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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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KEITA, CHÉRIF. "USING FILM TO RECONNECT SOUTH AFRICA TO EARLY LIBERATION HEROES." Outros Tempos: Pesquisa em Foco - História 15, no. 25 (2018): 170–82. http://dx.doi.org/10.18817/ot.v15i25.642.
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Abstract: This article reflects on the relevance of using films in South Africa's post-apartheid national reconstruction process. The films have the potential to reconnect present-day South Africa with their early forgotten heroes who have fought for liberation, against segregation and apartheid.Keywords: Movies. South Africa. Heroes. Fights for Liberation.USANDO FILMES PARA RECONECTAR A áFRICA DO SUL AOS PRIMEIROS HERÓIS DAS LUTAS CONTRA O APARTHEIDResumo: Neste trabalho, reflete-se sobre a relevá¢ncia de seu usar filmes no processo reconstrução nacional da áfrica do Sul pós-Apartheid. Os filmes têm o potencial de reconectar a áfrica do Sul atual aos seus primeiros heróis, atualmente esquecidos, que lutaram pela liberação, contra a segregação e o apartheid.Palavras-chave: Filmes. áfrica do Sul. Heróis. Lutas por Libertação. USANDO PELáCULAS PARA RECONECTAR A áFRICA DEL SUR A LOS PRIMEROS HEROES DE LAS LUCHAS CONTRA EL APARTHEIDResumen: En este trabajo, se refleja en la relevancia de su uso de peláculas en el proceso de reconstrucción nacional de Sudáfrica post-Apartheid. Las peláculas tienen el potencial de reconectar a áfrica del Sur actual a sus primeros héroes, actualmente olvidados, que lucharon por la liberación, contra la segregación y el apartheid.Palabras claves: Peláculas. Sudáfrica. Héroes. Luchas por Liberación.
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Suntai, Dauda Ishaya, and Simon Targema Tordue. "Madagascar Escape to Africa and Parents’ Career Expectations for Children." Journal of African Theatre, Film and Media Discourse 1, no. 1 (2020): 73–85. http://dx.doi.org/10.33886/kujat.v1i1.127.
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This essay is a thematic review of a computer animated comedy filmMadagascar Escape 2 Africa. It highlights the rich thematic embodiment of the film. Entertainment-Education has been adopted as a theoretical framework for analysis, owing to the fact that it emphasizes infusion of educational oriented content into the production of entertainment programmes/media content to achieve attitudinal change in society. Five themes have been identified from the film and discussed, namely: the usefulness/relevance of every talent/skill, the power of unity/friendship, innovation, adventure and love. The central thesis in the essay is that all talents are relevant and important to the growth and development of society as contained in the film under review, hence parents are advised to identify talents which their children have and guide them accordingly to exploit and utilize them to the fullest. This is against the career imposition trait of most parents, which often time leads to poor performance of children in careers they have no passion for. Conclusively, the study recommends the Entertainment-Education approach to producers of children films and media content to help reduce the cultivation effect that arises from the projection of violence, crime, nudity and profane scenes in cartoons and children programmes. This will go a long way to help achieve the desired attitudinal change in society.
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Khan, Khatija Bibi. "SOUTH AFRICA IN THE CINEMATIC IMAGINARY: THE STORY OF A WHITE YOUTH IN SKIN." Commonwealth Youth and Development 14, no. 2 (2017): 170–78. http://dx.doi.org/10.25159/1727-7140/1924.
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The rapid production of films of diversity in post-1994 South Africa has unfortunately not been matched by critical works on film. Part of the reason is that some of the films recycle old themes that celebrate the worst in black people. Another possible reason could be that a good number of films wallow in personality praise, and certainly of Mandela, especially after his demise. Despite these problems of film criticism in post-1994 South Africa, it appears that some new critics have not felt compelled to waste their energy on analysing the Bantustan film – a kind of film that was made for black people by the apartheid system but has re-surfaced after 1994 in different ways. The patent lack of more critical works on film that engages the identities and social imaginaries of young and white South Africans is partly addressed in SKIN – a film that registers the mental growth and spiritual development of Sandra’s multiple selves. This article argues that SKIN portrays the racial neurosis of the apartheid system; and the question of identity affecting young white youths during and after apartheid is experienced at the racial, gender and sex levels.
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Maxwell, David. "Photography and the Religious Encounter: Ambiguity and Aesthetics in Missionary Representations of the Luba of South East Belgian Congo." Comparative Studies in Society and History 53, no. 1 (2011): 38–74. http://dx.doi.org/10.1017/s0010417510000629.
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William F. P. Burton's career straddled several worlds that seemed at odds with each other. As a first-generation Pentecostal he pioneered, with James Salter, the Congo Evangelistic Mission (CEM) at Mwanza, Belgian Congo in 1915. The CEM became a paradigm for future Pentecostal Faith Mission work in Africa, thanks to Burton's propagandist writings that were published in at least thirty European and North American missionary periodicals. His extensive publications, some twenty-eight books, excluding tracts and articles in mission journals, reveal that the CEM was a missionary movement animated by a relentless proselytism, divine healing, exorcism, and the destruction of so-called “fetishes.” The CEM's Christocentric message required the new believer to make a public confession of sin and reject practices relating to ancestor religion, possession cults, divination, and witchcraft. It was a deeply iconoclastic form of Protestantism that maintained a strong distinction between an “advanced” Christian religion, mediated by the Bible, and an idolatrous primitive pagan religion. Burton's Pentecostalism had many of its own primitive urges, harkening back to an age where miraculous signs and wonders were the stuff of daily life, dreams and visions constituted normative authority, and the Bible was immune to higher criticism. But his vision also embraced social modernization and he preached the virtues of schooling and western styles of clothing, architecture, and agriculture. It was this combination of primitive and pragmatic tendencies that shaped the CEM's tense relations with the Belgian colonial state.
