15 miles south of Kampala. Ellickson, for one, sees the
work of VJ like Jingo differently. "They have adapted these films in their own way; they have
made something new." VJ Jingo, for his part, defends the morality of Hollywood movies. He
says, "It's true that many American films start with violence," he says. "But in 99 percent of
them, in the end, the police always come."
12
Nakibinge joe in an interview with Didac P, Larriga said that some VJs are ripping big and
getting money. He went on and said that one can buy their machines and put his own video hall
or video studio such he could earn a lot of money with the copies.
In The Conversation article (2019), all the different forms of translation available offer
opportunities to increase accessibility and support integration. The efforts by distributors to
provide multiple options for viewers, besides making commercial sense, are a positive move
both socially and culturally. But sensitivity, rather than purely commercial reasons, must be at
the heart of the process. Otherwise all their efforts risk getting lost in translation.
In an article Bergman in Uganda, they wrote that with VJs present people with live commentary.
They continued and said that they not only do VJs explain the plot to the viewers but also
translate the dialogue on the spot and give information on Western customs and patterns of
behavior. The VJs are big stars in Kampala with a fan following of their own.
2.4 Challenges of translated film content to distributors and consumers
On World Theater Day 2017, Robert Serumaga had a take on VJs and exposed them as
individuals who stupefy the audience and public since they suffocate their intellect and ability to
think and interpreted moments and situations by themselves thus rendering them vulnerable and
dependent on other people's knowledge and opinions and view of situations other than their own.
However, on Faustin Misanvu's visit to the class, he gave his take on vee-jays. He said that they
are individuals who are suffocating the film industry since the pirated movies narrow the
audience's ability to think and interpret for themselves.
He states that some of the challenges he has faced include spending a lot of time watching the
movies and interpreting them, especially since Americans speak very fast. He also adds that a
vee-jay doesn't get time to socialize much since most of the time is spent in watching and
translating the movies. He states that his first pay came from a CD selling company in Kampala
that offered him Shs.400, 000. When asked whether he changes the storyline in these movies, he
says he cannot since most people who watch the translated movies know English. He was
reluctant to disclose whether he makes a lot of money from the art but said through it, he has
been able to sustain himself and his family.
13
J. P. Lawrence in an article in the Christian Science Monitor noted that there is a limit to cultural
understanding. Semakula Muwonge a Programs Manager at Bukedde TV station, said that they
often have to censor salacious material that could easily offend the heavily conservative
Ugandan public. Uganda is notorious for its intolerance of gay people and has long had antigay
laws. So when Filipino soap operas which have recently begun to show positive portrayals of gay
culture show two men in a relationship, the station often cuts the scene or storyline.
Some critics complain that importing global media stifles the development of local content, but I
doesn‟t foresee the hunger for these foreign soaps declining. According to an October 2014
poll, Bukkede TV averages 954,000 viewers during the 8:30 p.m. time slot for Filipino soaps.
Judith Nabwire, a housewife, says she knows what to expect when she watches a Ugandan soap
opera. A Filipino soap, on the other hand, has the potential to surprise, while still reflect her daily
life.
“When a Filipino soap and a Ugandan soap are side by side, I think I would run and see the
Filipino soap,” she says.
Stacey (2016) wrote that film translators often find nicknames to be a tough aspect of translation
because of the behavioral and cultural connotations involved. She said that some translators
simply use the original in the translated version, and while this is an easy solution, it‟s not
necessarily more effective than a literal translation. Film translators‟ real challenge arises when it
comes to nicknames in movies about organized crime or gangs, where almost every movie
character has a name that‟s been carefully crafted to describe their passion, predilection, or
propensity. Perhaps the safest approach here is to take the use-it-as-it-is approach, which means
that the translator maintains the integrity of the character‟s name. Much less stress for the
translator.
2.5 Solutions to the challenges of VJ
In a Daily Monitor interview of Mary Stuart Matovu (VJ Junior) by Arafat Ndugga, VJ Junior
states that he started VJ in 2007 when his brother Heavy Q (also vee-jay) left for the USA. He
said that he decided to continue the business and that besides that, it was fun. He says that to be
14
able to do the vee-jay business, you must know English and on top of that carry out extensive
research that involves consulting professionals like doctors and lawyers for example for movies
that may have health and law respectively so as to minimize blunders and misinterpretation.
The VJs and Publishers Guild registered on 23rd July 2018 is one association through VJs have
become a significant brand on Uganda‟s film market and the guild comprises of the leading VJs
on the land. With over two decades of existence, the guild‟s major aim is to unite VJs and film
Publishers for socio-economic development. This research looked at how VJ associations have
streamlined the VJ business in Kampala.
Emmanuel Kasomi (2020) in an article about the Uganda‟s version of Netflix wrote that
MunoWatch is an entertainment broadcasting platform that shows translated movies, particularly
in Luganda (most commonly used Local Language in Central Uganda). The Model with which it
operates is somewhat similar to Netflix, they only have certain things in common, streaming and
subscriptions being among them. One would actually argue, MunoWatch copies and pastes
Netflix‟s content. MunoWatch is a web platform that offers translated movies and a series of
different genres. These are translated in Luganda, with the help of VJ‟s.
15
CHAPTER THREE
RESEARCH METHODS AND TOOLS OF DATA COLLECTION

3.0 Introduction
This chapter describes the systematic process through which the study was conducted. It
highlights the methods used to assess the economic contributions of video jockeying to the film
sector in Kampala. This chapter also describes the data collection methods and sources of data.
The study was conducted in Kampala district. The empirical part of the study was conducted in
January 2021. Data for this study was gathered and obtained through the use of questionnaires
that were distributed to the respondents by the researcher. The subjects of this study were film
distributors and final film consumers that were selected using a simple random technique from
the different areas of Kampala district. Twenty (20) film distributors and twenty (20) final film
consumers served as subjects in the study to investigate the economic contributions of video
jockeying to the film sector of Kampala. Using secondary and primary data sources, the study
aimed at collecting data that was in line with the works of the video jockeys in Kampala and its
contribution to the film sector. The questionnaires investigated businesses that are affiliated to
video jockeying in Kampala, established the challenges faced by people consuming translated
film content produced by video jockeys in Kampala, established the solutions to the challenges
faced by the people consuming translated film content produced by video jockeys and to identify
the benefits achieved by film distributors and consumers in the film sector in Kampala. The
questionnaires were administered physically to the respondents by the researcher which
represented the most important instrument of this research. Respondents filled in a form
16
containing close ended questions because of his deep understanding of the problem. The
response was very good as all the 40 questionnaires were filled by the respondents.
3.1 Research design
The research was descriptive and explored the assessment of the economic contribution of video
jockeying to the film sector of Kampala. Descriptive aspect of the study was laid in assessing the
economic contributions of video jockeying to the film sector in Kampala.
3.2 Survey population

