Academic literature on the topic 'Animated films – South Africa'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Animated films – South Africa.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Animated films – South Africa"
1
Gorcevic, Admir R., Samina N. Dazdarevic, and Amela Lukač Zoranić. "DYSPHEMISMS IN ANIMATED FILMS." Folia linguistica et litteraria XII, no. 35 (2021): 175–94. http://dx.doi.org/10.31902/fll.35.2021.9.
Full textAbstract:
Current research focuses on an observational investigation of dysphemistic words and phrases in contemporary animated films. The language of animated films varies from other genres and styles, and this divergence from conventional language presents an important sociolinguistic problem. The main reason for the study is an assumption that authors and script writers of animated films use dysphemisms in this specific language style, despite the fact that they should be avoided. The study's methodological foundation is a corpus analysis which deals with three different corpora: the primary corpus – selected contemporary animated films (dating from 2017 to 2020) and the secondary – a) the native language corpus (Corpus of Contemporary American English - COCA), and b) Google search engine. The following goals were pursued in this dysphemism investigation: (1) the selection of animated films for the primary corpus, (2) identification of dysphemisms in the primary corpus, (3) sociolinguistic analysis and explanation of some of the most appealing expressions from the primary corpus, and (4) to cross-check some of the dysphemisms identified in the primary corpus against the secondary corpus. The authors believe that certain number of them are exclusive to animated films and cannot be found in the native discourse. The analysis has confirmed that the language of animated films contains dysphemisms, and that their number and nature vary from film to film. The most common dysphemisms can be found in all animated films, but those containing the most profane language are characteristic only for South Park. Further investigation revealed that certain number of dysphemistic expressions identified in the primary corpus can only be found in animated films and not in the natural discourse.
2
Yi, Joseph E., and Joe Phillips. "The BDS Campaign against Israel: Lessons from South Africa." PS: Political Science & Politics 48, no. 02 (2015): 306–10. http://dx.doi.org/10.1017/s1049096514002091.
Full textAbstract:
ABSTRACTThe Boycott, Divestment, and Sanctions (BDS) campaign against Israel is animated by a pragmatic strain that views external sanctions as effective pressure against a small democratic state and by a moralistic Manichean strain that portrays Israelis as oppressors. Both strains hearken back to the earlier campaign against apartheid in South Africa. We argue that doing so misreads the lessons of South Africa. Sanctions may have contributed to ending apartheid, but they operated in conjunction with improved security and interpersonal trust among negotiators. Key contenders moved from a discourse of oppression to one that humanized one another as partners with legitimate concerns. These conditions are missing from the Israeli–Palestinian conflict. Both sides consider their security to be precarious and they are locked in competing narratives of victimization, which further erode mutual trust and security. Measures to improve the parties’ security and trust would contribute to mutual concessions and greater justification for sanctions if the Israeli government is intransigent.
3
Rafiek, Muhammad. "Equation of Malay vocabulary in the animation film of Upin and Ipin with Banjarese vocabulary in South Kalimantan." Journal of Language and Linguistic Studies 17, no. 1 (2021): 85–114. http://dx.doi.org/10.52462/jlls.6.
Full textAbstract:
This research is aimed at explaining the equation of the Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan. In this research, the researcher used a qualitative method with comparative linguistic research design or equation characteristic method of linguistic features. In collecting the data, the researcher used the technique of listening and direct typing after watching the animated series Upin and Ipin on Youtube. In analyzing the data, the researcher used the equation techniques of forms and meanings of the vocabulary. This technique is called retention and innovation techniques together in methods of equation linguistic features (Mahsun, 2014). Researchers also analyzed and discussed using comparative linguistic theories from Adelaar, Blust, and Nothofer to reinforce the evidence that there are similarities in Malay vocabulary in the animated films Upin and Ipin with Malay vocabulary in South Kalimantan. The results of this research found that there are three groups of the equation of Malay vocabulary in the animated film of Upin and Ipin with Banjarese vocabulary in South Kalimantan, namely (1) Malay vocabulary in the animated film of Upin and Ipin have an equation in the form and differences meaning with the Banjarese vocabulary; (2) Malay vocabulary in the animated film of Upin and Ipin have an equation in form and meaning with the Banjarese vocabulary; and (3) Malay vocabulary in the animated film of Upin and Ipin have a semblance of forms and equation in meaning with Banjarese vocabulary, in South Kalimantan.