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Paleker, Gairoonisa. "On the Town and Underworld in South Africa: Representations of Urban Africans in ‘Black Films’, 1974–1990." African Historical Review 43, no. 2 (2011): 37–54. http://dx.doi.org/10.1080/17532523.2011.634070.
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LANGMIA, FORTI ETIENNE. "From apartheid to Post-Apartheid: The Representational Trajectory to a Multiracial Nation in Nadine Gordimer’s None to Accompany Me, Andre Brink’s The Rights of Desire and Zakes Mda’s The Madonna of Excelsior." Advances in Social Sciences Research Journal 8, no. 5 (2021): 707–24. http://dx.doi.org/10.14738/assrj.85.10277.
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This article, which draws inspiration from the literary works of three South African writers, focuses on the two (amongst many) major historic periods in the life of the present-day nation described as post-apartheid South Africa. The two periods, evident in the works of Andre Brink, Zakes Mda and Nadine Gordimer under review, are the reign of apartheid and the transition to a democratic multiracial society built on the principles of equality and the respect of the rights and freedoms of South Africans. From both historical and literary standpoints, the transition to multiracialism is the outcome of the struggle of the oppressed black population of South Africa against the oppressive monolithic racist regime which ruled the country on an official governance policy which it called ‘Apartheid’. In order to enforce this inhumane worldview, the said racist regime used means of brutality and savagery with the intention of transforming the country into a ‘white nation’ that would belong to a minority-turned majority known as the Afrikaners. The often callous and gruesome acts of inhumanity perpetrated by the different racist apartheid regimes (that ruled South Africa from 1948-1994) became a major concern to the world at large and South African anti-apartheid writers in particular. Thus this category of the country’s writers tended to use literature as an instrument of protest against racial discrimination, which brought untold hardship to the black population. Andre Brink, Zakes Mda, and Nadine Gordimer are among the writers whose works vividly trace the South African experience from apartheid to post-apartheid eras. Brink, Mda and Gordimer in their respective works attempt to portray the endeavours and challenges of reconstructing the new nation from the debris of close to four decades of the brutal regime. The main issues discussed in this article are analyzed from New Historicist and Postcolonial perspectives due to the peculiar postcolonial nature of South Africa.
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Kowal, Justyna. "Frankensteinowska hybryda." Literatura i Kultura Popularna 25 (July 28, 2020): 529–32. http://dx.doi.org/10.19195/0867-7441.25.30.
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The review of Frankenstein — 100 lat w kinie describes a unique form of the book proposed by Rafał Donica, Polish film critic and expert in popular culture. The shape of the book remains the object of its deliberations; fragmentary, heterogeneous narration by Donica reflects an idea of Frank-enstein’s monster body. Donica builds his narration with quotations, critical essays, historical re-constructions and original illustrative material. The author examines the character of Frankenstein’s monster in cinema and visual culture, which — as Donica accounts — brought about the transform-ation of the monster picture, extremely distant from Shelley’s prototype. The heterogeneity of Don-ica’s book manifests itself in several fields; the form of character appearance (from feature films, through animated films, TV series to commercials), temporal (from the beginnings of the cinema to present day) and territorial range — the author makes an attempt to present an objective, non-Euro-pocentric point of view, including examples of Frankenstein’s monster appearance in Asia or South America. Donica also proves his sensitivity to sociological mechanisms which guides popular cul-ture; he shows how “faces” of famous actors (like Boris Karloff) affected the monster image.
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Marco, Derilene. "Annalet Steenkamp, director. I, Afrikaner. 2013. 93 minutes. Afrikaans with English subtitles. South Africa. Go Trolley Films. $9.99." African Studies Review 60, no. 1 (2017): 245–47. http://dx.doi.org/10.1017/asr.2017.40.
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Modisane, Litheko. "Experiments in cinematic biography: Ken Gampu’s early life in the cinema." Journal of African Cinemas 12, no. 2-3 (2020): 119–35. http://dx.doi.org/10.1386/jac_00032_1.
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Contemporary scholarship on South African film is yet to address the participation of Black actors in film production, exhibition and publicity. The actors’ interpretive roles in the films, their memories and experiences, and the contradictions of their participation in colonial films and beyond, form part of an unexplored and hidden archive in South African film scholarship. This article focuses on Ken Gampu’s early life in the cinema by reflecting on his participation in two films: a western The Hellions and the drama Dingaka. Gampu was a well-known South African actor and also the first Black actor from that country to succeed in Hollywood. This article proposes an experimental methodology of life-writing called ‘cinematic biography’. It shows that the cinematic lives of the marginalized and colonized actors harbour critical potential in enriching the critical perspectives on the cinema and cinematic cultures in South Africa and beyond.
