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Author: Jacqueline Maingard Publisher: Routledge ISBN: 1135124035 Category : Performing Arts Languages : en Pages : 242
Book Description
South African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelationships between South African cinema and key points in South Africa’s history, showing how cinema figures in the making, entrenching and undoing of apartheid. This study spans the twentieth century and beyond through detailed analyses of selected films, beginning with De Voortrekkers (1916) through to Mapantsula (1988) and films produced post apartheid, including Drum (2004), Tsotsi (2005) and Zulu Love Letter (2004). Jacqueline Maingard discusses how cinema reproduced and constructed a white national identity, taking readers through cinema’s role in building white Afrikaner nationalism in the 1930s and 1940s. She then moves to examine film culture and modernity in the development of black audiences from the 1920s to the 1950s, especially in a group of films that includes Jim Comes to Joburg (1949) and Come Back, Africa (1959). Jacqueline Maingard also considers the effects of the apartheid state’s film subsidy system in the 1960s and 1970s and focuses on cinema against apartheid in the 1980s. She reflects upon shifting national cinema policies following the first democratic election in 1994 and how it became possible for the first time to imagine an inclusive national film culture. Illustrated throughout with excellent visual examples, this cinema history will be of value to film scholars and historians, as well as to practitioners in South Africa today.
Author: Jacqueline Maingard Publisher: Routledge ISBN: 1135124035 Category : Performing Arts Languages : en Pages : 242
Book Description
South African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelationships between South African cinema and key points in South Africa’s history, showing how cinema figures in the making, entrenching and undoing of apartheid. This study spans the twentieth century and beyond through detailed analyses of selected films, beginning with De Voortrekkers (1916) through to Mapantsula (1988) and films produced post apartheid, including Drum (2004), Tsotsi (2005) and Zulu Love Letter (2004). Jacqueline Maingard discusses how cinema reproduced and constructed a white national identity, taking readers through cinema’s role in building white Afrikaner nationalism in the 1930s and 1940s. She then moves to examine film culture and modernity in the development of black audiences from the 1920s to the 1950s, especially in a group of films that includes Jim Comes to Joburg (1949) and Come Back, Africa (1959). Jacqueline Maingard also considers the effects of the apartheid state’s film subsidy system in the 1960s and 1970s and focuses on cinema against apartheid in the 1980s. She reflects upon shifting national cinema policies following the first democratic election in 1994 and how it became possible for the first time to imagine an inclusive national film culture. Illustrated throughout with excellent visual examples, this cinema history will be of value to film scholars and historians, as well as to practitioners in South Africa today.
Author: Jacqueline Maingard Publisher: Routledge ISBN: 1135123969 Category : Performing Arts Languages : en Pages : 241
Book Description
South African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelationships between South African cinema and key points in South Africa’s history, showing how cinema figures in the making, entrenching and undoing of apartheid. This study spans the twentieth century and beyond through detailed analyses of selected films, beginning with De Voortrekkers (1916) through to Mapantsula (1988) and films produced post apartheid, including Drum (2004), Tsotsi (2005) and Zulu Love Letter (2004). Jacqueline Maingard discusses how cinema reproduced and constructed a white national identity, taking readers through cinema’s role in building white Afrikaner nationalism in the 1930s and 1940s. She then moves to examine film culture and modernity in the development of black audiences from the 1920s to the 1950s, especially in a group of films that includes Jim Comes to Joburg (1949) and Come Back, Africa (1959). Jacqueline Maingard also considers the effects of the apartheid state’s film subsidy system in the 1960s and 1970s and focuses on cinema against apartheid in the 1980s. She reflects upon shifting national cinema policies following the first democratic election in 1994 and how it became possible for the first time to imagine an inclusive national film culture. Illustrated throughout with excellent visual examples, this cinema history will be of value to film scholars and historians, as well as to practitioners in South Africa today.
Author: Isabel Balseiro Publisher: Wayne State University Press ISBN: 9780814330012 Category : History Languages : en Pages : 292
Book Description
With the end of apartheid, South African cinema is at a turning point in its history. This collection offers an exploration of a film industry that has excluded its country's black majority, in both representation and production - and which now must overcome collusion between racist ideology and film form. Until recently, filmmakers could work only within a culture that reluctantly took black South Africans into account. Therefore, to explore what South African cinema has been and could become, the authors do not limit their discussion to film production but approach cinema as a manifestation of cultural history. How has the purpose of cinema been viewed at different times in South Africa, by different governments and social groups? What is the relation between film and a sense of nationhood in South Africa? Such questions lead to a consideration not only of films made by South Africans in South Africa but also of an unfolding film culture within a series of stages that have yet to give rise to a national cinema
Author: Cara Moyer-Duncan Publisher: MSU Press ISBN: 1628954000 Category : Performing Arts Languages : en Pages : 415
Book Description
In 1994, not long after South Africa made its historic transition to multiracial democracy, the nation’s first black-majority government determined that film had the potential to promote social cohesion, stimulate economic development, and create jobs. In 1999 the new National Film and Video Foundation was charged with fostering a vibrant, socially engaged, and self-sufficient film industry. What are the results of this effort to create a truly national cinematic enterprise? Projecting Nation: South African Cinemas after 1994 answers that question by examining the ways in which national and transnational forces have shaped the representation of race and nation in feature-length narrative fiction films. Offering a systematic analysis of cinematic texts in the context of the South African film industry, author Cara Moyer-Duncan analyzes both well-known works like District 9 (2009) and neglected or understudied films like My Shit Father and My Lotto Ticket (2008) to show how the ways filmmakers produce cinema and the ways diverse audiences experience it—whether they watch major releases in theaters in predominantly white suburban enclaves or straight-to-DVD productions in their own homes—are informed by South Africans’ multiple experiences of nation in a globalizing world.