The study targeted film distributors and final film consumers of the film content produced by
video jockeys.
3.2.1 Sample size

The sample size was from the film sector. Data was collected from 40 respondents picked from
both film distributors and from final film consumers. This number was selected using a simple
random technique as developed by Sekaran (2000). The number was considered appropriate
because of the nature of research, limited resources and taking into account the time the study
was conducted. The number of respondents enabled the researcher to get deeper, richer and more
detailed information.
Table 3.2.2 showing the targeted sample size
Category Population Sample size (100%)
Film distributors 20 50
Final film consumers 20 50
Total 40 100
3.2.3 Sampling design
Purposive sampling and simple random sampling were used as developed by Krejcie and
Morgan (1970). Purposive sampling design was used for the selection of respondents.
Preparatory work had revealed that film distribution businesses are of a highly technical nature
17
and the information being in the study required contact with people who are knowledgeable in
the film business. Simple random sampling was used to select 40 respondents.
3.3 Data sources
The researcher used both primary and secondary data. Primary data was collected from final film
consumer respondents and film distributors using a questionnaire to obtain perceptions of the
respondents. This was because the type of data sources was original and was collected
specifically for the study. Literature was reviewed using secondary data sources from class
lecture notes, journals, newspaper articles, reports, internet, and research projects and Makerere
University Library.
3.4 Data collection
3.4.1 Secondary sources
This involved visiting websites having information about VJ among which were blogs and online
articles. The researcher as well sought information from newspaper articles. The major focus was
channeled towards finding all relevant information about VJ. The themes that the researcher set
were; finding information regarding the history of VJ in Uganda, other terms that can be used to
mean the same as VJ, the people involved in VJ, the trends in VJ, the challenges people face in
consumption of translated films, solutions to challenges of translated film content, and the
business that are affiliated to video jockeying. The information gathered from secondary sources
was very resourceful in preparing the study and giving the research a more defined perspective.
3.4.2 Primary source
Questionnaires. This involved visiting the field to collect data from selected respondents. The
primary data collection methods involved Questionnaires. These were administered to 40
respondents. Questionnaires represented the most important instruments of this research. They
were more legitimate because all the respondents were either film distributors or final film
consumers and therefore had an idea about the problem. The researcher opted to use close-ended
questionnaires because of his deep understanding of the problem. Besides, cases of non-response
were minimized and coding/editing was made much simpler. All the instruments were used
concurrently with respect of time, suitability and nature of the respondent. The researcher
divided the questionnaires into two to cater for both the film distributors and the final film
18
consumers. The questionnaire for film distributors had three sections; section A was comprised
of the bio data information about the film distributors and this was aimed at knowing more about
them. Section B was comprised of the film business questions that were aimed at creating a
deeper understanding of how translated film distributors run their businesses in terms of the
sales, expenses, distribution, benefits, challenges and solutions. Section C of the questionnaire
was composed of general overview questions about VJ in the film sector and the economy. They
looked at the contribution of VJ to the film sector and the economy at large at a film distributor‟s
perspective. The questionnaire for final film consumers also had three sections. Section A was
composed of the bio data information that helped the researcher to know background information
about the final film consumers. Section B comprised questions about the consumer experience on
translated film content. It looked at items such as expenditure on translated film content, period
of consumption, amount consumed, the benefits, challenges and solutions to the challenges.
Section C comprised general questions about the contribution of VJ to the film sector and the
economy in Kampala at a consumer‟s point of view.
3.5 Data analysis
This was the final stage in processing the data. Data was edited to check the accuracy,
consistency and completeness of the information. Data was collected from the primary survey
using a questionnaire instrument and analyzed using a computerized data analysis tool. The
SPSS package was used to come up with statistics that shows the assessment of the economic
contribution of video jockeying to the film sector in Kampala. Data entry was done by Microsoft
Word.
3.6 Limitation of the study
a) Financial constraints. The study was quite costly to the researcher as he had to meet the costs
himself.
b) Delay in response. Some respondents took a lot of time filling the questionnaires. The
researcher moved around checking on the respondents.
c) Time. The study was time consuming as the researcher had a tight schedule, that is, reading
for his exams, attending lectures as well as carrying out research.
19
d) The busy schedule of the film distributors made the researcher to reschedule appointments
now and again which delayed the collection of data. This was however overcome by making
appointments within busy schedule.
CHAPTER FOUR
PRESENTATION, ANALYSIS, INTEPRETATION AND DISCUSSION OF FINDINGS

4.0 Introduction
This chapter presents the findings according to the data collected. The findings are analyzed,
interpreted and presented according to the important variables, objectives of the study and the
research question.
4.1 Response rate
The response rate was very good; all the 40 questionnaires were filled by the respondents.
4.2 Personal data
To appreciate the reliability and the accuracy of the research findings, the researcher identified
the respondents‟ background information in respect of name, phone contact, gender, age, status
of education and where they live.
4.3 Findings from film distributors (20 respondents)
Table 4.3.1 showing the gender of the film distributors
Description Result Percentage (%)
Male 17 85.0
Female 03 15.0
Total 20 100.0
Source: Primary Data
20
According to the findings, 17 (85.0%) of the respondents were male and 03 (15.0%) were
female. This therefore implies that there was a gender bias in the study.
Film distribution business in Uganda is majorly dominated by the male as compared to the
female. It requires a relative amount of capital to invest in the film distribution business,
knowledge about the film business, marketing and patience among others. One of the
respondents told the researcher that in most cases, due to the income inequality and gap between
the males and females, we find that very few women get the opportunity to join film distribution
business. However, one of the respondents told the researcher that with time, due to the measures
such as education, government policies on poverty eradication among others, women are most
likely to join the film distribution business. The increasing presence of women in the film
business will help future researchers to study gender and its contribution to the film sector. This
will also act as a guide for policy makers to channel some resources to boost businesses based on
ground evidence produced in this research.
Table 4.3.2 showing the age range of film distributors
20 – 30 15 75.0
31 – 40 03 15.0
41 – 50 01 05.0
Above 51 01 05.0
Total 20 100.0
Source: Primary data
The study findings indicated that 15 (75.0%) of the film distributors were between 20 – 30 years,
03 (15.0%) were between 31 – 40 years, 01 (05.0%) were between 41 – 50 years and 01 (05.0%)
were above 51 years. This therefore indicates that the respondents were mature enough to answer
the questions in the questionnaires.
Film distribution business has attracted a number of people in almost all ages and this is
attributed to a number of factors such as the education system, availability of credit facilities, and
21
a stable political climate that allows business to flourish among others. The film distribution
business is however dominated by the youths basing on the study findings recorded as opposed
to people in other ages. One respondent told the researcher the young people are joining the film
distribution business because it doesn‟t require so much capital as compared to other businesses
and that the film business has a reliable market from people of all ages. The young people that
are engaged in the film business are however situated in urban settings due to the availability of a
ready market and presence of credit facilities that they tap in with hopes of boosting their
businesses.
Table 4.3.3 showing the education level of the film distributors
Degree 12 60.0
Diploma 06 30.0
Certificate 01 05.0
Others 01 05.0
Total 20 100.0
Out of 40 respondents, 12 (60.0%) possess Degree education, 06 (30.0%) possess Diploma