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Moyer-Duncan, Cara. "Resistance documentaries in post-apartheid South Africa: Dear Mandela (Kell and Nizza, 2012) and Miners Shot Down (Desai, 2014)." Journal of African Cinemas 11, no. 1 (2019): 47–67. http://dx.doi.org/10.1386/jac_00004_1.
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During apartheid, a documentary film movement emerged, capturing ordinary people taking on the oppressive government and the exploitative capitalist industry. People were shown at work and in their communities organizing strikes, protesting against repression, and being subjected to violence. This grassroots film movement, which has been described as a cinema of resistance, served as a tool to educate viewers, document violence and inequality, and mobilize support against the apartheid regime. Two decades after the end of apartheid, a similar set of resistance films has begun to emerge – with the difference that these films are holding the democratically elected government accountable. These documentaries give voice to the disenfranchised masses for whom the multiracial democracy has not brought substantial change. The African National Congress-led government has sanctioned actions echoing those that occurred under apartheid, including forced removals and the massacre of protestors.Two films, Dear Mandela (Kell and Nizza, 2012) and Miners Shot Down (Desai, 2014), capture this and are indicative of a new wave of resistance documentaries.
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Magogodi, Kgafela Oa. "Refiguring the Body: Performance of Identity in Mapantsula and Fools." Theatre Research International 27, no. 3 (2002): 243–58. http://dx.doi.org/10.1017/s0307883302000329.
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Two South African films, Oliver Schmitz's 1988 Mapantsula and Ramadan Suleman's 1997 Fools, drawing from the revolutionary fervour of Third Cinema, developed a radical consciousness against a backdrop of Anglo-Afrikaner cinema in South Africa. Set in Soweto during the 1980s, both films, in their representation of blackness, address issues of the body, identity and agency. With their anti-heroes at the centre, they explore questions of African identity by imaging the black body differently, and free it from the grip of the apartheid imaginary. Meanwhile, the white body in the films is ‘shot’ as a homogenized symbol of apartheid violence and oppression, thus ‘fixing’ white identity as a strategy for political truth claiming.
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Smit, N. J., and A. J. Davies. "Desseria zei sp. nov. (Adeleorina: Haemogregarinidae) infecting Zeus capensis from deep waters off the south and west coasts of South Africa." Journal of the Marine Biological Association of the United Kingdom 86, no. 6 (2006): 1477–80. http://dx.doi.org/10.1017/s002531540601455x.
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Blood films from a marine fish, the Cape Dory (Zeus capensis), trawled at depths between 149 and 389 m off the south and west coasts of South Africa, contained a new species of haemogregarine, Desseria zei sp. nov. The apicomplexan, found in 25/97 fish from the two regions, was generally intra-erythrocytic. Parasitaemia was usually low, but attained infection levels of 1/10 erythrocytes in one fish. The parasite stages were all gamonts and monomorphic, but likely varied in maturity; they were 3.3–4.5 μm wide by 14.7–18.3 μm long, curved with bluntly pointed ends, and existed singly within erythrocytes, or in pairs in the heavy infection. Their cytoplasm was deep blue, granular, and stained deeply at the anterior and sometimes, posterior extremities. Two or three vacuoles occurred in the cytoplasm between the anterior cap and the gamont nucleus, which was positioned in the posterior third of the parasite body. Gamonts lay close to the host cell nucleus, often curved around it. Distortion of host cells and host nucleus displacement occurred when single gamonts curved away from the host nucleus, or if they were paired. A few extracellular gamonts were observed, occasionally associated with the remnants of the erythrocyte nucleus.
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Danert, Kerstin, Dotun Adekile, and Jose Gesti Canuto. "Striving for Borehole Drilling Professionalism in Africa: A Review of a 16-Year Initiative through the Rural Water Supply Network from 2004 to 2020." Water 12, no. 12 (2020): 3305. http://dx.doi.org/10.3390/w12123305.
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Drilled boreholes are vital to achieving universal, safe drinking water and meeting Sustainable Development Goal (SDG) 6.1, particularly in Africa. Poor quality siting, borehole design, drilling and completion lead to premature failure of the water supply. From 2004 to 2020, a multi-stakeholder initiative through the Rural Water Supply Network (RWSN) has endeavored to raise the professionalism of borehole drilling and its management in Africa. The initiative comprised in-country and desk studies, training, and the development of guidelines, manuals, training materials, short animated films for advocacy as well as using blogs, webinars and online communities of practice to share experiences. The initiative was funded to approximately USD 750,000 in total. Funding was fragmented throughout, but the initial support by the World Bank Water and Sanitation Programme Africa (WSP-AF), consistent leadership and subsequent partnerships between Skat Foundation, United Nations Children’s Fund (UNICEF), WaterAid UK and others enabled progression on the topic, as well as innovation and opportunities to be harnessed. The initiative has raised the profile of drilling professionalism, provided a wealth of materials and inspired others to take action. Thousands of stakeholders have improved their knowledge. Academic research on the topic has also increased and capacity strengthening of groundwater management and professional drilling is now an action area for the African Ministers Council on Water (AMCOW). UNICEF and WaterAid are among the organizations that have made changes to procurement and project management as a result of the initiative. Despite a growing recognition of the importance of drilling professionalism, reliable, long-term investment in in-country training and professional development, and addressing challenges in the institutional environment remains inadequate. Despite the importance of water well drilling, and commitments to SDG 6.1, capacity strengthening in this area remains a marginal issue for national and international political leadership, and arguably for international funding agencies.