Author: Keyan Tomaselli Publisher: Routledge ISBN: 1317928393 Category : Performing Arts Languages : en Pages : 265
Book Description
This study analyses the historical development of South African cinema up to he book's original publication in 1988. It describes the films and comments on their relationship to South African realities, addressing all aspects of the industry, focusing on domestic production, but also discussing international film companies who use South Africa as a location. It explores tensions between English-language and Afrikaans-language films, and between films made for blacks and films made for whites. Going behind the scenes the author looks at the financial infrastructure, the marketing strategies, and the works habits of the film industry. He concludes with a discussion of independent filmmaking, the obstacles facing South Africans who want to make films with artistic and political integrity, and the possibilities of progress in the future. Includes comprehensive bibliography and filmography listing all feature films made in South Africa between 1910 and 1985 together with documentary films by South Africans, non-South Africans, and exiles about the country.
Author: Martin Botha Publisher: Intellect (UK) ISBN: 9781841504582 Category : Film industry Languages : en Pages : 0
Book Description
Taking an inclusive approach to South African film history, this volume represents an ambitious attempt to analyze and place in appropriate sociopolitical context the aesthetic highlights of South African cinema from 1896 to the present. Thoroughly researched and fully documented by renowned film scholar Martin Botha, the book focuses on the many highly creative uses of cinematic form, style, and genre as set against South Africa s complex and often turbulent social and political landscape. Included are more than two hundred illustrations and a look at many aspects of South African film history that haven t been previously documented."
Author: Josef Gugler Publisher: Indiana University Press ISBN: 9780253216434 Category : History Languages : en Pages : 220
Book Description
In African Film: Re-imagining a Continent, Josef Gugler provides an introduction to African cinema through an analysis of 15 films made by African filmmakers. These directors set out to re-image Africa; their films offer Western viewers the opportunity to re-imagine the continent and its people. As a point of comparison, two additional films on Africa--one from Hollywood, the other from apartheid South Africa--serve to highlight African directors' altogether different perspectives. Gugler's interpretation considers the financial and technical difficulties of African film production, the intended audiences in Africa and the West, the constraints on distribution, and the critical reception of the films.
Author: Manthia Diawara Publisher: Prestel Pub ISBN: 9783791343426 Category : Performing Arts Languages : en Pages : 319
Book Description
Contemporary African filmmaking is the subject of this insightful and exciting look at every aspect of the art form on the African continent. Focusing on new trends in African cinema from the 1990s to today, this book explores new cinematic languages and modes of production, films departure from nationalism and social realism, and the Nollywood film industry, among other topics. In this book Manthia Diawara, a renowned scholar on Black cinema, literature, and art brings readers up to date on the exciting changes taking place behind and in front of African cameras. Contributions by filmmakers, scholars, and producers as well as profiles of thirty important African directors and their films, provide valuable insight into recent developments. The volume comes with a DVD containing several interviews with filmmakers conducted by the author. Scholars, students, and anyone interested in cinematic and African cultural studies will find much to discover and celebrate in this authoritative, fascinating look at new trends in African filmmaking.
Author: Lindsey B. Green-Simms Publisher: Duke University Press ISBN: 1478022639 Category : Performing Arts Languages : en Pages : 171
Book Description
In Queer African Cinemas, Lindsey B. Green-Simms examines films produced by and about queer Africans in the first two decades of the twenty-first century in an environment of increasing antiqueer violence, efforts to criminalize homosexuality, and other state-sanctioned homophobia. Green-Simms argues that these films not only record the fear, anxiety, and vulnerability many queer Africans experience; they highlight how queer African cinematic practices contribute to imagining new hopes and possibilities. Examining globally circulating international art films as well as popular melodramas made for local audiences, Green-Simms emphasizes that in these films queer resistance—contrary to traditional narratives about resistance that center overt and heroic struggle—is often practiced from a position of vulnerability. By reading queer films alongside discussions about censorship and audiences, Green-Simms renders queer African cinema as a rich visual archive that documents the difficulty of queer existence as well as the potentials for queer life-building and survival.
Author: David Murphy Publisher: Manchester University Press ISBN: 1526141736 Category : Performing Arts Languages : en Pages : 256
Book Description
This is the first introduction of its kind to an important cross-section of postcolonial African filmmakers from the 1950s to the present. Building on previous critical work in the field, this volume will bring together ideas from a range of disciplines – film studies, African cultural studies, and, in particular, postcolonial studies – in order to combine the in-depth analysis of individual films and bodies of work by individual directors with a sustained interrogation of these films in relation to important theoretical concepts. Structurally, the book is straightforward, though the aim is to incorporate diversity and complexity of approach within the overall simplicity of format. Chapters provide both an overview of the director’s output to date, and the necessary background – personal or national, cultural or political – to enable readers to achieve a better understanding of the director’s choice of subject matter, aesthetic or formal strategies, or ideological stance. They also offer a particular reading of one or more films, in which the authors aim to situate African cinema in relation to important critical and theoretical debates. This book thus constitutes a new departure in African film studies, recognising the maturity of the field, and the need for complex yet accessible approaches to it, which move beyond the purely descriptive while refusing to get bogged down in theoretical jargon. Consequently, the volume should be of interest not only to specialists but also to the general reader.
Author: Jacqueline Maingard
Author: Jacqueline Maingard
Author: Jacqueline Maingard
Author: Isabel Balseiro
Author: Cara Moyer-Duncan
Author: Keyan Tomaselli
Author: Martin Botha
Author: Josef Gugler
Author: Manthia Diawara
Author: Lindsey B. Green-Simms
Author: David Murphy