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Inocencio, Jessica Lynn. "The hybridization of African identities in African film." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/828.
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This paper traces the construction of African identities in A Reasonable Man (South Africa 1999), Chikin Biznis: The Whole Story (South Africa 1998), Fools (South Africa/France 1997), Hyènes (1992), Le cri du coeur (Burkina Faso/France 1994), Pièces d'Identités (France/Congo/Belgium 1998), Une couleur café (France 1997), and Xala (Senegal 1975) based on an analysis of race, ethnicity, tradition, modernization, Westernization, and cultural hybridity theories; as a way of contextualizing African history in general, this paper also explores the significance of colonialism, postcolonialism, and forms of neo-colonialism. I argue that nineteenth century perceptions of “race” that arose during the Enlightenment era are mistaken. Instead, African identities presented in film should be re-conceived based on concepts of ethnicity and culture and not simplistic racial constructions—for example “white,” “black,” or “mulatto” to name a few—since such interpretations inevitably surrender to problematic analysis. However, I also contend that neither a typical conception of fixed identities nor cultures can be applied to the understanding of contemporary African identities expressed in African film. The conception of African identities can and ought to be reconsidered as a fluid, social construction based on changing historical phenomena. As an alternative, I suggest that tradition, modernization, and Westernization processes contribute to the overall fluidity of contemporary African identities, which can be elucidated by cultural hybridity theories. Therefore, I ultimately propose that the hybridization of African identities is specifically linked to forms of modernization and Westernization—the practice of Western medicine, beliefs in monogamy, and entrepreneurial aspirations—that have also been filtered through traditional African value systems such as polygamy, traditional healing, patriarchy, communitarianism, and traditional religions within various African communities depicted in African film. Thus, a fixed “African” category that we strive to define—against either Western or African points of reference—is actually neither a fully Westernized nor entirely African distinction but a hybridized identity of traditional, modernized, and Westernized elements.
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Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.
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Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.
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O'Reilly, Kevin Joseph. "Between hotel mama and petrol station manager: the represatations of women's realities in a selection of African films." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/789.
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The roles that women perform as depicted in African films are often dictated to by the type of society they find themselves in. At first glance traditional societies can be seen as oppressive because of the presence of certain cultural practices. Alternatively modern urban settings appear to offer women authority and empowerment through employment. However, with a closer examination one sees that the situation is not so simplistic. Such is the case when certain traditional practices that are deemed oppressive through a Western perspective, are still found in urban societies. Films on the subject of African women have to be cautious not place their characters in stereotypical roles. Therefore, it is not enough to merely portray African women as ‘oppressed’. African films that engage in a feminist critique need to present ‘realistic’ portrayals of African women. Such characters are layered and complex. The film Faat Kine (2000) depicts such a character in the authoritative protagonist Kine. The film La Vie est Belle (1987) examines the issue of polygamous marriages and patriarchy from the point of view of two African women living in France. Touki Bouki (1973) examines two young characters living in Senegal and questions the possibility of escape from ones circumstances. Traditional practices such as polygamous marriages are explored in Xala (1975), and Finzan (1989) explores cultural practices such as forced marriages and female circumcision. This treatise will consider women and work in both traditional society and urban settings. African feminism will also be investigated for the purpose of exploring common social perceptions of women in Africa.
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Peach, Ricardo. "Queer cinema as a fifth cinema in South Africa and Australia." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.
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Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.
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Marco, Derilene. "Films about South Africa 1987-2014 : representations of 'The Rainbow'." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/81400/.
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The thesis analyses representations of the ‘Rainbow Nation’ and dominant postapartheid themes in South African films between 1987 and 2014. The term South African films or cinema is used to encompass films that are co-produced between South Africa and other nations, as well as films that may find their South African articulation only in content and narrative composition. Drawing on Raymond Williams’ scholarship, the thesis sets out to explore whether a new structure of feeling can be identified in post-apartheid films. The thesis also engages trauma in the post-apartheid films about the ‘Rainbow Nation’. In being able to identify how new South African films show and grapple with post-apartheid identities as ‘acting out’, ‘working through’ and ‘making sense’ of the past, the thesis concludes that post-apartheid films are in some ways critical of the past and in other ways, hopeful for the future. However, the more the country settles into its new national identities, the more variations are present in filmic representations and the more possibilities exist for seeing the complexities of post-apartheid cinema. The thesis is divided into three sections and follows a thematic approach as well as a form of periodisation that has not been used in previous scholarship about South African cinema. Section One considers the moment before the end of apartheid in the films A Dry White Season (Euzhan Palcy, 1989), Cry Freedom (Richard Attenborough, 1987) and Mapantsula (Oliver Schmitz, 1988). Section Two is constituted of two chapters which focus on the representations of the end of apartheid, trauma, guilt and ‘acting out’ seen in the films Red Dust (Tom Hooper, 2004), In My Country (John Boorman, 2004), Forgiveness (Ian Gabriel, 2004), Zulu Love Letter (Ramadan Suleman, 2004), Disgrace (Steve Jacobs, 2008) and Skoonheid (Oliver Hermanus, 2011). Section Three explores the possibility of a new structure of feeling through analysis of the representations of youth identities and coming to terms with the past in Hijack Stories (Oliver Schmitz, 2001), Tsotsi (Gavin Hood, 2005) and Disgrace (Steve Jacobs, 2008). In the final chapter, the films Disgrace (Steve Jacobs, 2008), Fanie Fourie’s Lobola (Henk Pretorius, 2013) and Elelwani (Ntshavheni wa Luruli, 2012) are analysed to show how traditions and rituals are fashioned as important, unexpected vehicles, through which to navigate emergent post-apartheid South Africa and its identities.
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Pugsley, Bronwen E. "Challenging perspectives : documentary practices in films by women from Francophone Africa." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12658/.