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Onuzulike, Uchenna. "Audience Reactions to the Different Aspects of Nollywood Movies." CINEJ Cinema Journal 5, no. 2 (2016): 87–104. http://dx.doi.org/10.5195/cinej.2016.137.
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This article juxtaposes two audiences-Nigerians in Nigeria and Nigerians in South Africa in order to ascertain how they perceive favorite aspects and disliked aspects of Nigerian movie productions, popularly known as Nollywood. The results indicate that the two groups favor the depiction of Nigerian/African cultures over other themes; yet, Nigerians in South Africa disfavor the reality of Nollywood movies. The disliked aspects of these films were repetition, poor quality and the supernatural. Grounded in reception analysis and mirroring McLuhan’s hot-cool model, the analysis indicates that the quality of Nollywood movies impacts how audiences decode the movies. Findings suggest that for those living outside of Nigeria, nostalgia leads them to seek movies that allow them to escape into a Nigeria that never was.
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Nevondwe, Lufuno, and Motlhatlego Matotoka. "The Right to Freedom of Expression, Press and Culture in South Africa: A Survey of Recent Developments." International Human Rights Law Review 2, no. 1 (2013): 170–85. http://dx.doi.org/10.1163/22131035-00201007.
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This article reflects on the recent case and determination in Goodman Gallery v Film and Publication Board and Print Media South Africa v Minister of Home Affairs and Another which set important precedents in the media industry. These determinations also show the consistency of the South African Courts and tribunals in ensuring that the right to human dignity, the achievement of equality, and the advancement of human rights and freedoms which are among the founding values of the Constitution are afforded adequate protection. These constitutional rights are often in conflict with each other. The article determines whether one constitutional right supersedes the other. It also comments briefly on the role of the media in South Africa and its challenges under democracy. The article further considers the statutory mandate of the Films and Publication Board and provides a critique of the decision in Goodman Gallery.
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Ncube, Gibson. "Film as /and Popular Social Text: The Reception of John Trengove’s Inxeba/The Wound and Wanuri Kahui’s Rafiki." English in Africa 47, no. 3 (2021): 55–79. http://dx.doi.org/10.4314/eia.v47i3.4s.
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This article is interested in popular and institutional or state responses to the representations of queerness offered in the films Inxeba/The Wound (South Africa, 2017) and Rafiki (Kenya, 2018). Aside from portraying the marked homophobia that continues to circulate on the African continent, the institutional and state responses to the films have overshadowed the positive popular reception which has characterised conversations around the films on social media and public spaces. This article shows how social media functions as animportant space of contestation for diverse issues relating to non-normative gender and sexual identities. As these films circulate in different spaces and are viewed by diverse audiences, they elicit equally diverse reactions and responses. The article examines how viewers, in Africa and beyond, receive and engage with the queerness represented in the two films. It argues that the multifaceted reactions to Inxeba/The Wound and Rafiki are central to articulating important questions about what it means to be queer in Africa,and particularly what it implies for black queers to inhabit heteronormative and patriarchal spaces on the continent. Through an analysis of the reactions and receptions of the two films in Africa and the global North, it is argued that it is possible to trace important inter-regional, intra-continental and intercontinental dialogues and conversations regarding the representation of queer African subjectivities. The intra-continental and inter-continental dialogues bring to light questions of gaze and viewing that are inherent in the circulation of queer-themed films.
 Kewords: Inxeba/The Wound, Rafiki, reception, popular culture, queerness
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Naidoo, Rennie, Kalley Coleman, and Cordelia Guyo. "Exploring gender discursive struggles about social inclusion in an online gaming community." Information Technology & People 33, no. 2 (2019): 576–601. http://dx.doi.org/10.1108/itp-04-2019-0163.
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Purpose The purpose of this paper is to adopt a critical relational dialectics framework to identify and explore gender discursive struggles about social inclusion observed in an online gaming community, in South Africa. Design/methodology/approach The paper uses a technique called contrapuntal analysis to identify and explore competing discourses in over 200 messages on gender struggles about social inclusion posted in the local community’s gamer discussion board, based on seven threads initiated by women gamer activists. Findings The findings show how four interrelated gender discursive struggles about social inclusion and social exclusion animated the meanings of online gamer relations: dominance vs equality, stereotyping vs diversity, competitiveness vs cooperativeness and privilege vs empowerment. Practical implications Game designers should reinforce more accurate and positive stereotypes to cater for the rapidly growing female gamer segment joining the online gaming market and to develop a less chauvinistic and more diversely representative online gaming community. Enlightened gamers should exercise greater solidarity in fighting for gender equality in online gaming communities. Originality/value The critical relational dialectics analysis adopted in this study offers a promising avenue to understand and critique the discursive struggles that arise when online gamers from the different gender groups relate. The findings highlight the unequal discursive power and privilege of many white male gamers when discussing social inclusion. Advancing our understanding of these discursive struggles creates the possibilities for improving social inclusion in online gaming communities.