4
VINSON, ROBERT TRENT. "Up from Slavery and Down with Apartheid! African Americans and Black South Africans against the Global Color Line." Journal of American Studies 52, no. 2 (2018): 297–329. http://dx.doi.org/10.1017/s0021875817001943.
Full textAbstract:
Across the twentieth century, black South Africans often drew inspiration from African American progress. This transatlantic history informed the global antiapartheid struggle, animated by international human rights norms, of Martin Luther King Jr., his fellow Nobel Peace Prize winner the South African leader Albert Luthuli, and the African American tennis star Arthur Ashe. While tracing the travels of African Americans and Africans “going South,” this article centers Africa and Africans, thereby redressing gaps in black Atlantic and African diaspora scholarship.
5
Uzuegbunam, Chikezie, and Chinedu Richard Ononiwu. "Highlighting Racial Demonization in 3D Animated Films and Its Implications: A Semiotic Analysis of Frankenweenie." Romanian Journal of Communication and Public Relations 20, no. 2 (2018): 5. http://dx.doi.org/10.21018/rjcpr.2018.2.256.
Full textAbstract:
This article focuses on a semiotic analysis of Frankenweenie, one of Disney Picture’s 3D animated films. Anchored within the psychoanalytic film theory, the aim was to highlight how animated films, as colorful and comic as they are, can demonize a certain group of people. Studying how animated films can do this can lead to an important understanding because children’s exposure to modelled behavior on television and in movies has the potential to influence a wide range of attitudes and behaviors, cause victimization, alter their perceptions of reality, reinforce stereotypes and make them acquire such negative emotions as fear and anxiety, and behaviors like retaliation and passivity. The possibility of these adverse effects is even of greater concern in Africa and similar contexts which are at the receiving end of cultural products such as films that emanate from the West. The findings suggest that the negative portrayal of ‘people of color’ or other characters that represent them, by American film producers and directors seems to be a reoccurring phenomenon. Significantly, from an African perspective, this study corroborates scholars’ position that Disney has continued to portray ‘people of color’ negatively over the years.
6
Gebeye, Berihun Adugna. "Federal Theory and Federalism in Africa." Verfassung in Recht und Übersee 53, no. 2 (2020): 95–115. http://dx.doi.org/10.5771/0506-7286-2020-2-95.
Full textAbstract:
This article examines the African experiment with federalism in light of classic federal theory with the objective of identifying and illuminating patterns of convergence and divergence and the consequences thereof. Classic federal theory offers explanations for the origin, formation, structures, and success and failure of federalism. This article, drawing from the experience of Nigeria, Ethiopia, and South Africa, reveals that while federalism in Africa shares the forms, structures, and discursive practices of classic federal theory, its normative articulations and institutional frameworks are animated by syncretic configurations. As a result, federalism transforms its purpose, fundamental elements, and operations in Africa. As federalism follows new pathways in Africa, this article shows how its system of operation and standards of assessment take a similar course. Against the central ethos of classic federal theory, federalism in Africa manages to operate and, to the extent possible, deliver its purpose mainly without liberal constitutionalism. This article argues that if federalism has to ensure the practice of constitutional democracy in Africa then democratic values, human rights, and constitutional considerations should animate its normative and institutional underpinnings as in classic federal theory.
7
Rooyen, Kobus Van. "Addressing violence: a new films and publications act for South Africa." Ecquid Novi: African Journalism Studies 17, no. 1 (1996): 43–56. http://dx.doi.org/10.1080/02560054.1996.9653164.
Full text
8
Dube, Admire, and Naushaad Ebrahim. "The nanomedicine landscape of South Africa." Nanotechnology Reviews 6, no. 4 (2017): 339–44. http://dx.doi.org/10.1515/ntrev-2016-0108.