education, 01 (05.0%) possess certificate education and 01 (05.0%) possess other levels of
education. This analysis suggests that majority of the respondents who responded to the
questionnaire are Degree and Diploma holders and this could be an indicator that majority of the
people associated to watching and distributing translated film content regard education as the
source life worth. It can also be partly be explained given the fact that unemployment level in
Uganda which stands at 68%, most graduates from Tertiary institutions tend to set up their own
businesses for survival/job creation. This study was carried in the areas of Kampala which hosts
many Tertiary institutions hence the high number of respondents interviewed being Degree
holders.
4.3.4 Findings on the businesses affiliated to video jockeys
Table 4.3.4.1 showing Film agent distribution business
22
Yes 20 100.0
No 00 00.0
Total 20 100.0
The study findings indicated that all the 20 (100.0%) of the film distributors agreed that film
agent distribution is a business attributed to VJ and none disagreed. Agent film distribution
started at the time when VJs started digital encoding and recording of films on DVDs. The VJs
needed people that could distribute their translated films and the films agents came up to solve
the issue. These bridged the gap between the VJs and the wholesale and retail film businesses.
The mandate of distributing translated film content was handed to film agents. One of the
respondents told the researcher that they only get translated film content from film agents on a
weekly basis and not from VJs themselves.
Table 4.3.4.2 Video shacks/halls business
Yes 20 100.0
No 00 00.0
Total 20 100.0
The study findings indicated that all the 20 (100.0%) of the film distributors agreed that the
video shack/hall business attributed to VJ and none disagreed. Video halls proliferated in Uganda
in the '80s and '90s, and today they are a thriving local industry. According to the Union of
Video Owners and Operators (UVOO), a trade group in Kampala, there are some 600 video halls
in greater Kampala and 2,500 countrywide. The video halls attracts the urban unemployed
youths who in most cases visit video halls to watch translated films and also watch football. The
respondents mostly men told the researcher that although in the past there was a negative
perception in the public about video halls, the idea has changed and now people look at as a
potential area for investment in the film sector and economy at large.
23
Table 4.3.4.3 Retail film distribution business
Yes 20 100.0
No 00 00.0
Total 20 100.0
The study findings indicated that all the 20 (100.0%) of the respondents agreed that retail film
distribution business is attributed to VJ and none disagreed. Retail film distribution business is
predominantly associated with video libraries as a means through which majority people in
Kampala largely get film content regardless of whether translated or otherwise. The mode of film
distribution through video libraries as retail shops has been in existence for quite some time
irrespective of some challenges such as low customer turn ups, high taxes, and piracy among
others. The business has however lived the test of time and has encouraged many potential
investors and film lovers to invest in the retail film distribution business. The retail film business
operators get translated film content from film agents and later supply it later to the video
shacks/halls and the final film consumers either at rental or permanent sale. The challenges and
possibilities brought by other new forms of formal online distribution and the growth of new
forms of informal distribution need to be examined further to get a clear difference between the
retail film distributors and online film distribution. However, to understand these new
developments and their possible implications, it is first necessary to explore the nature of the pre-
existing models of film distribution and the new methods that are said to be disruptive to the film
business. Majority of the respondents majorly men told the researcher that this business has
attracted them to invest in it because of the high returns on sales of translated film content in
Kampala.
Table 4.3.4.4 showing expenditure on translated film content by film distributors
Action 08 40.0
24
Horrors 01 5.0
Animations 02 10.0
Love stories 06 30.0
Ugandan movies 03 15.0
Total 20 100.0
The study findings indicated the expenditure on translated film content by film distributors on
film genres as; action were 08 (40.0%), horrors were 01 (05%), animations were 2 (10.0%), love
stories were 06 (30.0%) and Ugandan movies were 03 (15.0%).
The study findings show that a high expenditure on translated film content by film distributors is
on love stories and action films. Ms. Mukupe Pruscilla a film distributor in Makerere Kikoni
explained to the researcher that she has a high expenditure on love stories and action translated
film content by VJ Junior because most of her customers who are students enjoy watching them
and that there is a high demand and market for them which prompts her to spend much money on
that stock in relation to other translated films. Ms. Mukupe Pruscilla also hinted on the fact that
very little expenditure is on animations, horrors Ugandan movies simply because their market is
unreliable and that specific translated film content like Ugandan films are at a high cost of two
thousand shillings (2,000/=) which makes customers fail to buy them and in turn opt for the
cheap translated film content like love stories and horror films that go for a fee of one thousand
shillings (1,000/=).
Table 4.3.4.5 showing the cost of selling translated film content
Description Result Percentage
1,000/= 08 40.0
1,500/= 12 60.0
2,000/= and above 00 00.00
Total 20 100.0
25
Out of 20 respondents, 08(40%) of the respondents sell translated film content at 1,000/=, 12
(60.0%) of the respondents sell translated film content at 1,500/= and none sells translated film
content at 2,000/= and above. video libraries in Kampala are sell translated film content at a fee
between 1,000/- and 1,500/- basing on the results of the study. One of the respondents told the
researcher that the prices of the translated films are between that range because its determinant
on the cost of purchase from the agents. He added on and said that they sell much of the foreign
translated content between that range because they buy them at a relatively low cost as compared
to the Ugandan films which are expensive on the market valued at a cost of between 2,000/- to
3,000/-. This makes it hard for the distributors to sell these Ugandan translated film content to
the buyers since they are expensive.
Table 4.3.4.6 showing period of distributing translated film content by film distributors
1 – 10 yrs. 19 95.0
11 – 20 yrs. 01 05.0
21 – 30 yrs. 00 00.0
31 yrs. and above 00 00.0
Total 20 100.0
The study findings indicated that 19 (95.0%) of the respondents have been distributing translated
film content for 1 – 10 yrs., 01 (5.0%) of the respondents have been distributing translated film
content for 11 – 20 yrs. and none has been distributing translated film content between 21 – 30
yrs. and 31 yrs. and above. film distribution business has attracted a number of people to join the
business as compared to the early 80‟s. over time, people have found out that this business is
profitable hence investment in it. This therefore has enabled people to gain experience in the film
distribution business as portrayed by the study findings. One of the respondents told the
researcher that he had stayed in the film distribution business thus long due to the profits he
gained out of it and a long period of endurance that kept him pushing to date.
26
Table 4.3.4.7 showing where translated film content is bought
Video jockeys 00 00.0
Film Agents 17 85.0
Film wholesale distributors 03 15.0
Film retail distributors 00 00.0
Total 20 100.0
The study findings indicated that none of the film distributors buys translated film content from
the video jockeys, 17 (85.0%) of the film distributors buy translated film content from the film
agents, 03 (15.0%) of the film distributors buy translated film content from film wholesale
distributors and none buys translated film content from the film retail distributors. Following the
chain of distribution of translated films earlier mentioned, the film distributors buy the translated
film content and sell them to the final film consumers. One of the respondents told the researcher
that he buys translated film from the wholesale film distributors through whom he communicates
with the video jockeys on demands of the final consumers.
Table 4.3.4.8 showing purchase of translated film content
Daily 01 05.0
Weekly 08 40.0
27
Monthly 11 55.0
Yearly 00 00.0
Total 20 100
The study findings indicated that 01 (05.0%) of the film distributors purchase translated film
content daily, 08 (40.0%) of the film distributors purchase translated film content weekly, 11
(55.0%) of the film distributors purchase translated film content monthly and none of the film
distributors purchases translated film content yearly. Ms. Mukupe Pruscilla a film distributor told
the researcher that majority of the film distributors release translated film content on a weekly
basis which makes many of them purchase translated film content from agents on a weekly basis
too to suit the demands of their customers. Very few film distributors purchase translated film
content on a daily basis and according to one of the respondents, if they are to make that daily
purchase, it should be because a specific movie is on demand and the video jockeys are releasing
it on a daily basis. The purchase is made and kept in stock for the customers to buy in future.
Table 4.3.4.9 showing sale of translated film content
Film wholesale 00 00.0