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Engelbrecht, Johan. "Skrifgetrouheid en Jesusfilms." Religion and Theology 1, no. 3 (1994): 292–300. http://dx.doi.org/10.1163/157430194x00213.
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AbstractWith the history of the film The last temptation of Christ in the world and especially in South Africa in mind, the question arises whether only films about Jesus which portray the Gospels literally should be made. A further question, however, is whether it is possible to portray the Gospels literally. This article points out the problems related to these questions and answers both questions in the negative. While there certainly are films which portray the Gospels more literally than others, even these are not exactly 'true to Scripture' in view of the specific problems regarding the Gospels and the canon.
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Moyer-Duncan, Cara. "Rehad Desai, director. Miners Shot Down. 2014. English, Xhosa, Zulu, and Fanakalo, with English subtitles. 86 minutes. South Africa. Icarus Films. $398.00." African Studies Review 58, no. 1 (2015): 281–83. http://dx.doi.org/10.1017/asr.2015.27.
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Golan, Daphna. "The Life Story of King Shaka and Gender Tensions in the Zulu State." History in Africa 17 (January 1990): 95–111. http://dx.doi.org/10.2307/3171808.
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Hundreds of poems, novels, plays, and films have been devoted to Shaka, the king of the Zulu. His life story has been created anew each generation, and his image has changed over the years. For many whites he represents barbarism; for many blacks both within and outside South Africa, he has become a symbol of power. The ways in which Shaka has been portrayed reveal trends of thought and ideological influences prevailing in each period. They record the shifts in white conceptions of blacks in South Africa, and some of the developments in black consciousness.In this study I suggest that the core of the king's biography, the very basic life story which most historians accept, is but an invention. Shaka's biography closely resembles that of other African leaders such as Sundiata and Mbegha, and of biblical heroes, such as Joseph or Moses. These similarities to stories about other heroes point to the mythic character of the narrative and raise the possibility of investigating the various Shaka stories as symbolic representations of alternative world views, rather than as records of past times.
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Moyer-Duncan, Cara. "Rehad Desai and Jabulani Mzozo, directors. The Giant is Falling. 2016. English and Xhosa with English subtitles. 77 minutes. South Africa. Icarus Films. $390." African Studies Review 62, no. 3 (2019): E51—E52. http://dx.doi.org/10.1017/asr.2019.25.
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Hudson, Dale. "Songs from India and Zanzibar: Documenting the Gulf in migration." Studies in South Asian Film & Media 10, no. 2 (2019): 91–112. http://dx.doi.org/10.1386/safm_00008_1.
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Abstract With a primarily South Asian population, including both middle-class families and 'bachelors', the Gulf states unsettle assumptions about the Middle East and South Asia developed from western area studies. This article examines three documentaries ‐ From Gulf to Gulf to Gulf, Champ of the Camp and Sounds of the Sea ‐ that layer visual images of the Gulf with songs from India and Zanzibar. They document the inequities and the ways in which vulnerable populations navigate them to find dignity in a world that often dismisses them as victims (e.g., exploited migrants, oppressed women) or uses them to legitimize segregation in allegedly overcrowded cities. They reconfigure documentary practice to allow subjects to speak indirectly, protecting them from possible retaliation or stigma. By documenting through nonwestern popular songs, these films contribute to a recovery of connections between South Asia, the Gulf and East Africa that were interrupted by British colonialism and US imperialism.
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Jappie, Saarah. "From the Madrasah to the Museum: The Social Life of the “Kietaabs” of Cape Town." History in Africa 38 (2011): 369–99. http://dx.doi.org/10.1353/hia.2011.0002.
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Ebrahiem Manuel sits opposite me, about to embark upon his story. His living room is filled with material manifestations of his research: boxes overflowing with books and papers cover his entire sofa, newspapers and articles line the floor, and collages of images and texts hang on the walls and sit in the cabinets. It is clear that he is consumed by his passion for heritage, and his personal journey of discovery. He speaks in an animated, almost theatrical tone, raising and lowering his voice, stressing certain syllables, alive as he tells his story of “the ancient kietaabs.”The journey began in 1997, when Ebrahiem returned to South Africa after years at sea, working as a cook on shipping vessels. Upon his return, he began a quest to learn about his personal heritage, inspired by a dream he had had about his grandfather. This search led him to an oldkietaab, given to him by an elderly aunt. This was not the first time he had come across the old book; he remembered seeing it as a child, amongst other kietaabs, stored out of reach of the children, on top of his grandfather's wardrobe. It was inside this book that a possible key to his ancestors was to be found.This significant find was a range of hand-written inscriptions inside the book, in Arabic, English, and an unknown script. The Arabic script and its corresponding English transliteration read “Imaam Abdul Karriem, son of Imaam Abdul Jaliel, son of Imaam Ismail of Sumbawa.” Here was his family tree, starting from his great-grandfather and leading to two generations before him and, it seemed, their place of origin, the island of Sumbawa in eastern Indonesia. Ebrahiem then decided to go to Indonesia to solve what had become the mystery of “the ancient kietaab.”