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This thesis is located at the intersection of three dynamic fields: African screen media, documentary studies, and women’s filmmaking. It analyses a corpus of fifteen films by Francophone sub-Saharan African women filmmakers, ranging from 1975 to 2009, within the framework of documentary theory. This study departs from the contextual approach to African women’s documentary, which has been predominant among scholarship and criticism thus far, in favour of a focus on the films as texts. The popular models developed for the study of documentary film by Western scholars are applied to African women’s documentaries in order to explore their innovative and stimulating practices; to determine the degree to which such models are fully adequate or, instead, are challenged, subverted, or exceeded by this new context of application; and to address the films’ wider implications regarding the documentary medium. Chapter One outlines the theoretical framework underpinning the thesis and engages with existing methodologies and conventions in documentary theory. Chapter Two considers women-centred committed documentary, analyses the ways in which these films uncover overlooked spaces and individuals, provide and promote new spaces for the enunciation of women’s subjectivity and ‘herstories’, and counter hegemonic stereotypical perceptions of African women. Chapter Three addresses recent works of autobiography, considers the filmmaking impulses and practices involved in filming the self, and points to the emergence of a filmmaking form situated on the boundary between ethnography and autobiography. Chapter Four explores the filmmakers’ ethnographic practices, considering their specificities in the light of pre-existing conventions within ethnographic filmmaking to emphasise the films’ formal and political reflexivity. The fifth and final chapter analyses a selection of works of docufiction, demonstrating their striking singularities and arguing for the significance of films that blur the boundaries between fiction and fact and thus push the borders of the real. The overall aim of the thesis is, therefore, to show the overlooked diversity of documentary voices and to demonstrate that the practice of documentary by women from Francophone sub-Saharan Africa is both formally innovative and reflexive, and politically challenging.
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Bisschoff, Lizelle. "Women in African cinema : an aesthetic and thematic analysis of filmmaking by women in Francophone West Africa and Lusophone and Anglophone Southern Africa." Thesis, University of Stirling, 2009. http://hdl.handle.net/1893/2337.
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This study focuses on the role of women in African cinema – in terms of female directors working in the African film industries as well as the representation of women in African film. My research specifically focuses on francophone West African and lusophone and anglophone Southern African cinemas (in particular post-apartheid South African cinema). This research is necessary and significant because African women are underrepresented in theoretical work as well as in the practice of African cinema. The small corpus of existing theoretical and critical studies on the work of female African filmmakers clearly shows that African women succeed in producing films against tremendous odds. The emergence of female directors in Africa is an important but neglected trend which requires more dedicated research. The pioneering research of African-American film scholar Beti Ellerson is exemplary in this regard, as she has, since the early 2000s, initiated a new field of academic study entitled African Women Cinema Studies. My own research is situated within this emerging field and aims to make a contribution to it. The absence of women in public societal spheres is often regarded as an indicator of areas where societies need to change. In the same sense the socio-political and cultural advancements of women are indicators of how societies have progressed towards improved living conditions for all. Because the African woman can be viewed as doubly oppressed, firstly by Black patriarchal culture and secondly by Western colonising forces, it is essential that the liberation of African women includes an opportunity for women to verbalise and demonstrate their own vision of women’s roles for the future. The study analyses a large corpus of films through exploring notions of nationalism and post/neo-colonialism in African societies; issues related to the female body such as health, beauty and sexuality; female identity, emancipation and African feminism in the past and present; the significance of traditional cultural practices versus the consequences and effects of modernity; and the interplay between the individual and the community in urban as well as rural African societies. Female filmmakers in Africa are increasingly claiming the right to represent these issues in their own ways and to tell their own stories. The methods they choose to do this and the products of their labours are the focus of this study. Ultimately, the study attempts to formulate more complex models for the analysis of African women’s filmmaking practices, in tracing the plurality of a female aesthetics and the multiplicity of thematic approaches in African women’s filmmaking.
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Boshoff, Priscilla. "Diasporic consciousness and Bollywood : South African Indian youth and the meanings they make of Indian film." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006249.
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A particular youth identity in the South African Indian diaspora is being forged in a nexus o flocal and global forces . The globalisation of Bollywood and its popularity as a global media and the international commodification of the Indian exotic have occurred at the same time as the valorisation of 'difference' in the local political landscape. Indian youth, as young members of the South African Indian diaspora, are inheritors both of a conservative - yet adaptable - home culture and the marginalised identities of apartheid. However, the tensions between their desire to be recognised as both 'modern' South Africans and as ' traditional ' Indians create a space in which they are able to (re)create for themselves an identity that can encompass both their home cultures and the desires of a Westernised modernity through the tropes of Bollywood. Bollywood speaks to its diasporic audiences through representations of an idealised 'traditional yet modern' India. Although India is not a place of return for this young generation, Bollywood representations of successful diasporic Indian culture and participation in the globalised Bollywood industry through concerts and international award ceremonies has provided an opportunity for young Indians in South Africa to re-examine their local Indian identities and feel invited to re-identify with the global diasporas of India.
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Tjalle, Rosalie Olivia Vanessa. "The presentation of African government leaders or Sovereigns' in selected African and mainstream films." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/12392.
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African Cinema is an entity as diverse as the various countries, languages and cultures on this continent. The entertainment value of Cinema has been more popular than the study of its ideological significance, but nevertheless in a contemporary Africa where politics affect the social, cultural and economical survival of its citizens, Cinema can be used as a valuable asset and a powerful means of communication that can conscientize and educate African audiences. Thomas Hobbes’s leadership model and political theory of sovereignty, though a XVIIth century framework, can theoretically contribute in the analysis of the representation of African leadership styles in Cinema. This article analyzes four fiction films representing four different political leaders in, respectively, South Africa, Uganda, Cameroon and Nigeria. A film content analysis will explore the different representation of leadership styles, the personality of each leader, the power struggles in each society and how this may suggest value judgments about African leadership to the films’ various target audiences.
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Shaka, Femi Okiremuete. "Colonial and post-colonial African cinema : a theoretical and critical analysis of discursive practices." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/55446/.
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This study attempts to provide a theoretical framework for the criticism of colonial and post-colonial African cinema. Emphasis is placed on the extent to which the nature of colonial cinematic policies and practices have influenced post-colonial African cinema, especially with regards to forms of subjectivities constructed through cinematic representation. The study begins by examining some of the methodological problems in the criticism of African cinema. It relates the concept of African cinema to debates dealing with Third Cinema theories, cine-structuralism and psychoanalytic critical theories, and argues that any of these theories can be applied to the criticism of African cinema so long as it is moderated to suit the specific nature of the African condition. It also defines the nature of African cinema by relating it to the notions of national cinema, the question of African personality and identity, emergent genres and film styles, and proposes a general cinematic reading hypothesis, anchored on the concept of subjectivity, for the criticism of African cinema. With respect to the colonial period, the main argument which I pursue is that two divergent cinematic practices existed side by side in Africa. First, there was a governmental and non-governmental agencies sponsored, non-commercial cinema, which treats the medium as a vehicle for popular instruction. Throughout this study, I refer to this cinematic practice as colonial African instructional cinema, and argue that it represents Africans as knowing and knowledgeable people, able and willing to acquire modem methods of social planning and development for the benefit of their communities. Second, there was the commercial cinematic practice which chose, and still chooses, to recycle popular images of people of African descent in the European imagination, as projected through literature, history, anthropological and scientific discourses, etc., in the representation of Africans. I refer to this cinematic practice throughout this study as colonialist African cinema. The main argument which I pursue with respect to this practice is that the images of Africans projected in it have a genealogical history stretching as far back in time as the classical era. In the modem period, the contact between Europe and Africa, and the subsequent slave trade, colonialism and their popular literatures, and the nineteenth century racial theories, are some of the factors which have reinforced the canonical authority of these images. I argue that this cinematic practice represents Africans by employing various metaphors which draw associations between Africans and animals, to suggest African savagery and barbarity, and that by drawing on such associations, they devalue African humanity, legitimise the colonial enterprise and all its attendant cruelties, and absolve Europeans of any moral responsiblities over actions supposedly carried out in the name of spreading civilisation. Though post-colonial African historical texts located in the colonial period respond to the whole colonial enterprise, my argument is that they are inspired, first and foremost, by the desire to refute the images of Africans identifiable with the discursive tradition of colonialist African CInema.