Full textAbstract:
AbstractNanomedicine is one of the most exciting applications of nanotechnology and promises to address several of mankind’s healthcare needs. South Africa is one of the countries engaged in nanomedicine research and product development on the African continent. In this article, we provide a top-level description of the policy, infrastructure, and human capital development programs supported by the South African government. We also highlight the nanomedicine outputs (publications, patents, and products) that have emanated from South Africa. This description of a “newly industrialized” country engagement in nanomedicine is important within the global context of nanomedicine development.
9
Paleker, Gairoonisa. "‘Ethnic Films’ for Ethnic Homelands: ‘Black Films’ and Separate Development in Apartheid South Africa, 1972–1979." South African Historical Journal 63, no. 1 (2011): 127–47. http://dx.doi.org/10.1080/02582473.2011.549378.
Full text
10
Park, Nam Ki. "A Study on the Appearance of South Korean Everyday Life as Shown in Animated Korean Films in the late 1970s." TECHART: Journal of Arts and Imaging Science 3, no. 1 (2016): 19. http://dx.doi.org/10.15323/techart.2016.02.3.1.19.
Full textDissertations / Theses on the topic "Animated films – South Africa"
1
Marco, Derilene. "Films about South Africa 1987-2014 : representations of 'The Rainbow'." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/81400/.
Full textAbstract:
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.
2
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.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2003.<br>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.<br>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.
3
Steenveld, Lynette Noreen. "South African anti-apartheid documentaries 1977-1987: some theoretical excursions." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002939.
Full textAbstract:
This study examines anti-apartheid documentary production in South Africa between 1977 and 1987. These documentaries were produced by a variety of producers in order to record aspects of South Africa's contemporary social history, and as a means of contributing - in some way - to changing the conditions described. While the 'content' of the documentaries is historical and social, and their intention political, this study is aimed at elucidating how a documentary, as a representational system, produces meaning. The study is therefore located within the discourse of film studies. My study is based on the theory that a documentary is the embodiment of several relationships: the relationship between social reality and documentary producers; the social relationships engaged in, in the production of the text; the relationship between the text and its audience 1, and the relationship between the audience and its social context. This informs my methodological approach in which analysis appropriate to each area of study is used. Using secondary sources obtained through standard library research, I pursue social and historical analysis of the 1970s and 1980s in order to contextualise both the producers of the documentaries, and their audience. The social relations of production of a text are examined using material gathered through extensive interviews with the producers and published secondary material. How this impinges on the documentary is ascertained through detailed textual analysis of 30 documentaries. For analytical clarity each chapter focuses on a specific aspect of documentary - although I do show how the various relationships impinge on each other. This research finds that the documentaries faithfully reflect the anti-apartheid ideology dominant in the extra-parliamentary opposition in the period under discussion - to the extent that all forms of consciousness are framed by this discourse. An examination of the textual strategies used shows that they are bound by the conventions of broadcast television. They therefore construct a spectator-text relationship which is not consistent with the political concern that democratic relationships be established as the basis of a post-apartheid society. In other words, there is an inconsistency between the ideology espoused, and the way in which film- and videomakers, in their specialised field of production, practise their politics. This can be attributed to the over-riding political intention of the documentarists 'to record' what is happening, and to establish a popular archive which can be used by extra-parliamentary opposition groups in their struggle against apartheid.
4
Maasdorp, Liani. "Cutting real : self-reflexive editing devices in a selection of contemporary South African documentary films." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20058.
Full textAbstract:
Thesis (PhD)--Stellenbosch University, 2012.<br>ENGLISH ABSTRACT: Since John Grierson first coined the term “documentary film” in the 1920s, there has
been a debate about the objectivity or subjectivity of the filmmaker. Some theoreticians
believe that a documentary filmmaker may not interact subjectively with her subject.
Contemporary perspectives lean towards acknowledging the subjectivity of the
filmmaker, and accept that subjectivity is intrinsic to the making of a documentary film.
Some would even argue that it is precisely the subjectivity of the filmmaker – the
meeting of an individual, subjective perspective with the pro-filmic world – that makes a
particular film unique.