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ENGLEHART, LUCINDA. "MEDIA ACTIVISM IN THE SCREENING ROOM: THE SIGNFICANCE OF VIEWING LOCATIONS, FACILITATION AND AUDIENCE DYNAMICS IN THE RECEPTION OF HIV/AIDS FILMS IN SOUTH AFRICA." Visual Anthropology Review 19, no. 1-2 (2003): 73–85. http://dx.doi.org/10.1525/var.2003.19.1-2.73.
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Hyde-Clarke, N. "“Beyond stereotypes”: representations of a foreign culture in film students’ productions." Literator 29, no. 2 (2008): 149–68. http://dx.doi.org/10.4102/lit.v29i2.120.
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Growing concerns about the continued use of cultural stereotypes in media production, and the subsequent decrease in diversity, resulted in the launch of a student film production programme between three tertiary institutions in South Africa and Finland during the first half of 2006. The aim of the programme was to encourage students to produce films about a foreign culture that moved “beyond stereotypes” and reflected a greater understanding of that society. This article examines the production process, participants’ experience and analyses the final products that were produced in the nine weeks the students spent in Helsinki, Finland. To what extent can media productions, such as film, be devoid of stereotypes?
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Breunlin, Rachel. "Decolonizing Ways of Knowing: Heritage, Living Communities, and Indigenous Understandings of Place." Genealogy 4, no. 3 (2020): 95. http://dx.doi.org/10.3390/genealogy4030095.
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In “Decolonizing Ways of Knowing: Heritage, Living Communities, and Indigenous Understandings of Place”, we build on the scholarly and artistic practice of deep memory work to present a collection of articles, films, and artwork that contribute critical genealogies from the United States, Africa, and the South Pacific. In this introduction, examples from Antoinette Jackson’s work in the American South and Rachel Breunlin’s work with the Neighborhood Story Project in New Orleans and Western Australia are used to build the special issue’s framework around public scholarship and art. With a particular emphasis on polyvocality, visual ethnography and creative nonfiction, the introduction argues that the work of decolonizing genealogy can be supported by respecting epistemologies that are deeply connected to place. Collectively, the contributors to the special issue demonstrate that creative practices around personal and collective histories can be an important way of reconnecting ties that may have been severed during years of colonialism.
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Parker, Alexandra. "The spatial stereotype: The representation and reception of urban films in Johannesburg." Urban Studies 55, no. 9 (2017): 2057–72. http://dx.doi.org/10.1177/0042098017706885.
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Stereotypes are people or things categorised by general characteristics of the group based on a truth that is widely recognised and function to reduce ideas to a simpler form (Dyer, 1993). Not all stereotypes are pejorative but can be a form of othering of people (Bhabha, 1996) and come about through a friction with difference (Jameson, 1995). In Johannesburg, South Africa, there is a conflation of people and space that results in a form of spatial categorisation or stereotyping. Under the apartheid government the city’s spaces were divided by race and ethnicity and are currently shifting towards divisions of class and inequality deepening the fragmented post-apartheid conditions in the city. These spatial categories have been represented in films of Johannesburg and contribute to the construction of the city’s image but also construct images for particular neighbourhoods. In this paper I examine the use of space in film as a narrative device and explore the reception and understanding of Johannesburg’s spaces by its residents to illustrate the construction and reception of spatial stereotypes. The paper discusses three dominant spatial stereotypes of Johannesburg through key films and the reception of these films through quantitative and qualitative interviews conducted with residents in four locations (Chiawelo; CBD; Fordsburg and Melville) in Johannesburg. Stereotypes have negative consequences and these spatial stereotypes reflect the ‘city of extremes’ (Murray, 2011) but their use indicates a process of navigation and negotiation across differences in space and identity in the fragmented city of Johannesburg.
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Okeke, IO, J. Olufu, IE Onah, et al. "Assessment of Haemoparasites of Cattle slaughtered in Jos South Abattoir, Plateau State, Nigeria." NIGERIAN ANNALS OF PURE AND APPLIED SCIENCES 3, no. 1 (2020): 103–7. http://dx.doi.org/10.46912/napas.171.
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Haemoparasites are considered as the most important constraints to the health and improved productivity of cattle in sub-Saharan Africa. This study was aimed at determining their prevalence among cattle slaughtered at Jos South abattoir, Plateau state, Nigeria. A total of 200 blood samples were collected between April and May, 2018. Thin and thick blood films were made from the samples and stained with Giemsa and examined microscopically using X100 magnification. A total of 128(64%) cattle were positive for Babesia species. No other haemoparasite were detected. Blood sample of 190(95%) were collected from cattle that were 3 years and above and 10(5%) were from cattle below 3 years. Female and white Fulani cattle were 2 times (POR = 2.29; P < 0.01) and 3 times (POR = 3.19; p < 0.0001) respectively at the risk of a positive result of Babesia species infection, when compared to male cattle and Red Bororo by bivariate analysis. There was no significant difference in the prevalence of Babesia species with respect to age (p = 0.27) and source of cattle (p = 1.00, p =0.96 and p = 0.56) for animals from Plateau, Bauchi and Maiduguri respectively. This study showed a high prevalence of Babsia species infection amongst slaughtered cattle at Jos South abattoir. It confirms the presence of carrier populations of Babesia-infected cattle which both serve as a reservoir of infection for tickvectors, susceptible livestock and humans. Routine screening and treatment of animals to effectively reduce to the barest minimum the prevalence of Babesia species in the study areas is highly recommended.