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Mntanga, Overman Mziwakhe. "A critical analysis of the portrayal of women in some selected Xhosa dramas." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/1030.
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This thesis entitled “a critical analysis of the portrayal of women in some selected Xhosa dramas”, endeavours to examine the effect of gender inequality. Women who are iv submissive toward some cultural aspects. It endeavours to give a critical analysis of women’s self assertion in some selected Xhosa dramas. According to the findings in this study, in African tradition women like to enforce patriarchy upon younger women. Older women feel that they have the duty of passing on cultural practices from generation to generation. Everything from manner of dress, posture, appropriate seating positions, eating patterns, performance of household chores, sexual expression, and voice tone and infection, self-esteem and self-concept, flows from the gender one is assigned at birth. From birth then, women and men are set on different physically based psychological paths. Of all the obstacles that limit the advancement of women, those touching upon knowledge and values are the most difficult to remove. When a woman lacks the independent capacity to assert her own positive truths and values, she is unable to contribute her insights and experiences to the various fields of human knowledge. When denied opportunities for higher forms of self expression, women may out of frustration attack the modes of understanding upheld by men. In this study theories such as black criticism, psychoanalysis, feminism and African womanism are relevant for discussing the portrayal of women. The descriptive method of research has been applied. Both observation and participation have been used for exposing barriers that block the development of women. This study will enable literature students and researchers to view culture in a broader perspective. It will enable them to consider conventions which determine the way human experience is presented in literature. Chapter one provides literature students and the researchers with a broad overview about how to develop an introductory perspective. Chapter two aims at developing a theoretical framework which serves as the basis of this study. Chapter three examines the effect of gender inequality. It opens an area of extensive examination that differentiates sexual practice from the sexual roles assigned to women and men. Chapter four examines women who are submissive or radical in some cultural aspects. Chapter five discusses women’s self assertion. Chapter six concludes this study.
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Willis, Corin Charles. "The signifier returns to haunt the referent : blackface and the stereotyping of African-Americans in Hollywood early sound film." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/55891/.
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This thesis investigates the persistence of blackface in Hollywood's early sound era 1927-1953. It establishes the extensive and complex nature of this persistence against previous historical accounts of its decline after the introduction of sound. Specifically this thesis considers the overlooked phenomenon of co-presence where blackface was juxtaposed with the increased visibility of African-Americans in Hollywood film. It argues that the primary historical significance of the persistence of blackface lies in its involvement in, and exposure of, the formal stereotyping of African Americans in film. The thesis is founded on research which identified 124 blackface films and on viewings of 75 of these films. Primarily the argument is advanced on the basis of close textual analysis. In addition to its theoretical engagement with key positions on blackface and related areas the thesis also makes use of secondary sources in order to establish the historical context behind its persistence in film. Principle areas discussed include the formal practices used to racially mark African Americans in film, co-presence in the films of Al Jolson and Eddie Cantor, and blackface and the racial containment of African-American vernacular dance and music. This thesis contributes to an understanding of the place of blackface in Hollywood history by setting down what is, to the best of its author's knowledge, the most extensive account to date of its persistence in the early sound era. In doing so it brings new material to the debates on the 'nature' of blackface and argues that current attempts to revise understandings of its racial bias may be misguided. In conclusion this thesis finds that the case study of co-presence indicates that one explanation for the longevity of Hollywood's African-American stereotypes lies in the sheer density of their textual construction.
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Benagr, S. "Cinema and new technologies : the development of digital video filmmaking in West Africa." Thesis, University of Bedfordshire, 2012. http://hdl.handle.net/10547/233600.
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This research investigates the development of digital video filmmaking in West Africa using Ghana and Burkina Faso as case studies within the context of new technologies. The key research questions that guided the study were how do the economic, social and political contexts of video filmmaking affect the development of a digital video film industry in Ghana and Burkina Faso? and how have the perceptions of digital technologies (held by filmmakers and other stakeholders) impacted upon the development of digital video film making in West Africa? Using field interviews with stakeholders in the video film industry in Ghana and Burkina Faso, as well as with the West African diaspora community in the UK, document research, textual references, and personal observation, the research discusses the challenges of new digital and video technologies, and their implications for the development of the video film industry. The research establishes that video and digital technologies are offering many people the opportunity to make films. There is however, a plethora of new digital technologies that enable the work of video film producers, which require closer examination. The research suggests that the impact of the digital revolution has been limited, and a number of factors account for this. The study offers recommendations that might contribute to discussions on finding solutions to the development of a professional, regulatory and practical video filmmaking environment. This would lead to the formulation of policies that impact positively on filmmaking in the region, and consequently increase the capacity of local productions to compete on the international film scene.
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Ndounou, Monica White. "The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.
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Di, Carmine Roberta. "Cinematic images, literary spaces : the presence of Africa in Italian cinema and Italophone literature /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120620.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 226-232). Also available for download via the World Wide Web; free to University of Oregon users.
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Jooste, Rina. "Representing history through film with reference to the documentary film Captor and Captive : perspectives on a 1978 Border War incident." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85668.