Brecht believed that the structure of a theatre piece could be used to counter the
audience's uncritical emotional engagement and identification with the content of the
work. This Verfremdungseffekt enables the audience to engage intellectually with the
work. The audience does not get lost in the content of the piece, but rather views it
from a critical distance. Brecht believed that this distantiation does not exclude
entertainment, but that the audience would be able to enjoy the production while
viewing it from a critical, intellectual distance.
The self-reflexive mode of representation is identified by Nichols as one of the primary
ways for a filmmaker to engage with her subject. Self-reflexivity entails the inclusion of
cues within the film reminding the viewer that it is, indeed, a film. The motivation for
this is to make the audience aware of the constructed nature of the film, thereby
acknowledging the subjectivity of the filmmaker. The most overt form of self-reflexivity in documentary films is the inclusion of the
director in the film. The focus of this study is, however, more specifically on how
editing devices can be used to foreground the construction of a film. Structural analysis
of a selection of recent South African documentary films is undertaken as part of this
study. The result of this in-depth analysis is a list of twenty-eight conspicuous, selfreflexive
editing devices used in these films. To test the effect of self-reflexive editing devices, I purposely incorporated them into
the construction of a documentary series, Booza TV, of which I was one of the editors.
The goal of Booza TV is to change viewers' perceptions of alcohol and alcohol abuse.
Both quantitative and qualitative research results pointed to the ability of the series to
achieve this goal. The perception change, however, is not the focus of this study.
Instead, findings specifically related to the viewer's experience of the editing of the
production are analysed. These findings show that viewers do notice self-reflexive
devices, that the devices can contribute to their enjoyment of the production and that
self-reflexive devices are able to communicate subtext to the audience. The conclusion
is drawn from the research conducted in this study that the potential of a documentary
film to change viewers' perceptions is as dependent on the way the film has been
constructed as it is on the content of the film.<br>AFRIKAANSE OPSOMMING: Sedert John Grierson in die twintigerjare begin het om die term 'dokumentêre film' te
gebruik, word daar gedebatteer oor die objektiwiteit al dan nie van die filmmaker. Party
teoretici glo dat 'n dokumentêre filmmaker nie subjektief mag omgaan met haar
onderwerp nie. Kontemporêre perspektiewe neig egter om te erken dat die
dokumentêre filmmaker subjektief is, dat subjektiwiteit intrinsiek is aan die maak van
'n dokumentêre film, en boonop dat dit juis die subjektiwiteit van die filmmaker is wat
'n film uniek maak. Dit is die ontmoeting van 'n individuele, subjektiewe perspektief
met die waarneembare wêreld.
Brecht het geglo dat die struktuur van 'n teaterstuk of film gebruik kan word om die
gehoor se verbintenis met die inhoud daarvan te verbreek. Hierdie Vervremdungseffekt
lei daartoe dat die gehoor in staat is om krities om te gaan met die produksie. Dit lei
verder tot 'n kritiese interaksie met die materiaal. Die gehoor raak nie verlore in die
inhoud van die stuk nie, maar slaag daarin om dit intellektueel te beskou. Brecht het
geglo dat hierdie vervreemding nie vermaak uitsluit nie, maar wel die gehoor toelaat
om die teaterstuk of film te geniet terwyl hulle dit krities en intellektueel beskou.
Die self-refleksiewe voorstellingsmodus word deur Nichols geïdentifiseer as een van die
primêre maniere vir 'n filmmaker om met haar onderwerp om te gaan. Selfrefleksiwiteit
behels die insluit van tekens binne 'n film dat dit 'n film is. Die motivering
hiervoor is om die gehoor bewus te maak van die konstruksie van die film, om
sodoende die subjektiewe perspektief van die filmmaker te erken.