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Underhill, Jenni Lynne. "Seeking relevancy and transformation: The journey of valuing agency at a South African film school." Scholarship of Teaching and Learning in the South 4, no. 2 (2020): 22. http://dx.doi.org/10.36615/sotls.v4i2.117.
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AFDA (The School for the Creative Economies) South Africa, has a consciousness – framed by the emerging landscape of decolonization – that storytelling needs to be more socially relevant than ever before. Student filmmakers find themselves at a crossroad of needing to capture characters that are relevant with a view to engendering diversity and transformation. This paper discusses the explicit need for integrating the skill of critical thinking, framed by academic argument, into the conceptual process of student film development. This is because the conceptual relevance of films has to be deepened and well expressed. In addition, the identities of characters have to be as authentic and as representative as possible. By teaching students critical thinking, and its integration into the creative process, AFDA believes that the end product will have succinct social/political meaning. AFDA has devised an innovative way to integrate student agency and research into the conceptual development stage of the student filmmaking process. This paper demonstrates how this is done and motivates how this type of approach enables promising results.
 Keywords: Critical thinking, Agency, Creative process, Identity, Academic argument
 How to cite this article:Underhill, J.L. 2020. Seeking relevancy and transformation: The journey of valuing agency at a South African film school. Scholarship of Teaching and Learning in the South. 4(2): 22-34. https://doi.org/10.36615/sotls.v4i2.117.
 This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/
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Shuman, Amy, and Wendy S. Hesford. "Getting Out: Political asylum, sexual minorities, and privileged visibility." Sexualities 17, no. 8 (2014): 1016–34. http://dx.doi.org/10.1177/1363460714557600.
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As part of an emerging field of films documenting the obstacles faced by sexual minorities fleeing persecution and seeking political asylum, the film Getting Out documents both the persecution of sexual minorities in Uganda and the obstacles individuals face in their attempts to get political asylum in South Africa. Using the film as a springboard, we assess the larger issues of recognition, visibility, hypervisibility, and performativity in encounters between sexual minorities, their advocates, and political asylum officials. The rhetorical power of Getting Out lies in its performative staging of LGBTQI asylum seekers’ navigation of often competing cultural and legal logics on sexuality. The film calls attention to profound contradictions in the political asylum system for sexual minorities and for any others who challenge the normativity of a social group.
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Parrott, R. Joseph. "DOCUMENTARY AT THE INTERSECTION OF TESTIMONY AND HISTORY - Connie Field, director. Have You Heard from Johannesburg.2010. 7 parts, 8.5 hours. English. U.S./South Africa: PBS. DVD: Clarity Films." African Studies Review 58, no. 2 (2015): 263–70. http://dx.doi.org/10.1017/asr.2015.60.
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Hellemann, Phemelo C. "Catherine Meyburgh and Richard Pakleppa, directors. Dying for Gold. 2018. 99 minutes. English, isiXhosa, and Sesotho with English subtitles. South Africa, Mozambique, Lesotho, and Swaziland. Breathe Films. No Price Reported." African Studies Review 63, no. 2 (2020): E45—E47. http://dx.doi.org/10.1017/asr.2020.9.
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MacArthur, Julie. "Wanuri Kahiu, director. Rafiki. 2018. 82 minutes. English and Swahili (with English subtitles). Kenya/South Africa/France/Lebanon/Norway/Netherlands/Germany/USA. Big World Cinema/Afrobubblegum/MPM Films/Schortcut Films/Ape&Bjørn/Rinkel Film/Razor Film Production GmbH/Tango Productions." African Studies Review 62, no. 2 (2019): E54—E55. http://dx.doi.org/10.1017/asr.2018.137.
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Hardman, Joanne, and Mashudu Raudzingana. "Mathletics software and student attainment in grade 4- a cultural historical analysis." Advances in Social Sciences Research Journal 8, no. 5 (2021): 517–31. http://dx.doi.org/10.14738/assrj.85.10273.
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Mathletics is a networked mathematics software package that affords students the opportunity to solve problems. This software is extremely popular in the developed world (Day, 2013) and is gaining popularity in the developing world as a tool that can potentially impact students’ mathematics attainment. 25 years after democracy South Africa continues to lag behind the rest of the world in mathematics and science attainment (Isdale, Reddy, Juan & Arends, 2017). The use of computer-based software packages to meet the needs of developing students’ understanding of mathematics is, therefore, of interest in our context. However, research is clear that it is not technology itself that can lead to learning but rather, how this technology is used; that is, the pedagogical practices underpinning the use of technology serves to develop understanding. This study sought to investigate Mathletics ability to impact positively on student attainment as well as their understanding. Findings indicated that Mathletics software does not build mediation into its programme and, therefore, does not develop conceptual understanding. In relation to student’s attainment, findings indicated that children did not perform better after using Mathletics on a summative test of calculation problems, pointing to the importance of pedagogical underpinnings when using technology.
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Linden, Michael, and Elena Sandau. "Perception of injustice and embitterment in the context of social reference systems." Advances in Social Sciences Research Journal 8, no. 3 (2021): 496–504. http://dx.doi.org/10.14738/assrj.84.9057.