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Thesis (MA)-- Stellenbosch University, 2013.ENGLISH ABSTRACT: This dissertation is supplementing a documentary film entitled Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010), referred to as Captor and Captive, with a duration of 52-minutes. The film follows the story of two soldiers caught up in the disorganized machine of war. Johan van der Mescht, a South African Defence Force (SADF) soldier was captured in 1978 by Danger Ashipala, a South West Africa People’s Organisation (SWAPO) guerilla fighting for Namibian independence. Van der Mescht was held as a prisoner of war (POW) in Angola before being exchanged for a Russian spy, Aleksei Koslov, at Checkpoint Charlie in Berlin in 1982. The main focus of the dissertation is to provide an analysis of representing history through film, with reference to Captor and Captive. It explores the manner in which history can be represented through the medium of film and add value to historical text, as well as historical text adding value to film, and how the two mediums can supplement each other. In this instance, Captor and Captive was produced first and the research conducted was used to inform the dissertation. It briefly discusses the history of documentary film within South Africa; the reality of producing documentary films reflecting on Captor and Captive and the theoretical principles involved in the craft of documentary filmmaking. The dissertation further provides details of the capture of Van der Mescht and his experience as a POW in Angola, against the backdrop of the Border War that waged between 1966 and 1989 in South West Africa (SWA) and Angola. The political landscape and various forces at work within southern Africa during the period of Van der Mescht’s capture are discussed. It also provides detail of the role of Van der Mescht’s captor Ashipala, and the liberation movement SWAPO. With independence in 1990, South West Africa became Namibia and will be referred to as such for the purpose of the dissertation. Mention will be made of other POWs during the Border War, providing a brief comparative analysis of their respective experiences.
AFRIKAANSE OPSOMMING: Die verhandeling is aanvullend tot die dokumentêre rolprent Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010). Die rolprent het ‘n 52- minute speeltyd, en daar word daarna verwys as Captor and Captive. Dit handel oor twee soldate wat vasgevang is in die chaos van oorlog. Johan van der Mescht, lid van die Suid Afrikaanse Weermag, is in 1978 gevange geneem deur Danger Ashipala, lid van die Namibiese bevrydingsorganisasie SWAPO. Van der Mescht is as ‘n krygsgevangene in Angola aangehou, en 1982 uitgeruil vir ‘n Russiese spioen, Aleksei Koslov. Die uitruiling het by Checkpoint Charlie in Berlyn plaasgevind. Die verhandeling gee hoofsaaklik ‘n uiteensetting van die manier waarop geskiedenis aangebied word deur die visuele rolprentmedium, met verwysing na Captor and Captive. Die wyse waarop ‘n rolprent waarde kan toevoeg tot historiese teks, en hoe historiese teks op sy beurt weer waarde kan toevoeg tot ‘n rolprent word ondersoek, asook die wyse waarop die twee mediums mekaar kan aanvul. Captor and Captive is vervaardig voor die verhandeling aangepak is, en die navorsing is gebruik ter aanvulling van die verhandeling. Verder word die agtergrond en geskiedenis van dokumentêre rolprente in Suid Afrika kortliks bespreek; die realiteite rondom die vervaardiging van dokumentêre rolprente, met verwysing na Captor and Captive, en teoretiese aspekte betrokke by die vervaardiging daarvan. Die verhandeling verskaf inligting omtrent die gevangeneming van Van der Mescht en sy ondervinding as ‘n krygsgevangene in Angola. Dit word geskets teen die agtergrond van die Grensoorlog (1966 tot 1989) in Suidwes Afrika en Angola. Die politieke omgewing en groeperinge binne Suider Afrika gedurende Van der Mescht se gevangenisskap word bespreek. Verder word inligting oor Ashipala, wat verantwoordelik was vir Van der Mescht se gevangeneming bespreek. Die bevrydingsorganisasie SWAPO, waarvan hy ‘n lid was, word ook bespreek. Suidwes Afrika verander sy naam met onafhanklikheidswording in 1990 na Namibiё, en vir die doel van die verhandeling word daar na Namibiё verwys. Daar word melding gemaak van ander krygsgevangenes gedurende die tydperk van die Grensoorlog, en ‘n vergelyking tussen die ondervindinge van die onderskeie krygsgevangenes word kortliks ondersoek.
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Letcher, Christopher. "Composing South Africa on screen: a film composer's perspective on representation and aesthetics in the production of post-apartheid cinema." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606724.
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Siwak, Jakub. "An investigation of the African subjectivity represented in Gavin Hood's Tsotsi (2006)." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1093.
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This treatise will focus on a critical examination of Gavin Hood’s South African Oscar-winning film, Tsotsi (2006), in the interest of exploring how the mass media creates a problematic configuration of the subject, in virtue of its valorization of the continued discursive colonization of Africans (identified broadly in geographical rather than racial terms). That is, within the narrative of the film, the protagonist, after engaging in a crime spree, gives himself over to the state authorities and emotively confesses to his transgressions. Importantly, this dramatic confession is represented as a triumph of the human spirit – in the form of an autonomous rehabilitation on the part of the criminal. However, if one understands the protagonist as a subject constituted by what Foucault terms the discursive regimes of disciplinary/bio-power, what emerges into conspicuity is that the protagonist’s actions rather than being the result of his growing maturity and concomitant augmenting ‘humanity’ are the consequence of a set of discursive imperatives which render him docile and prostrate. Arguably, what this serves to represent, and, indeed, propagate, is more of a superimposition of Western cultural discourses on African subjects, and less of a negotiation with such discourses by such subjects. The treatise aims to provide a theoretical solution to the negation of alternative modes of being by disciplinary/bio-power imperatives inextricable from neo-liberal subjectivity. However, in its attempts to encourage cultural negotiation between North and South, the treatise will avoid simplistic, ‘orthodox’, Marxist solutions and will instead critically contend with the theory of Ernesto Laclau and Chantal Mouffe, and their perspectives on how radical democracy can be achieved.
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Gutierrez, Robert Daniel. "Mainstream and marginalized the framing of black athletes in Glory road /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Maasdorp, Liani. "Shorts : the potential role of the short film in the development of the South African film and television industries." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51908.
