This article is concerned with the way an African ethnic group is represented in the medium of television. It is argued, first, that, in the broad spectrum of programmes, ethnographic films will never be in the top rank. Nevertheless, as part of a general range appealing to an intellectual and academic audience, ethnographic films will be competing in this market. One solution is to let ethnographic films become more attractive through a closer resemblance to fictional films. But it creates a dilemma for an ethnographic film screened on television, as it must legitimise its position by differentiating itself from fiction through establishing a certain realism while at the same time employing fictional devices to dramatise ethnographic ‘stories’. This leads to distorted and sometimes racist undertones. The second issue concerns the ambitions of the film team. Their temporary role in the locality becomes political when, as inevitably happens, they favour, and are favoured by, one section of the local community in order to fulfil their mission of producing an ethnographic film. A split in the community is caused by such external forces and justified by the fact that we are all ‘living in a global village’.