distributors
Film retail 02 10.0

distributors
Final film 18 90.0

consumers
Total 20 100.0
The study findings indicated that no film distributor sells translated film content to film
wholesale distributors, 02 (10.0%) of the film distributors sell translated film content to the film
retail distributors and 18 (90.0%) of the film distributors sell translated film content to the final
film consumers. Film distributors in Kampala majorly sell translated film content to final film
consumers that offer the biggest market followed with small retail film businesses majorly in the
28
upcountry and in the Kampala metropolitan areas. One of the respondents told the researcher that
his customers mainly come from distant districts out of Kampala mainly from the Eastern
Uganda and that they offer a big market for translated film content. He added on that on a daily
basis, he gets customers from the general public that demand translated films to whom he sells
them.
Table 4.3.4.10 showing the Status of the film distribution business
Beneficial 20 100.0
Loss 00 00.0
I don‟t know 00 00.0
Total 20 100.0.0
The study findings indicated that 20 (100%) of the film distributors have found the film
distribution business beneficial and none of the film distributors have found it a loss.
Basing on the evidence recorded, film distribution is majorly beneficial to all the people that
involve in it. The benefits are both social and economic. All the film distributors told the
researcher that the film distribution business is beneficial to them and that they have got many
things out of it.
Table 4.3.4.11showing the benefits of distributing translated film content
Expansion of the film business 03 15.0
Payment of rent 12 60.0
29
Investment in other businesses 01 5.0
Promoted good work relations with 01 5.0

customers
Promoted savings and learning 03 15.0
Total 20 100.0
The study findings indicated that 03 (15.0%) of the film distributors have been able to expand
their film distribution business through distributing translated film content, 12 (60.0%) of the
film distributors have been able to pay off rent at their premises through the distribution of
translated film content, 01 (5.0%) of the film distributors has invested in other businesses from
the income earned through the distribution of translated film content, 01(5.0%) of the film
distributors has promoted good work relations with their customers through the distribution of
translated film content and 03 (15.0%) of the film distributors said that distribution of translated
film content has promoted savings and learning. Film distribution world over is one of the
promising businesses that has attracted investment. Film distribution business just like any other
business has outstanding benefits that the people involved in proudly talk about. Ms. Mukupe
Pruscilla told the researcher that through the film distribution business, she was able to expand
her business from one video library to two. One other respondent told the researcher that he was
able to gain experience in the film distribution business and market research skills that enabled
his business to stand firm.
Table 4.3.4.12 showing the challenges in distributing translated film content

Low sales on translated film genres like Horrors and 05 25.0
animations
Ugandan translated films are expensive 08 40.0
Losses made from glitches on agents‟ translated film 02 10.0

copies
Unreliable supply of translated films from agents 03 15.0
High taxes imposed on translated films 02 10.0
30
Total 20 100.0
The study findings indicated that 05 (25.0%) of the film distributors incur a challenge of low
sales on translated film genres like horrors and animations, 08 (40.0%) of the film distributors
said that Ugandan translated films are expensive, 02 (10.0%) incur losses made form glitches on
agents‟ translated film copies, 03 (15.0%) of the film distributors face unreliable supply of
translated films from agents and 02 (10.0%) of the film distributors face a challenge of high
taxes imposed on translated films. Film distribution business just like any other business has
challenges and the most outstanding one is the high cost of purchasing translated films and the
low sales made on some of the film genres. Many of the film distribution businesses lack the
investments to improve quality of the films in terms of printing posters and other related
materials and at times to efficiently market the translated films. One of the respondents told the
researcher that he faces a problem of high taxation imposed on his film business which at times
hinders operations.
Table 4.3.4.13 showing the solutions to challenges in distributing translated film content
Government reduction on taxes levied on translated films 11 55.0
Video jockeys should make adverts for the film 06 30.0

distributors to increase sales of the translated film
content
Video jockeys should only translate films that are on 03 15.0