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Thesis (MDram)--Stellenbosch University, 2000.ENGLISH ABSTRACT: The study starts with a general analysis of the South African film industry and finds that lack of funding, the shortage of dedicated, industry-accredited training, the political climate of the past, censorship, the subsidy system, local distribution problems, and the success of Hollywood films have all played a part in bringing about a veritable dearth in local film production in South Africa. While the local film industry may not be able to repair itself fully in the short term, I do believe the energy and talent is there to start making a concerted effort to actively stimulate the production of a wide variety of local films to kick-start the healing process. I believe short films (shorts) have the potential to play an important role in this process, and the bulk of the study explores this idea by looking at the nature, form, and potential of shorts as well as the processes involved in their production. I fmd that the short film is the ideal medium for experimentation and development, and can serve as a valuable teaching tool in film and television training. As importantly, the short is one of the best mediums of empowerment for disadvantaged filmmakers, due to the relatively small size of its budget. Shorts have the ability to playa part in stimulating the growth of the local film and television industries, and in redressing socio-political imbalances of the past in a country where film was previously used as a tool of propaganda and oppression. It seems clear from the examples of other small film industries internationally that the encouragement, through innovative funding initiatives and international co-productions, of vibrant, authentic local short and feature film production can play an important role in strengthening the local film industry. It can be beneficial to stimulate the production of shorts in particular, as this will enable new and experienced filmmakers alike to experiment and develop ideas and techniques, thereby also developing the industry as a whole. Among the specific suggestions made in the thesis are the implementation of a quota system governing the screening of local productions, the stimulation of film literacy through establishing film festivals and a short film website, the stimulation of short film production through public and private funding and co-productions, and the advancement of film training. In addition, local broadcasters could be encouraged to participate more in funding feature and short film production in order to stimulate the development of a healthy, viable film industry in South African. South Africans can gain a lot from a healthy film industry - an increased number of employment opportunities, improved training institutions, an increase in tourist activity, and a medium that can serve as a form of expression and a forum for discussion. We still have a long way to go before these projected gains become an everyday reality, but it seems that shorts can, and must, play an invaluable part in taking local talent and the South African film industry as a whole to a level of performance where it will be able to exploit these opportunities to the full.
AFRIKAANSE OSPOMMING: Die tesis begin met 'n ontleding van die Suid-Afrikaanse filmbedryf waarin gevind word dat plaaslike filmproduksie in Suid-Afrika gekortwiek is deur verskeie faktore, waaronder 'n tekort aan befondsing en geskikte opleiding, die politiese klimaat van die verlede, sensuur, die subsidie stelsel, plaaslike verspreidingsprobleme, en die sukses van Hollywood films. Dit word ook duidelik dat die plaaslike bedryf nie binne 'n oogwink herstel kan word nie, maar dat die energie en talent tog bestaan waarmee die produksie van 'n wye verskeidenheid plaaslike ftlms weer gestimuleer sou kon word. Ek glo dat kortfilms die potensiaal het om 'n uiters belangrike rol te speel in hierdie proses, en in hierdie tesis bekyk ek die gedagte aan die hand van 'n indringende studie van die aard, form en potensiaal van kortfilms, en die prosesse betrokke by die produksie daarvan. 'n Sleutel bevinding is dat die kortfilm nie net die ideale medium vir eksperimentering en ontwikkeling is nie, maar dat dit ook kan dien as 'n waardevolle hulpmiddel in film- en televisieopleiding. Net so belangrik is die bevinding dat kortfilms. danksy hullae produksiekoste, een van die beste mediums is vir bemagtiging van minderbevoorregte filmmakers, Kortftlms kan dus 'n rol speel in die stimulering van die plaaslike film- en televisiebedrywe, én help om van die ongelykhede van die verlede uit die weg te ruim, in 'n land waar film voorheen gebruik is as 'n werktuig van propaganda en onderdrukking. Dit blyk duidelik uit die voorbeelde van ander klein filmbedrywe dat die aanmoediging van die aktiewe vervaardiging van oorspronklike kort- en vollengte films ons eie fIlmbedryfkan versterk. Innoverende befondsingsondernemings en internasionale mede-produksies is ook van belang in hierdie verband. Dit is dan ook veral van belang omjuis kortfIlmproduksie te stimuleer, aangesien dit beide nuwe en ervare filmmakers die geleentheid gee om te eksperimenteer en idees en tegnieke te ontwikkel, wat dan weer vernuwend kan inwerk op vollengte fIlmproduksie en die ontwikkeling van die bedryf in sy geheel. Ander spesifieke voorstelle wat in hierdie tesis gemaak word is onder andere die implementering van 'n kwota-stelsel wat die wys van plaaslike produksies sal reguleer, die bevordering van entosiasme, kennis en inligting oor ftlms en die filmbedryf deur middel van fIlmfeeste en die internet, die stimulering van kortfIlmproduksie deur verhoogde privaat- en regeringsbefondsing en die aanmoediging van mede-produksies, en die bevordering van goeie opleiding in fIlmproduksie. Verder kan plaaslike uitsaaiers aangemoedig word om te help met die befondsing van kortfilms sowel as vollengte films. 'n Gesonde, lewensvatbare filmbedryf in Suid-Afrika sal nie net voordele inhou vir filmmakers en -kykers nie, maar ook vir gewone Suid-Afrikaners, aangesien dit onder andere meer werksgeleenthede, verbeterde opleidingsinstansies en verhoogde toeristeaktiwiteit sal meebring. Dit sal ook 'n medium daar stel wat kan dien as 'n vorm van kreatiewe uitlewing sowel as 'n gespreksforum. Alhoewel dit tyd sal neem om al hierdie voordele 'n realiteit te maak, kom dit tog voor of kortfilms 'n onontbeerlike rol kan, en moet, speel om plaaslike talent en die filmbedryf as 'n geheel op 'n vlak te kry waar film-makers die beskikbare geleenthede ten volle kan benut.
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Jeppie, Shamil. "Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959." Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.
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Young, Kelcei. "And the Stereotype Award Goes to...: A Comparative Analysis of Directors using African American Stereotypes in Film." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609173/.
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This study examines African American stereotypes in film. I studied six directors, Kathryn Bigelow, Spike Lee, the Russo Brothers, Ryan Coogler, Tate Taylor, and Dee Rees; and six films Detroit, BlacKkKlansman, Captain America: The Winter Soldier, The Help, and Mudbound. Using the framework of critical race theory and auteur theory, I compared the common themes between the films and directors. The main purpose of my study is to see if White or Black directors predominantly used African American stereotypes. I found that both races of directors rely on stereotypes for different purposes. With Black directors, the stereotype was explained further through character development, while the White directors used the stereotype at face value with no further explanation.
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Reed, Nannie Natisha. "'TAMING OF THE SHREW':DIALECTICS OF AFRICAN-AMERICAN WOMEN'S RAGE IN DOMINANT AMERICAN FILMIC DISCOURSE." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1145674408.
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Bahmad, Jamal. "Casablanca belongs to us : globalisation, everyday life and postcolonial subjectivity in Moroccan cinema since the 1990s." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/19847.