Die mees blatante vorm van self-refleksiwiteit in dokumentêre films, is die insluiting van
die regisseur in die film. Die fokus van die studie is egter op die gebruik van
redigeringstegnieke om die konstruksie van 'n film op die voorgrond te plaas. Daar
word van strukturele analise gebruik gemaak in hierdie studie om 'n verskeidenheid
hedendaagse Suid-Afrikaanse dokumentêre films in diepte te beskou. Die resultaat van
hierdie analise is 'n lys van ag-en-twintig sigbare redigeringstegnieke wat in hierdie
films gebruik is. Om die effek daarvan te toets, het ek doelbewus self-refleksiewe tegnieke gebruik in die
konstruksie van 'n dokumentêre reeks genaamd Booza TV, waarvan ek een van die
redigeerders was. Die doel van Booza TV is om gehore se persepsie aangaande drank
en drankmisbruik te verander. Beide kwantitatiewe en kwalitatiewe navorsingsresultate
het aangedui dat die reeks dié doel wel bereik. Persepsieverandering is egter nie die
fokus van hierdie studie nie. In stede daarvan word daar in diepte gekyk na gehore se
ervaring van die self-refleksiewe redigeringstegnieke in die produksie. Daar is gevind
dat gehore self-refleksiewe redigeringstegnieke raaksien, dat die tegnieke kan bydra tot
gehore se genot van die produksie, en dat die tegnieke gebruik kan word om subteks in
die film te kommunikeer.
5
Sundqvist, Isa. "Organizing creativity : a case study of the film production company : Rainbow Circle Films in Cape Town, South Africa." Thesis, University West, Department of Economics and Informatics, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-264.
Full text
6
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.
Full textAbstract:
Thesis (MDram)--Stellenbosch University, 2000.<br>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.<br>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.
7
Paleker, Gairoonisa. "Creating a 'black film industry' : state intervention and films for African audiences in South Africa, 1956-1990." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8259.
Full textAbstract:
Includes abstract.<br>Includes bibliographical references (leaves 217-239).<br>This thesis examines one aspect of cinema in South Africa, namely, the historical construction of a 'black film industry' and the development of a 'black' cinema viewing audience. It does so by focusing on films produced specifically for an African audience using a state subsidy. This subsidy was introduced in 1972 and was separate from the general or A-Scheme subsidy that was introduced in 1956 for the production of English- and Afrikaans-language or 'white' films. This thesis is a critical assessment of the actual film products that the B-Scheme produced. The films are analysed within the broader political, economic and social context of their production and exhibition. The films are used as historical sources for the way in which African identities were constructed. Through critical analyses of the selected films, the thesis examines the manner in which African people, culture, gender and family relations, as well as class and/or political aspirations were represented in film. Africans had very little opportunity or power to represent themselves and where this had been possible, it was within the ideological and political boundaries set by the apartheid government.
8
Landau, Gallaye-Joachim. "Les impacts de la démocratisation sur un secteur culturel : le cinéma sud-africain post-apartheid." Thesis, Bordeaux 4, 2012. http://www.theses.fr/2012BOR40020/document.
Full textAbstract:
Cette thèse met en avant, d’une part, les bouleversements qui parcourent le secteur cinématographique en Afrique du Sud depuis 1994 : volontés d’autonomie esthétique et économique, recherches de voix authentiques, formation d’une nouvelle famille de cinéastes.D’autre part, cette recherche révèle le rôle de l’État Sud-Africain dans la définition de la fonction du cinéma au sein de la démocratie contemporaine : Organes spécialisés de l’État, politiques publiques, idéologies, relations avec les professionnels du secteur<br>This thesis highlights on one hand, changes that run through the film industry in South Africa since 1994 : wills of aesthetic autonomy and economic, research of authentic voices, growth of a new family of filmmakers. Moreover, this research reveals the role of government in the South African definition of the function of cinema in the contemporary democracy: specialized organs of the State, public policies, ideologies, relationships with industry professionals
9
Penn, Richard. "Metamorphosis as a narrative strategy in selected South African animated films." Thesis, 2009. http://hdl.handle.net/10539/7364.
Full textAbstract:
Abstract
This study examines the notion as well as the use of metamorphosis in the animated
films of selected South African artists. The analysis demonstrates how metamorphosis,
as a narrative strategy, is wholly appropriate to South African animation artists whose
works engage with issues which tend to surface in a country in constant flux and in
which the word ‘transformation’ is part of its everyday vocabulary and collective
consciousness.
I bring together ideas around metamorphosis from various animation writers and link
these to an eclectic selection of writers in other fields. I examine W.J.T. Mitchell’s
writing on the multistable image as well as the work of neuroscientist, V.S.