high demand
Total 20 100.0
The study findings indicated that 11 (55.0%) of the respondents thought that the government
should reduce on taxes levied on translated films, 06 (30.0%) of the respondents thought that
video jockeys should make adverts for the film distributors in order to increase their sales of the
translated film content and 03 (15.0%) of the respondents thought that video jockeys should only
translate films that are on a high demand as solutions to challenges in distributing translated film
31
content. There are a number of solutions that have been suggested to address challenges that
affect the film distribution business. Video jockeys and film distributors formed associations and
the most recent one is the AFP that was formed by VJ Junior in Kampala. The associations help
represent the views of the film distributors and VJs collectively. Associations also negotiate
market prices and costs of translated film content. One of the respondents told the researcher that
he hoped government could reduce on the taxes that are levied on translated film content to make
operationalization of the film business easier and profitable to him and his other colleagues
involved in the distribution business. Majority of the respondents majorly those in the Central
Business District whose majorly challenge was high taxes levied on their business hoped that the
government could come to their rescue and fins ways of collecting taxes but as well let their
businesses operate with a reduction on the taxes imposed on them.
4.4 Findings from the final film consumers (20 respondents)
Table 4.4.1 showing the gender of the final film consumers
Male 09 45.0
Female 11 55.0
Total 20 100.0
The study findings indicated that 09 (45.0%) of the final film consumers were male and 11
(55.0%) were female. In January 2020, a survey held among adults in the United States revealed
that 32 percent of men watched or streamed movies on a daily basis, compared to 27 percent of
women. Data also showed that men were more likely to watch or stream sports shows more
regularly, and daily consumption of TV shows was higher among women. In Uganda, women
spend an average of 2.64 hours per day watching television dramas translated by video jockeys.
Men on the other hand watch translated films/movie more than the women. The respondents
mostly female told the researcher that they watched translated film dramas at prime time because
at that time, some local TVs broadcast translated television dramas. The male respondents on the
32
other revealed that they watched translated film content most majorly on weekends and after
work.
Table 4.4.2 showing the age range of the final film consumers
20 – 30yrs 18 90.0
31 – 40yrs 01 05.0
41 – 50yrs 01 05.0
Total 20 100.0
The study findings showed that 18 (90.0%) of the respondents were between 20 – 30 years, 01
(05.0%) of the respondents were between 31 – 40 years and 01 (05.0%) of the respondents were
between 41 – 50 years.
When it comes to generation characters, many people own or use smartphones, they have social
media accounts and download or stream video at least once per month. This means that these
people have access and stream film content. Technological advancements and education has
enabled the youths between the ages of 20 – 30 years access films more than people in the other
ages. The persons above ages 40 and 50 years in most cases prefer watching News on Tv and
talk shows as opposed to the youths that watch television dramas, films and entertainment shows.
Table 4.4.3 showing the level of the final film consumers
Degree 03 15.0
Diploma 03 15.0
Certificate 02 10.0
Others 12 60.0
Total 20 100.0
33
The study findings indicated that 03 (15.0%) of the respondents had a degree, 03 (15.0%) of the
respondents had a diploma, 02 (10.0%) of the respondents had certificates and the majority 12
(60.0%) were among others. Studies globally show that higher education is correlated with less
television usage. Individuals with high education qualifications are selective in the film content
they watch and to be specific, tin reference to watching translated film, the learned people prefer
untranslated film content as opposed to others. There is also a narrative that people with high
academic qualifications watch television in different and limited time intervals because at most
of the times, they are occupied with work.
Table 4.4.4 showing the period for the consumption of translated film content by final film
consumers
1 – 5 yrs. 01 5.0
6 – 10 yrs. 03 15.0
11 yrs. and above 16 80.0
Total 20 100.0
The study findings indicated that 01 (5.0%) of the final film consumers consumed translated film
content for 1 – 5 yrs., 03 (15.0%) of the final film consumers consumed translated film content
for 6 – 10 yrs. and 16 (80.0%) of the final film consumers consumed translated film content for
11 years and above. Film consumption has changed dramatically in the recent years. The rise of
video jockeys has reconfigured the public experience of film. At the same time, movie viewing
has grown exponentially in domestic and mobile spheres, driven by increasingly flexible access
to content and the diversity of screens this material can be delivered to. One of the respondents
told the researcher that she had started watching films as early as 2010 and that she has gained
love for particular film genres over time due to the experience she gained from watching films
produced by almost all video jockeys in Kampala.
34
Table 4.4.5 showing where translated film content is bought from
Film wholesale distributors 01 05.0
Film retail distributors 19 95.0
Total 20 100.0
Out of 20 final film consumer respondents, 01 (05.0%) buy translated film content from film
wholesale distributors and 19 (95.0%) buy translated film content from film retail distributors.
Majority of people that watch translated film content usually buy them from video libraries that
are now spread within all divisions in Kampala. These video libraries are owned by some of the
video jockeys, Film agents, wholesale and retail distributors. The final film consumers based on
their choices and preferences buy translated film content from them. Majority of the respondents
majorly females told the researcher that they at first used to hire translated film at the retail film
distribution points normally referred to as video libraries and later resorted to buying them
permanently at a fee prescribed to them. The female respondents showed that they bought more
translated film content than the males. The observed trends therefore seek to inform the
government that there is a potential boom in business in the film sector and basically in the
trading of translated film content. Many people watch translated film content and therefore
becomes a potential medium through which government can pass through to educate and
sensitize masses on important economic, social and political developments in the country such as
elections, health, education among others.
Table 4.4.6 showing purchase on translated film content by final film consumers
Daily 18 90.0
Weekly 01 05.0
Monthly 01 05.0
Yearly 00 00.0
35
Total 20 100.0
Out of 20 final film consumer film respondents, 18 (90.0%) purchase translated film content
daily, 01 (05.0%) purchase translated film content weekly, 01 (05.0%) purchase translated film
content monthly and none purchases translated film content yearly. Different consumers
purchase and consume translated film content differently but majority basing on the study
findings show that they make purchases on a daily basis. Eighteen respondents told the
researcher that on average, they purchases at least one translated film daily. This shows that there
is love for translated films among the people regardless of the genre.
Table 4.4.7 showing the cost of buying translated film content
1,000/= 03 15.0
1,500/= 17 85.0
2,000/= and above 00 00.00
Total 20 100.0
The findings indicated that 03 (15.0%) of the respondents buy translated film content at 1,000/=,
17 (85.0%) of the respondents buy translated film content at 1,500/= and none buys translated
film content at 2,000/= and above. Translated films are bought at a relatively low cost on DVDs
compared to other mainstream media channels such as Netflix, Show max that require monthly
subscriptions. One of the respondents however told the researcher that VJ Junior came up with
an online channel called “Muno watch” that requires one to pay a fee of around 12,000/- and get
access to all translated film content on that site. Although the cost might look manageable, some
film consumers claim that the cost of buying translated film content isn‟t that favorable given the
fact that film distributors sell these films at slightly different prices on the market.
Table 4.4.8 showing the status of watching translated film content
36
Beneficial 17 85.0
Loss 03 15.0
Total 20 100.0
The findings indicated that 17 (85.0%) of the final film consumers found watching translated
film content beneficial and 03 (15.0%) of the final film consumers a loss.
It‟s clear that watching film provokes all kinds of emotions which range from laughter, sadness
among others and can as well prompt one find the strength he needs to face problems. Majority
of the people that watch translated films in Kampala think that watching translated films is
beneficial as opposed to a few individuals. To some, watching translated film content is a loss.
One of the respondents told the researcher that he finds watching translated a loss as it doesn‟t
clearly bring out the ideal picture depicted in the films.
Table 4.4.9 showing the benefits of watching translated film content
Education 04 20.0
Entertainment 08 40.0
Stirs up imagination 05 25.0
Does away with language barrier 03 15.0
Total 20 100.0
The study findings indicated that 04 (20.0%) of the final film consumers learned through
watching translated film content, 08 (40.0%) of the final film consumers got entertainment
through watching translated film content, 05 (25.0%) stirred up imagination and 03 (15.0%) of
the final film consumers believed that translated film content does away with language barrier.
Films world over are associated with a number of benefits that range from film as an Art form, a
socializing factor, tool for education and something that stirs up imagination. These benefits are
attributed to the various stories that are captured in the films that are easily relatable with the
37
audience to whom they are directed. This isn‟t any different with translated film content.
Translated film content only breakdown the language for the viewers but the story remains the
same together with the benefits attained. Majority of the people in Kampala find watching
translated film content purely as a source of entertainment and education.
Table 4.4.10 showing challenges in watching translated film content
Translations common in only Luganda 05 25.0
Exaggeration of action in the films by video jockeys 03 15.0
Low quality of the translated films 06 30.0
Misinterpretations 02 10.0
They are expensive 02 10.0
Many adverts in translated films make them boring 02 10.0
Total 20 100.0
Out of 20 final film consumer respondents, 05 (25.0%) faced a challenge of translations common
in only Luganda as used by video jockeys in their translated films, 03 (15.0%) faced a challenge
of exaggeration of action in the translated films by video jockeys, 06 (30.0%) faced a challenge
of low quality of the translated films while watching them, 02 (10.0%) faced a challenge of
misinterpretations of dialogue by video jockeys, 02 (10.0%) faced found a challenge of
translated films being expensive and 02 (10.0%) found a challenge of many adverts in translated
films by video jockeys which make them boring while watching them. Watching translated film
content both on mainstream media and DVDs comes along with a number of challenges. The
38
common challenge faced by people consuming translated film content is the idea that these films
are only translated in one language that is to say, Luganda which represents the biggest ethnicity
in Uganda. Video jockeys use Luganda as a language while translating films with the market
perspective in their minds. Final film consumers also claim that the translated film content is
expensive on the market which makes it hard to purchase the desired amount of film
Table 4.4.11 showing Solutions to challenges faced while watching translated film content
Watch translated films with subtitles to get own understanding 03 15.0
Video jockeys should be keen while translating films 06 30.0
The need to lower prices of translated films 01 05.0
Need to translate films in other languages other than Luganda 10 50.0
Total 20 100.0
The study findings indicated that 03 (15.0%) of the final film consumer respondents thought that
watching translated films with subtitles would help them get their own understanding of the
translated films, 06 (30.0%) of the final film consumer respondents thought that video jockeys
should be keen while translating films, 01 (05.0%) of the final film consumer respondents
thought that there was need to lower prices of translated films and 10 (50.0%) of the final film
consumer respondents thought that there was need to translate films in other languages other than
Luganda.
Problems arise abundantly in almost every situation, and solutions are even scarcer. To find one
great solution to a pressing problem of contemporary society is difficult, yet not impossible.
39
Majority of the respondents told the researcher that in order to make watching translated films a
wonderful experience, the video jockeys ought to be very keen on what they translate so as to
bring out the true meaning of what is depicted in the films.
4.5 General overview (Film distributors &Final film consumers)
4.5.1 Economic contributions of video jockeys to the film sector (40 respondents)
Table 4.5.1.1 Buying and selling of translated film content by video jockeys has generated
revenue to the government through the film sector of Kampala
Yes 40 100.0
No 00 00.0
Total 40 100.0
The study findings indicated that 40 (100.0%) of the respondents agreed that buying and selling
of translated film content by video jockeys has generated revenue to the government through the
film sector and none disagreed. Film business in Kampala raises revenue to the government
through various dimensions among which include taxes levied on the equipment that‟s the video
jockeys use to translate films such as computers, speakers, monitors, microphones among others,
direct tax in for of licenses that the film business owners are required to pay while registering
business at Uganda Registration Service Bureau (URSB) among others. These taxes are used by
the government to put in place a number of development such as putting in place infrastructure
such as roads for easy access to market centers, create more power generation centers that
generate electricity that keeps the film sector up and running among others.
40
Table 4.5.1.2 Video jockeying has created employment opportunities for people in the film
sector of Kampala
Yes 40 100.0
No 00 00.0
Total 40 100.0
The study findings indicated that 40 (100.0%) of the respondents agreed that video jockeys have
created employment opportunities for people in the film sector in Kampala and none disagreed.
Video jockeying has undergone significant change in the past two decades marked by rapid
growth in employment opportunities in the sector. It plays a crucial role in meeting society‟s
need for information, entertainment, communication and creativity, promoting the values of
culture, expression and diversity and to some extent, promoting the democratic processes in
society. Employment in the film industry has grown and draws on the creativity, skills,
professionalism and dedication of the people involved in it such as the video jockeys. However,
the film sector has a long tradition of insecure work, characterized by unclear contractual
arrangements. Video jockeying has created job opportunities for accountants, drivers, graphic
designers, marketers among others. These earn a living out of the businesses related to video
jockeying.
Table 4.5.1.3 Video jockeying has promoted growth of culture in the film sector through
the use of local languages in the film sector of Kampala
Yes 40 100.0
No 00 00.0
Total 40 100.0
41
The study findings indicated that 40 (100.0%) of the respondents agreed that video jockeying has
promoted growth of culture in the film sector through the use of local languages in the film
sector of Kampala and none disagreed. Culture has been promoted majorly through the use of the
local languages in translating films. One of the respondents told the researcher that she feels
proud to watch a film translated in her local language and over time she urged her fellas to also
watch them.
Table 4.5.1.4 Video Jockeys have promoted market for goods and services in the film sector
of Kampala
Yes 39 97.5
No 01 02.5
Total 40 100.0
Out of 40 respondents, 39 (97.5%) agreed that video jockeys have promoted market for goods
and services in the film sector of Kampala and 01 (02.5%) disagreed. Majority of the final film
consumers told the researcher that they were able to know about a number of goods and services
that were advertised in the translated films that they buy to watch. Nalubanga Zowena a
consumer told me that she was able to know about different schools, hospitals, restaurants and
other films that are showcased inform of trailers.
42
CHAPTER FIVE
SUMMARY, CONCLUSION AND RECOMMENDATIONS