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This dissertation examines the representations of Casablanca in Moroccan cinema and their articulation of postcolonial subjectivity since the 1990s. To overcome a deep economic recession and simmering social unrest in the early 1980s, Morocco embarked on a comprehensive programme of structural adjustment policies under the aegis of the International Monetary Fund. Market reforms ushered in novel forms of spatial development and social relations in Moroccan cities over the next decades. In the cultural field, a popular cinema emerged in the early 1990s and has projected the complex structures of everyday life in urban space. The New Urban Cinema (NUC) has anchored national cinema in the everyday life and affective economy of a society in transition. The country’s largest city, Casablanca, is the setting for some of NUC’s most original portrayals of the Moroccan subject under globalisation. Taking space, affect and violence as intertwined sites of film analysis, my research project closely examines the new forms of postcolonial subjectivity that have evolved in Morocco through this cinema. Twenty films are read against the backdrop of neoliberal Casablanca and the social, economic as well as political transformation of Morocco and the world under globalisation. The dissertation combines close textual analysis with a cultural studies perspective, which situates films in their historical contexts of production and reception in Morocco and beyond. Drawing on postcolonial, film and urban studies, my aim is to contribute to interdisciplinary scholarship on cinematic responses to neoliberal globalisation, and to a social history of contemporary Morocco.
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Yuan, Yilei. "Subtitling Chinese cinema : a case study of Zhang Yimou's films." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7724/.
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In recent years, more and more Chinese films have been exported abroad. This thesis intends to explore the subtitling of Chinese cinema into English, with Zhang Yimou’s films as a case study. Zhang Yimou is arguably the most critically and internationally acclaimed Chinese filmmaker, who has experimented with a variety of genres of films. I argue that in the subtitling of his films, there is an obvious adoption of the domestication translation strategy that reduces or even omits Chinese cultural references. I try to discover what cultural categories or perspectives of China are prone to the domestication of translation and have formulated five categories: humour, politeness, dialect, history and songs and the Peking Opera. My methodology is that I compare the source Chinese dialogue lines with the existing English subtitles by providing literal translations of the source lines, and I will also give my alternative translations that tend to retain the source cultural references better. I also speculate that the domestication strategy is frequently employed by subtitlers possibly because the subtitlers assume the source cultural references are difficult for target language subtitle readers to comprehend, even if they are translated into a target language. However, subtitle readers are very likely to understand more than what the dialogue lines and the target language subtitles express, because films are multimodal entities and verbal information is not the only source of information for subtitle readers. The image and the sound are also significant sources of information for subtitle readers who are constantly involved in a dynamic film-watching experience. They are also expected to grasp visual and acoustic information. The complete omission or domestication of source cultural references might also affect their interpretation of the non-verbal cues. I also contemplate that the translation, which frequently domesticates the source culture carried out by a translator who is also a native speaker of the source language, is ‘submissive translation’.
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O'Connell, Grainne Marie Teresa. "A comparative analysis of HIV/AIDS, transnationalism, sexuality, gender and ethnicity in selected Anglophone Caribbean and South African literature and film." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48857/.
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In this thesis, I demonstrate that the historical, and ideological, trajectories of HIV/AIDS discourses mirror the tensions between the local, global and transnational in my analysis of selected Anglophone Caribbean and South African literature and film. My methodology is adamantly a comparative studies approach as I overview the broader socio-historical narrative of HIV/AIDS whilst concurrently incorporating the idea of texts as always inflected by the wider historical and ideological processes behind transnationalism. I then link the competing histories of HIV/AIDS with textual depictions of HIV/AIDS, Indo-Caribbean histories, black Atlantic histories, and same-sex desire whilst foregrounding the socio-historical backdrop of transnationalism since the colonial period. A central thread running throughout is that transnational dialectics signify both the effects of the past on the present and the importance of comparative analyses for transnational textual engagements. Texts under discussion are the feature film Dancehall Queen by Rick Elgood and Don Letts, the novel The Swinging Bridge by Ramabai Espinet, the documentary film The Darker Side of Black by Isaac Julien, the feature film Children of God by Kareem Mortimer, the novella Welcome to Our Hillbrow by Phaswane Mpe, and the feature film The World Unseen by Shamim Sarif. Given the concurrent focus in postcolonial/queer around specific regional histories, I pinpoint that the dialectics between local, global and transnational discourses convey more nuanced, yet also more contradictory, textual engagement(s) with HIV/AIDS, transnationalism, sexuality, gender and ethnicity than some of the dominant narrative threads and debates surrounding postcolonial/queer. This point is particularly stressed in light of how many postcolonial/queer discussions readily fix the idea of the local as distinct from the global and the transnational. I thus re-read the contradictory registers of these discourses whilst foregrounding the relationship between these and HIV/AIDS discourses since the 1970s. I concurrently situate ny transnational comparative approach within the broader field of postcolonial/queer theory and approaches.
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Weber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.