Ramachandran in order to suggest a possible explanation for the hold that
metamorphosis has over its audience. I also included an alternative history of
animation via the transformative, Vaudeville performances of chapeaugraphy,
shadowgraphy and Quick-Change. In addition I differentiate between the digital morph
as exemplified in the music video to Michael Jackson’s Black or White (1991) and the
type of hand-drawn metamorphosis in the work of William Kentridge. The issue at stake
here is the ability of the morph to transgress arbitrary boundaries of categorisation
versus its tendency to obliterate otherness and inculcate sameness.
For my case studies I examine William Kentridge’s use of metamorphosis in his
Drawings for Projection and how metamorphosis is apparent not only in the
transformation of one object into another, but at the level of the medium itself. Here I
look at how his work is infused with metaphor through the palimpsetic traces left behind
by the incomplete erasures of his technique. As a loose framework around the
discussion of metaphor I look at the theories of Paul Ricoeur and the more poetic
writing of Cynthia Ozick.
In the on-going time lapse collaboration project Minutes by Mocke Lodewyk Jansen
van Veuren and Theresa Collins I examine how both the city and our experience of
time and space is transformed through time lapse animation and how this
transformation enables an analysis of spatial practice that can be utilized in future
urban renewal programmes.
In my own work, I am interested in exploring the theme of origins. I look at genetics and
cosmology as well as Deleuze’s theory of individuation and how they all seem to
incorporate a kind of ‘metastable state’ of infinite potential that is similar to Eisenstein’s
“plasmaticness”. As a visual idiom I use static ‘snow’ or ‘noise’ in animation, video work
and drawings; conceptually harnessing the idea that static contains residual radiation
left over from the birth of the universe. Static noise is the medium through which I
create portraits of my father and encounter my own ‘genetic‘ self-portrait. I also analyse
some of the work on physical actions by theatre theorist and director Jerzy Grotowski.
From Grotowski, I have begun to understand certain performative aspects around
gesture and the simultaneous portrait/self-portrait see-saw of my work.
10
Blaeser, Tanya. "A postcolonial analysis of colonial representations in Triggerfish's animated films Khumba (2013) and Adventures in Zambezia (2012)." Thesis, 2017. https://hdl.handle.net/10539/24546.
Full textAbstract:
A Research Report submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements of the degree of Mater of Arts in Digital Arts: 3D Animation by Coursework and Research Report, 2017<br>During the colonial era, stereotypes of Africa were created and normalised in order to gain, maintain and justify colonial power. Europe during the colonial era, defined itself, using binary thinking (stemming from the Enlightenment period), against the "Other". This was used to establish a definition of the savage against which Europe was defined as civilised; Europe, deeming itself rational, used nineteenth-century African ways as an opposition by which the binary of rational against irrational could be expressed (Loomba 45). Colonial depictions of Africa often overlooked complexities and distinctions and represented the continent as a homogenous land and created oversimplified representations of the people and places (Harth 14). From the repeated production of imperial imagery, a regime of representation was created portraying Africa as a primitive wilderness, inferior to Europe, and as a site of colonial adventure. More recently, Triggerfish Animation Studios, based in Cape Town, created the films Adventures in Zambezia (2012) and Khumba (2013). This research argues that both films contain colonial stereotypes that conform to the regime of representation depicting Africa as a homogenous land of animals and landscapes, and repeat the colonial single story of an Edenic Africa. Khumba (2012), although still containing colonial stereotypes, offers a less stereotypical depiction than Adventures in Zambezia (2013).<br>XL2018
Books on the topic "Animated films – South Africa"
2
The cinema of apartheid: Race and class in South African films. Smyrna Press, 1987.
Find full text
4
Silvia, Bazzoli Maria, and Festival cinema africano, (13th : 2003 : Milan, Italy), eds. African cartoon: Il cinema di animazione in Africa. Il castoro, 2003.
Find full text
6
South Africas Renegade Reels The Making And Public Lives Of Blackcentered Films. Palgrave MacMillan, 2012.