5.0 Introduction
This chapter presents the summary, conclusions and recommendations arising from the research
findings in chapter four and suggested areas of further research.
5.1 Summary
The purpose of this study was to assess the economic contributions of video jockeying to the film
sector of Kampala. The study aimed at finding out the businesses that are affiliated with video
jockeying in Kampala, to establish the challenges faced by people consuming translated film
content produced by video jockeys in Kampala, to establish the solutions to the challenges faced
by the people consuming translated film content produced by video jockeys and also to identify
the benefits achieved by film distributors in Kampala and final film consumers in the film sector
of Kampala.
5.2 Conclusion
On the basis of the results of this research, it can be concluded that video jockeying has steadily
impacted on the economy of the film sector and the national economy at large. It was concluded
that video jockeying has generated revenue through the film sector of Kampala to the
43
government, video jockeying has generated employment opportunities for the people in the film
sector of Kampala, it has promoted the growth and development of culture in the film sector
through use of local languages and has promoted market for goods and services in the film sector
of Kampala.
Video jockeying has benefited film distributors of translated film content in Kampala through
expansion of their film business from the profits attained, payment of rent for their businesses,
investment in other profitable businesses, promoted good work relations between film
distributors and their customers and promoted a saving culture among the film distributors.
Final film consumers have also benefited from video jockeying through entertainment,
education, stirring up the imagination of film consumers and also done away with language
barrier.
However, film distributors and final film consumers of translated film content each has faced
challenges with video jockeying in Kampala. The film distributors have faced challenges such as
low sales made on some translated film genres like horrors and animations, the high expenditure
of translated films produced by video jockeys, losses made from glitches on translated agents‟
copies and high taxes imposed on translated films. Final film consumers have face challenges
such as only one language being used by video jockeys, exaggerations made by video jockeys,
low quality of films translated by video jockeys and the high expenditure incurred while
purchasing translated film content.
5.3 Recommendations
5.3.1 Recommendations to the VJs and distributors