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Lipenga, Ken Junior. "Narrative enablement : constructions of disability in contemporary African imaginaries." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86304.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis examines depictions of disability in selected African films, novels and memoirs. Central to the thesis is the concept of narrative enablement, which is discussed as a property that texts have for enabling the recognition of disability by the reader or viewer. In the thesis, I investigate the ways in which narrative enablement manifests in the texts. The motivation for the study comes from the recognition of several trends in current literary disability studies. Firstly, the study attempts to expand the theoretical base of current literary disability studies, which consists of ideas formed from a narrow epistemic archive. Similarly, the study also recognises that scholarship in the field mostly relies on a limited canon of texts, almost wholly drawn from the Western world. This study therefore allows a glimpse at an under-acknowledged archive of disability representation, which is then used to suggest the possibility of alternative ways of understanding disablement on the African continent and globally. The first chapter is meant as an entry point into some of the complex lives depicted in the thesis. In this chapter, I explore the intersection that the texts draw between disability and masculinity, illustrating the way this intersection evokes questions about how we understand the relationship between the two concepts. In the second chapter, I examine the way socio-political violence on the continent is represented as a cause of both disablement and disenablement. This chapter is an exploration of how disability is enmeshed with other social realities in people’s lives. The term disenablement is employed in order to capture the presentation of disablement amidst various forms of violent oppression. As it is portrayed in the majority of the texts studied in the thesis, disablement is a factor of social attitudes. My third chapter examines how these texts create dis/ability zones, areas where the reader/viewer witnesses the fluidity of socially constructed disablement in particular societies. As it is portrayed in the texts, and discussed in the thesis, this zone is a space where disabled characters encounter the ableist world. It is a space that allows the destabilization of entrenched notions about disability, and consequent recognition of disabled characters. The most explicit manifestation of narrative enablement occurs through creative intervention, which is the focus in the fourth chapter. In this chapter, I examine the role of various forms of creativity as they are enacted by the characters, arguing that they are manifestations of the characters making use of narrative enablement. In the texts, the disabled characters use unique modes of storytelling – not exclusively verbal – to narrate their story, but also to assert their belonging to particular familial, cultural, as well as national worlds.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek uitbeeldings van gestremdheid in geselekteerde films, romans en memoirs uit Afrika. Die konsep van narratiewe bemagtiging – ‘n konsep wat ondersoek word as ‘n kapasiteit van tekste wat die erkenning van gestremdheid bemoontlik vir die leser of kyker – staan sentraal in hierdie studie. In my tesis ondersoek ek die maniere waarop narratiewe bemagtiging in die tekste manifesteer. Die beweegrede vir hierdie studie kom uit die realisering van verskeie strominge in kontemporêre letterkundige gestremdheidstudies. In die eerste plek onderneem hierdie studie die taak om die teoretiese basis van huidige literêre gestremdheidstudies, wat bestaan uit idees wat op hul beurt uit ‘n enge epistemiese argief gevorm is, uit te brei. Op soortgelyke wyse erken die studie dat akademiese navorsing binne hierdie studieveld meestal berus op ‘n relatief klein kanon van tekste, feitlik geheel-en-al uit die Westerse wêreld. Hierdie studie bied dus ‘n kyk op ‘n onder-erkende argief van gestremdheidsvoorstellings, wat op sy beurt gebruik word om die moontlikheid van alternatiewe maniere waarop gestremdheid binne Afrika asook wêreldwyd begryp kan word, aan te toon. Die doel van die eerste hoofstuk is om ‘n intreepunt te skep waardeur sommige van die komplekse ervaringswêrelde wat in die tesis ondersoek word, betree kan word. In hierdie hoofstuk ondersoek ek die oorvleuelings tussen gestremdheid en manlikheid wat deur die tekste uitgebeeld word, om sodoende aan te toon dat hierdie oorvleueling vrae oproep in verband met hoe ons die verhouding tussen hierdie twee konsepte kan verstaan. In my tweede hoofstuk ondersoek ek die manier waarop sosio-politieke geweld op die kontinent uitgebeeld word as ‘n oorsaak van gestremdheid sowel as van ontmagtiging. Hierdie hoofstuk ondersoek die wyses waarop gestremdheid verwikkeld is met ander sosiale werklikhede in mense se lewens. Die term disenablement [hier: ‘ontmagtiging’] word gebruik om die uitbeelding van gestremdheid midde-in verskillende vorme van gewelddadige onderdrukking vas te vang. Soos uitgebeeld in die meeste van die tekste wat in die studie ondersoek word, is gestremdheid ‘n aspek van sosiale houdinge. My derde hoofstuk ondersoek hoe die gekose tekste areas van be/ontmagtiging skep; gebiede waar die leser/kyker die vloeibaarheid van sosiaal-gekonstrueerde ontmagtiging in spesifieke gemeenskappe waarneem. Soos uitgebeeld in die tekste en soos wat die studie die saak bespreek, is hierdie zone ‘n gebied waarbinne gestremde persone die bemagtigde wêreld ervaar. Dit is ‘n area waarbinne die versteuring van vasgelegde konsepte van gestremdheid, en gevolglike erkenning van gestremde persone, kan plaasvind. Die mees eksplisiete ontplooiïng van narratiewe bemagtiging gebeur deur middel van skeppende intervensies, wat die fokus vorm van my vierde hoofstuk. In hierdie hoostuk ondersoek ek die rol wat gespeel word deur verskillende vorme van kreatiwiteit soos beoefen deur die karakters, in die loop van my argument dat hiedie skeppingsvorme voorbeeelde is van hoe narratiewe bemagtiging plaasvind. In die tekste gebruik die gestremde karakters unieke metodes van vertelling – nie uitsluitlik verbaal nie – om hulle verhale te vertel, maar ook om aan te toon dat en hoe hulle aan partikuliere familiale, kulturele en nasionale wêrelde behoort.
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Prenter, Tracey. "A psychobiographical study of Charlize Theron." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/d1020843.
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Psychobiographers study the lives of extraordinary, prominent, and enigmatic individuals. Psychobiographical research advances our insight into the uniqueness and complexity of the human personality and therefore makes a substantial contribution towards one of the major objectives of the field of psychology. Purposive sampling was employed to select Charlize Theron as the subject of this psychobiographical study. As the only South African who has won an Oscar, Theron is an exceptional individual who demonstrates tenacity and a will to succeed despite significant traumatic events in her childhood. The case study data was organised and analysed according to the general analytic approach developed by Huberman and Miles (2002) and one of Alexander’s (1990) strategies, namely questioning the data. Erikson’s psychosocial theory (1950, 1963, 1995) was selected to guide this study because it recognises the impact of socio-cultural influences on developmental processes and provides a comprehensive, staged framework for studying Theron’s personality development. This study contributes to the development of psychobiographical research in South Africa.
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Ncoyo, Nosiphiwo. "Challenges facing SMME's in the film industry in the Nelson Mandela Bay Municipality." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/8945.
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The Film Industry is regarded as a vital part of the South African economy. One of the advantages of this sector is the potential to create jobs. This has been evidenced over the years by direct jobs created for people in the entire film value chain. The Film industry has also generated many more jobs indirectly and sectors such as transport, catering and hospitality benefited enormously. The NFVF (2010) 10 years review of the Film and Video industry states that the South African government has identified the film industry as one of the catalytic vehicles for job creation and economic growth. Given the importance of the contribution of the Film Industry to job creation and economic development, there is a demand for SMMEs in this sector to be supported by Government. Not until recently the support given to Filmmakers was biased to Gauteng, Cape Town and Kwa-Zulu Natal as a result film makers would go to these Provinces for opportunities. This study has examined the challenges faced by SMMEs in the film industry in the Nelson Mandela Bay Municipality in acquiring Government support and to seek ways of addressing the challenges. There has been limited research undertaken on the support given to SMMEs in film particularly the Eastern Cape Province. After a comprehensive literature review was undertaken on SMMEs, the following variables were identified as conceivably affecting growth and development of SMMEs in the film industry: Enabling Legal and regulatory environment; Financial support; Technological support; Managerial support. This study followed a quantitative research method. A measuring instrument in the form of a questionnaire was compiled from secondary sources of literature. The respondents were identified through convenience sampling technique. The sample comprised of 35 out of 50 SMMEs in film. The empirical results showed that all of the variables, enabling legal and regulatory environment, financial support, technological support and managerial support had a relationship with growth and development of SMMEs in film.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Prince, Rob. "Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.