Find full text
7
Jean-Jacques, Malo, and Williams, Tony, 1946 Jan. 11-, eds. Vietnam war films: Over 600 feature, made-for-tv, pilot and shortmovies, 1939-92, from the United States, Vietnam, France, Belgium, Australia, Hong Kong, South Africa, Great Britain and other countries. McFarland, 1993.
Find full text
8
1958-, Malo Jean-Jacques, and Williams, Tony, 1946 Jan. 11-, eds. Vietnam war films: Over 600 feature, made-for-TV, pilot, and short movies, 1939-1992, from the United States, Vietnam, France, Belgium, Australia, Hong Kong, South Africa, Great Britain, and other countries. McFarland, 1994.
Find full text
10
Rossoukh, Ramyar D., and Steven C. Caton, eds. Anthropology, Film Industries, Modularity. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478022190.
Full textAbstract:
From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossoukh
Book chapters on the topic "Animated films – South Africa"
1
Nwabara, Olaocha Nwadiuto. "Re-producing Self, Community, and ‘Naija’ in Nigerian Diaspora Films: Soul Sisters in the United States and Man on the Ground in South Africa." In Art, Creativity, and Politics in Africa and the Diaspora. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91310-0_7.
Full text
2
Maingard, Jacqueline. "Drumming up Readers: Zonk! African People’s Pictorial and Films for African Audiences in South Africa in 1949 and the Early 1950s." In Mapping Movie Magazines. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33277-8_8.
Full text
3
Kraaikamp, Nanette. "Drawings to Remember." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0008.
Full textAbstract:
South African Artist William Kentridge’s Drawings for Projection films animate his charcoal drawings. This chapter analyses Kendridge’s animated film Felix in Exile (1994), for which forty charcoal drawings were amended and filmed during each step of the work’s stop-motion animation process. Felix in Exile addresses the traumatic history of South Africa during apartheid and provides a good meta-level insight into the process of drawing. This chapter explores how Kentridge’s drawing mechanisms and the representation of history, time and memory are interrelated. Questions examined include: How are mechanisms of drawing and animation related to history? How does Felix in Exile mediate time and memory? What is it exactly that causes this film’s affect? This chapter reflects on these questions by using Walter Benjamin’s philosophical texts, On the Concept of History (1942) and On the Mimetic Faculty (1933) in conjunction with theoretical literature on drawing in order to analyse Kentridge’s work.
4
Fox, Eleanor M., and Mor Bakhoum. "South Africa." In Making Markets Work for Africa. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190930998.003.0006.
Full textAbstract:
This chapter explores South African competition law. South Africa has the most sophisticated system of competition law and policy in sub-Saharan Africa. It has a mission to expand economic opportunity and facilitate inclusive development. In the wake of the UN Millennium Development Goals and the follow-on Sustainable Development Goals, there is a new world consciousness of the need to combat deep systemic poverty and to reverse the tide of increasing inequality of wealth, income, and opportunity. If there is any nation in the world whose competition law mandates integration of equity and efficiency, it is South Africa, and its policymakers are intent to address this need. The chapter looks at the South African Competition Act and highlights selected cases to illustrate the law and its implementation, including the effort by the Competition Tribunal to give serious regard to the equality and inclusiveness values that animated the statute.
5
Aifheli, Makhwanya. "An analysis of South African policies that enable or hamper film production and co-producing with South Africa." In Produire des films. Presses universitaires du Septentrion, 2018. http://dx.doi.org/10.4000/books.septentrion.25823.
Full text
6
Maasdorp, Liani. "From the Ashes: The Fall of Apartheid and the Rise of the Lone Documentary Filmmaker in South Africa." In Post-1990 Documentary. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694136.003.0010.
Full textAbstract:
This chapter explores how South African documentary practice has evolved since the 1990s, leading to the emergence of film practices based on a single individual. It considers films such as The Mothers' House (dir. Verster, 2006), Surfing Soweto (dir. Blecher, 2010), Dawn of a New Day (dir. Grunenwald, 2011), Imam and I (dir. Shamis, 2011), Saying Goodbye (dir. Mostert, 2012), and Incarcerated Knowledge (dir. Valley, 2013). Although these are not the only films pertaining to this filmmaking model, they reflect how more individualised and personal film documentary practices are intrinsically linked to the character of independent documentary filmmaking in South Africa today, as they contribute new critical views on the contested issue of post-apartheid national identity.