The video jockeys should improve on their business skills and research skills through attaining
education and marketing trainings at institutions of learning so as to boost their ability to
translate films and market them in Kampala.
Video jockeys and distributors should form associations to represent them in negotiations and
determining the prices of the translated films produced by video jockeys.
44
5.3.2 Recommendations to the government
The government should lower the lending rate at the Central bank to encourage potential film
investors to acquire low interest loans from banks so as to invest in their businesses to cater for
the increasing demand of the final film consumers.
The government should enact a law governing the distribution of film content to increase the
performance of the film business and economically contribute to the film sector.
5.4 Areas for further research
This study has brought out the need for research into the assessment of consumers behavior in
watching translated films as opposed to untranslated films.
There is also need to carry out a study about effects of Luganda film translations on the children.
REFERENCES
Matooke Republic, (2018). VJ Junior lands deal with European Union, to translate European
movies at 2018 Euro-Uganda Film Festival: Kampala:
https://www.matookerepublic.com/2018/06/06/vj-junior-lands-deal-with-european-union-to-
translate-european-movies-at-2018-euro-uganda-film-festival/
Bernadine R, (2019). How foreign film translations impact global societies: Daily Translations:
New York: https://www.daytranslations.com/blog/foreign-film-translation-impact/
Crisp V, (2015). Formal Film Distribution. In: Film Distribution in the Digital Age: London:
Palgrave Macmillan: https://www.palgrave.com/gp/book/9781137406606
Daily monitor Newspaper, (2016). Lwanga used tuition to start business: Kampala:
https://www.monitor.co.ug/uganda/lifestyle/reviews-profiles/lwanga-used-tuition-to-start-
business-1651140
Dr. Charles M, (2019). Trends in Film and Television Drama: Kampala: Course DRF 1206
45
Emmanuel K, (2020). MunoWatch, Uganda’s version of Netflix: Kampala: UgTechmag:
https://ugtechmag.com/munowatch-ugandas-version-of-netflix/
Josh R. (2018). VJ Junior lands a deal with EU prior to the Euro Uganda Film Festival:
Kampala: MbuUganda: https://mbu.ug/2018/06/07/vj-junior-lands-deal-with-the-eu-prior-to-the-
euro-uganda-film-festival/
Krejcie, R.V., & Morgan, D.W, (1970). Determining Sample Size for Research Activities. Texas
A. & M University: https://doi.org/10.1177/001316447003000308
Moses T, (2007). What VJ Jingo, Micheal Wawuyo really think about film voice overs. Kampala:
The Observer Newspaper: https://observer.ug/lifestyle/57959-what-vj-jjingo-michael-wawuyo-
really-think-about-film-voice-overs
Prince N. J, (2007). President of the Union of Video Jockeys/Translators Association (UVJA);

Vee Jay translators in Uganda: Kampala Uganda: Didac P. Lagarriga (Oozebap).
https://www.oozebap.org/text/uganda-vj-eng.htm
Rachel S, (2006). Uganda's veejays give Western films a home-grown spin: Kampala Uganda:
https://www.csmonitor.com/2006/0413/p01s04-woaf.html
Sekaran, U, (2000). Research Methods for Business: A Skill Building Approach: New York: John
Wiley & Sons.
Sekaran, U, (2003). Research Methods for Business: A Skill-Building Approach. New York: John
Wiley & Sons: https://www.wiley.com/en-
kg/Research+Methods+For+Business:+A+Skill+Building+Approach,+7th+Edition-p-
9781119266846
Stacey (2016). Film translation and its challenges - Part 1. One hour translation:
https://www.onehourtranslation.com/translation/blog/film-translation-and-its-challenges-part-1
The Conversation (2019). Lost in translation: subtitles and dubbing help viewers, but can also
cause problems:
https://www.scirp.org/(S(351jmbntvnsjt1aadkposzje))/reference/ReferencesPapers.aspx?Referen
ceID=1725707
46
Tina L. Z, (2015). VJing: Engaging Ugandan Youth; A new model to engage youth in technology
for development. Kampala Uganda: Unicef: https://www.unicef.org/innovation/stories/vjing-
engaging-ugandan-youth
APPENDICES
Appendix I: Film distributors’ questionnaire
QUESTIONNAIRE
To be filled by film distributors (20 respondents)
Dear Respondent,
My name is Mugaya Fahad a Third year student pursuing a Bachelor‟s Degree of Arts in Drama
and Film at Makerere University. This questionnaire is a fundamental tool in the research about
the economic contribution of Video Jockeys to the Film Sector in Kampala. I kindly appeal to
you for your support in line with this research. Your information will be handled with utmost
confidentiality
Section A: Background of information

1. Name:
2. Telephone:
3. Age: (please tick the appropriate answer)
25-30YRS 2. 30-35 YRS
3. 35-40YRS 4. Above 40YRS
4. Sex: 1. Male 2. Female

5. Highest level of education: (please tick the appropriate answer)
Level of education 
47
Degree
Diploma
Certificate
Others
Section B: Film business

6. The following businesses are affiliated to Video Jockeying; (Kindly write your answer
in the spaces provided)
Description Yes/No
Film agent distribution business
Video shacks/halls
Retail film business/video libraries
7. Expenditure on Translated film content;