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Arthur, Tori. "The Reimagined Paradise: African Immigrants in the United States, Nollywood Film, and the Digital Remediation of 'Home'." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467889165.
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White, Theresa Renee. "Media as pedagogy and socializing agent influences of feminine beauty aesthetics in American teen-oriented films and magazines on African American adolescent female self image /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610103761&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Cazdyn, Eric M. "Problem cinema : culture, capital and form in Japan /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9908497.
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Eckardt, Michael. "The development of film criticism in Cape Town's daily press 1928-1930 : an explorative investigation into the Cape Times and Die Burger." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53767.
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Thesis (MPhil)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: This thesis examines the development of film criticism in Cape Town's daily press from 1928 to 1930, using film reviews from the newspapers the Cape Times and Die Burger as sources. The study starts with an overview of studies concerning early South African film history, and characterizes it as a rather underdeveloped field of study. The character of film criticism in the period under discussion is explained by using a description of the general function of film criticism as a basis and taking film criticism in the Weimar Republic of Germany as an example for the following comparison. The basis for the comparative analysis is a list of films screened in three selected cinemas in Cape Town from 1928 to 1930. Part of the analysis is an empirical study to examine the quantitative development of film reviews in the period under discussion. Length ranges with which to characterize film reviews are defined and the preferred average lengths of reviews for both newspapers as well as for films screened at the particular cinemas are listed. The qualitative part of the study is a content analysis of two selected groups of films: 1. films which received average-size reviews and 2. films which ran longer than average and received above-average size reviews. The survey reveals that the Cape Times followed a "quantitative strategy", reviewing all films screened and that Die Burger had a "qualitative The reviews strategy", in both reviewing specially selected films only. newspapers can be characterized as functionalistic. The Cape Times displayed their business orientation by publishing mostly advertisement-like reviews; Die Burger's political orientation was reflected in comments about the language in sound films, including film and cinema into the language struggle. The study demonstrates that newspapers are a valuable source for research concerning early South African film history. The existing standard reference, Thelma Gutsche's The History and Social ,Significance of Motion Pictures in South Africa 1895-1940 can be fruitfully complemented by using Afrikaans newspapers, as well as the writings of the Afrikaner film critic Hans Rompel.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die ontwikkeling van rolprentresensies in die pers van Kaapstad in die jare 1928 tot 1930 en gebruik daarvoor resensies van die nuuskoerante Cape Times en Die Burger. Die ondersoek begin met 'n oorsig van die vroeë Suid Afrikaanse rolprentgeskiedenis. Die karakter van rolprentresensie in die gegewe periode word verduidelik deur 'n beskrywing van die algemene funksie om rolprentresensie as "n basis te gebruik en rolprentresensies in die Duitse Weimar Republiek as 'n voorbeeld vir die opvolgende vergelyking te neem. Die basis vir die vergelykende analise is 'n lys van rolprente wat in drie geselekteerde bioskope in Kaapstad gedurende die periode van 1928 tot 1930 gewys is. 'n Gedeelte van die analise behels 'n empiriese studie om die kwantitatiewe ontwikkeling van rolprentrensensies gedurende die gegewe periode te ondersoek. Lengte reekse word gedefinieer om die resensies te karakteriseer, en die verkose gemiddelde lengtes van resensies word gelys vir beide nuuskoerante as ook vir films wat by die geselekeerde cinemas gewys is. Die kwalitatiewe gedeelte van die studie is 'n inhoudanalise van twee geselekteerde groepe van rolprente: 1. rolprente wat resensies van gemiddelde lengte ontvang het en 2. rolprente wat langer as gemiddeld gewys is en resensies van bo-gemiddelde lengte ontvang het. Die ondersoek wys uit dat die Cape Times 'n "kwantitatiewe strategie" gevolg het deur alle rolprente te resenseer, terwyl die Die Burger 'n "kwalitatiewe strategie" gevolg het deur net gekeurde rolprente te resenseer. Die resensies in albei nuuskoerante kan as funkionalisties beskryf word. Die Cape Times lig sy besigheidsgeorienteerde houding uit, deur grotendeels advertensie-gelyke resensies te skryf; Die Burger demonstreer sy politiese orientering deur kommentaar oor die taalgebruik in klankrolprente te lewer en sluit so rolprente en bioskope in die taalstryd in. Die studie demonstreer dat koerante 'n waardevolle inligtingsbron vir navorsing oor die vroeë Suid Afrikaanse rolprentgeskiedenis lewer. Die bestaande standaardverwysing, Thelma Gutsche se The History and Social Significance of Motion Pictures in South Africa 1895-1940 kan suksesvol gekomplimenteer word deur gebruik te maak van Afrikaanse koerante, as ook van die tekste van die Afrikaanse filmkritikus, Hans Rompel.
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Chan, Kim-mui Eileen. "Postmodernity and recent Hong Kong cinema /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18539191.
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Carbonaro, Joseph. "Enabling church members to evaluate the moral content of feature films." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Tam, Siu-yan Xavier. "Between penumbrae and shadow contextualizing transnational queer Chinese cinemas /." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44142663.
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Van, Liew Maria. "Democratic women : gender, national discourse and the cinema of post-Franco Spain /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.
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Wang, Qi. "Writing against oblivion personal filmmaking from the forsaken generation in post-socialist China /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619151901&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Restoule, Jean-Paul. "How "Indians" are read the representation of aboriginality in films by native and non-native directors /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30998.pdf.
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Craddolph, Hayden V. "Developing a community of independent film/video producers to foster creation, marketing, and distribution of digital media." online access from Digital Dissertation Consortium, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?EP21256.
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Yang, Jing. "The construction of the Chinese woman in 1990s American cinema." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B43813185.
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Lau, Tsz-wan Christal. "Ethics in the production of Hong Kong movies." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39559105.
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Williams, Danielle E. Winn J. Emmett. "Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /." Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.
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Tiburzi, Brian M. "The fifth generation Chinese cinema's "great leap forward" /." online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1445180.
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Galt, Rosalind. "Redrawing the map of Europe space, history and spectacle in new European cinema /." [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.
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Gulledge, Jim. "A search for myth and metanarrative in films popular among college students an alternative model for Christian evaluation /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Szaloky, Melinda Terezia. "Mutual images transcendental reflections on cinema and the aesthetic between Kant and Deleuze /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1906570811&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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