7
von Schnitzler, Antina. "Conclusion." In Democracy's Infrastructure. Princeton University Press, 2016. http://dx.doi.org/10.23943/princeton/9780691170770.003.0007.
Full textAbstract:
This chapter concludes that the book has explored the political terrain in postapartheid South Africa, where infrastructure and administration had for decades been central political arenas in which much of the urban struggle unfolded. In particular, it has examined how producing liberal democracy, including the constitutive splits between the public and the private and the political and the administrative, became a central task of the postapartheid state, one that has always been prone to failure and contestation from multiple directions. The book has outlined the contours of this techno-political terrain beginning in the late-apartheid period when infrastructure and action on the administrative terrain became a central feature of the antiapartheid struggle. In conclusion, it considers how, in the postapartheid period, many of the questions that animated the liberation struggle are often continually being negotiated and re-articulated in a variety of spaces.
8
Furman, Nelly. "Screen Woman." In Georges Bizet's Carmen. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190059149.003.0004.
Full textAbstract:
The international appeal of the story of Carmen on the silver screen has been phenomenal. The story has spawned nearly eighty films by some of the world’s most celebrated directors. In the early days of cinema, we find a first cluster of Carmens among them films directed by Cecil B. Demille, Charlie Chaplin, and Ernest Lubitsch. In 1954, Otto Preminger’s Carmen Jones calls attention to African American issues in the United States, as will in 2001, Carmen: A Hip Opera directed by Robert Towsend for MTV. In 1983, we find a second cluster of international film directed by Jean-Luc Godard (France), Francesco Rosi (Italy) and Carlos Saura (Spain). At the turn of the twenty-first century, Bizet’s heroine appears in two major African film production: Joseph Gaï Ramaka’s Karmen (Senegal) and U-Carmen by the Dimpho Di Kopan theater (South Africa). All these films testify to the continuous attraction of Bizet’s heroine through time from the lyric stage to the silver screen.
9
Hansen, Thomas Blom. "The Unwieldy Fetish." In Melancholia of Freedom. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691152950.003.0007.
Full textAbstract:
This chapter looks at the new economy of diasporic imagination that hit South Africa after 1994. It begins by examining a range of narratives of roots tourism whereby thousands of South African Indians each year travel to India in search of the village of their ancestors and for shopping and/or spiritual purification. These journeys are often complex discoveries of both the real and the imaginary India, and are almost invariably linked to desires for purification and “proper” Indianness and “culture,” which, in their turn, are spawned by social mobility and ambition. The other side of this new fascination with India's past and its emerging power as a nation is an intense interest in Bollywood films and their songs, stars, and aesthetics.
10
Motrescu-Mayes, Annamaria, and Heather Norris Nicholson. "Resisting Colonial Gendering while Domesticating the Empire." In British Women Amateur Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0003.
Full textAbstract:
This chapter examines how colonial women amateur filmmakers often documented in detail their early and mid-twentieth century overseas travel and settlement experiences, jobs, sports and private and official events. Relying on cross-archival primary sources, it discusses the filmmakers’ simultaneous roles as vectors of colonising credos and commodified subalterns of imperial paternalism. It explores the historical discourse present across several colonial amateur films made by British women in South Asia, Africa, Papua New Guinea, and the Middle East between 1920s and 1940s. It also considers gender and racial hierarchies as shaped by imperial rule while confirmed or challenged by the filmmakers' prevailing perceptions of cinematic vocabulary and practice. Although traditionally seen as a predominantly male hobby, amateur filmmaking across the British Empire has been a pastime preferred by women too, almost on par with their male counterparts. It thus becomes possible to speak of a gender-based visual narrative identifiable across British colonial amateur filmmaking, one validated by the thematic choices made by women amateur filmmakers and their shared visual literacy. Finally, the chapter explores the differences and similarities in visual literacy between several amateur films made by British colonial women during the final years of the British rule in India.