Item Amount Daily/weekly/yearly (please specify)
Action
Horrors
Animations
Ugandan movies
Love stories
8. At how much do you sell each film? (Please fill in the space provided below)
9. If your answer in question 9 is (a), you have been distributing film content for;
a) 1-10 YRS c) 21-30 YRS
b) 31 and above YRS 11-20 YRS
10. You buy translated film content from;
a) Video jockeys c) Film retail traders
b) Film wholesale traders
11. You often purchase translated film content;
a) Daily c) Monthly
b) Weekly d) Yearly
48
12. You sell translated film content to;
a) Film wholesale traders
b) Film retail traders
c) Final consumers
13. Film distribution business has been;
a) Beneficial c) I don‟t know
b) a loss
14. If distributing translated film content has been beneficial, please state any five benefits
you can recall starting with the most important. (Please fill in the space provided below)
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
15. If distributing translated film content has been a loss, please mention any five losses
starting with the most important. (Please fill in the space provided below)
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
16. Please state the; (Please fill in the space provided below)
Challenge got in distributing translated film Solution to the challenges in distributing
content translated film content
Section C: General overview
49
(Please tick the most appropriate answer in the boxes provided in the table below)
QUESTION YES NO I don’t
know
Buying and selling of translated film content by video jockeys has

generated revenue to the government through the film sector of
Kampala
Video jockeying has created employment opportunities for people in

the film sector of Kampala
Video jockeying has promoted growth of culture in the film sector

through the use of local languages in the film sector of Kampala
Video Jockeys have promoted market for goods and services in the
film sector of Kampala
Thank you very much

Appendix II: Final film consumers’ questionnaire
QUESTIONNAIRE
To be filled by final film consumers (20 respondents)
Dear Respondent,
My name is Mugaya Fahad a Third year student pursuing a Bachelor‟s Degree of Arts in Drama
and Film at Makerere University. This questionnaire is a fundamental tool in the research about
the economic contribution of Video Jockeys to the Film Sector in Kampala. I kindly appeal to
you for your support in line with this research. Your information will be handled with utmost
confidentiality
Section A: Background of information

1. Name:
2. Telephone:
3. Age: (please tick the appropriate answer)
25-30YRS 2. 30-35 YRS
3. 35-40YRS 4. Above 40YRS
4. Sex: 1. Male 2. Female

5. Highest level of education: (please tick the appropriate answer)
Level of education 
Degree
50
Diploma
Certificate
Others
Section B: final film consumer experience
6. You have been buying and consuming translated film content for;
a. 1 – 5 YRS c. 11 YRS and above
b. 6 – 10 YRS
7. You buy translated film content from
a. Film wholesale distributors
b. film retail distributors
8. You purchase translated film content; (please tick the most appropriate answer)
Daily
Weekly
Monthly
Yearly
9. At how much do you buy each CD of translated film content?

……………………………………………………………………………………………..........
10. Has watching translated film content been;
a. Beneficial
b. Loss
11. If watching translated film content has been beneficial, please state any five benefits
you can recall starting with the most important. (Please fill in the space provided
below)
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
51
12. If watching translated film content has been a loss, please mention any five losses
starting with the most important. (Please fill in the space provided below)
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
13. Please state the; (Please fill in the space provided below)
Challenge got in watching translated film Solution to the challenges in watching
content translated film content
Section C: General overview

(Please tick the most appropriate answer in the boxes provided in the table below)
QUESTION YES NO I don’t
know
Buying and selling of translated film content by video jockeys has

generated revenue to the government through the film sector of
Kampala
52
Video jockeying has created employment opportunities for people in
the film sector of Kampala
Video jockeying has promoted growth of culture in the film sector

through the use of local languages in the film sector of Kampala
Video Jockeys have promoted market for goods and services in the
film sector of Kampala
Thank you very much
53

Role of Vjs in The Ugandan Film Industry

Uploaded by

Copyright:

Available Formats

Role of Vjs in The Ugandan Film Industry

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Role of Vjs in The Ugandan Film Industry

Uploaded by

Copyright:

Available Formats

i

MAY GOD BLESS YOU ALL

Table 3.2.2 showing the targeted sample size……………………………………………………17

Table 4.3.1 showing the gender of the film distributors…………………………………………20

Table 4.3.2 showing the age range of film distributors……………………………………….....21

Table 4.3.4.8 showing purchase of translated film content………………………...……………27

Table 4.3.4.9 showing sale of translated film content...…………………………………………28

Table 4.4.9 showing the benefits of watching translated film content…..………………………37

AFPUL…………..…………………………… Association of Film Practitioners Uganda Limited

CBC …………………..………………………………………………… Central Business District

CD……………………………...………………………………………………..…. Compact Disk

DVD.…………………………………………………………….…………..… Digital Video Disc

UCC……………………………………………………….Uganda Communications Commission

UFC………………………………………………………….………………Uganda Film Council

URSB……………………………..………………………….Uganda Registration Service Bureau

UVJA…………………………………………………...……..Uganda Video Jockeys Association

VCD……………………………………………………………...………….. Video Compact Disc

VJ…………………………………………………………….……Video Jockey/Video Jockeying

1.2 Background of the study

1.3 Statement of the problem

1.4 Objectives of the study

1.4.2 Specific objectives;

 To find out the businesses affiliated to VJs in Kampala.

1.5 Research questions

1.5.1 Major research question

What is the economic contribution of VJ to the film sector in Kampala?

 What businesses are affiliated to VJs in Kampala?

1.6 scope of the Study

1.6.1. Geographical scope

1.6.2. Content Scope

1.6.3. Time Scope

The research ranged from 1986 to 2020.

1.7 Significance of the study

2.2 Businesses affiliated to VJ.

2.3 Benefits of translated film content to distributors and consumers

2.4 Challenges of translated film content to distributors and consumers

2.5 Solutions to the challenges of VJ

RESEARCH METHODS AND TOOLS OF DATA COLLECTION

3.1 Research design

3.2 Survey population

3.2.1 Sample size

Table 3.2.2 showing the targeted sample size

Category Population Sample size (100%)

Final film consumers 20 50

3.2.3 Sampling design

3.3 Data sources

3.4 Data collection

3.4.1 Secondary sources

3.4.2 Primary source

3.5 Data analysis

3.6 Limitation of the study

PRESENTATION, ANALYSIS, INTEPRETATION AND DISCUSSION OF FINDINGS

4.1 Response rate

4.2 Personal data

4.3 Findings from film distributors (20 respondents)

Table 4.3.1 showing the gender of the film distributors

Description Result Percentage (%)

Source: Primary Data

Table 4.3.2 showing the age range of film distributors