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Background: The “belief in a just world” psychology has shown that people across the world hold an inborn general view, that people should get what they deserve, and that malbehavior should be punished. But, what is seen as unjust is defined by social reference systems. Injustice is experienced as aggression, if not humiliation and answered by the desire to fight back, to restore justice. If the experience of injustice is paired with helplessness, a typical emotional response is embitterment which is associated with the wish for revenge, social impairment, and dysfunctional behaviors.
 Objective of the present study was to study the relation of conditions of living and social reference systems with perceptions of injustice, and rates of embitterment.
 Method: A convenience sample of 139 white and 93 black citizens from Cape Town in South Africa answered questions on their socio-economic status and changes in their lives in the past years. They also filled in the General Health Questionnaire (GHQ-12) to measure psychological distress, the Differential Life Burden scale (DLB) to assess burdens and the Posttraumatic Embitterment Disorder scale (PTED Scale), to quantify feelings of injustice and embitterment.
 Results: Black South Africans saw more positive changes than Whites over the past years, but nevertheless showed disadvantages in regard to education, professional qualification, employment status, and monthly income, together with significantly higher scores on the DLB, GHQ-12, and PTED scale. When looking at single items, 66.6% of black as compared to 45.3% of white participants reported about experiences evoking severe feelings of injustice, 65.4% versus 40.3% about repetitive painful memories, 53.7% versus 36.9% about an associated deterioration of well-being, and 46.2% versus 21.6% about thoughts of revenge. After controlling for monthly income, only the PTED score showed significant differences.
 Conclusion: Results suggest that embitterment reactions are linked to social conditions, like economic but even more so psychological factors. The results suggest that embitterment is not only of importance in individuals but can also have a societal meaning. This must be acknowledged in political discussions.
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Lowman, Craig, Mikael Samuelsson, and Geoff Bick. "Triggerfish animation studios: the challenges of financing digital entertainment." Emerald Emerging Markets Case Studies 10, no. 3 (2020): 1–31. http://dx.doi.org/10.1108/eemcs-03-2020-0061.
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Learning outcomes The learning outcomes of this paper are as follows: to critically assess and analyse public and private funding options and determine which private option is best suited to a company (finance – decision-making). To calculate the internal rate of return (IRR) of a project (finance – analytical). To critically assess the underlying structures of traditional and new industries (Strategy/BMI – analytical). To analyse the challenges and disruption potential of intermediated industries (Strategy/BMI – analytical). Case overview/synopsis The Triggerfish case looks at how films are funded in South Africa. The company is currently funding films mostly through government channels, but CEO Stuart Forrest would prefer to independently and privately fund their projects. The case looks at what returns can be expected by investors in film through the “recoupment waterfall” – the means whereby the producers and investors of a film recoup their investments and earn returns. The investment horizons of select private lenders (bank, mezzanine financiers, risk financers and venture capital firms) and public funders are explored. The case also explores the impact that video-on-demand platforms, such as Netflix and Disney+, is having on the traditional models of filmmaking. Complexity academic level This teaching case is aimed at postgraduate business students such as Master’s degrees in Business Administration degrees, postgraduate diplomas, executive education or specialist Master’s degrees. Supplementary materials Teaching notes are available for educators only. Subject code CSS 3: Entrepreneurship.
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Oberthür, Thomas. "The Fate of Platinum-Group Minerals in the Exogenic Environment—From Sulfide Ores via Oxidized Ores into Placers: Case Studies Bushveld Complex, South Africa, and Great Dyke, Zimbabwe." Minerals 8, no. 12 (2018): 581. http://dx.doi.org/10.3390/min8120581.
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Diverse studies were performed in order to investigate the behavior of the platinum-group minerals (PGM) in the weathering cycle in the Bushveld Complex of South Africa and the Great Dyke of Zimbabwe. Samples were obtained underground, from core, in surface outcrops, and from alluvial sediments in rivers draining the intrusions. The investigations applied conventional mineralogical methods (reflected light microscopy) complemented by modern techniques (scanning electron microscopy (SEM), mineral liberation analysis (MLA), electron-probe microanalysis (EPMA), and LA-ICPMS analysis). This review aims at combining the findings to a coherent model also with respect to the debate regarding allogenic versus authigenic origin of placer PGM. In the pristine sulfide ores, the PGE are present as discrete PGM, dominantly PGE-bismuthotellurides, -sulfides, -arsenides, -sulfarsenides, and -alloys, and substantial though variable proportions of Pd and Rh are hosted in pentlandite. Pt–Fe alloys, sperrylite, and most PGE-sulfides survive the weathering of the ores, whereas the base metal sulfides and the (Pt,Pd)-bismuthotellurides are destroyed, and ill-defined (Pt,Pd)-oxides or -hydroxides develop. In addition, elevated contents of Pt and Pd are located in Fe/Mn/Co-oxides/hydroxides and smectites. In the placers, the PGE-sulfides experience further modification, whereas sperrylite largely remains a stable phase, and grains of Pt–Fe alloys and native Pt increase in relative proportion. In the Bushveld/Great Dyke case, the main impact of weathering on the PGM assemblages is destruction of the unstable PGM and PGE-carriers of the pristine ores and of the intermediate products of the oxidized ores. Dissolution and redistribution of PGE is taking place, however, the newly-formed products are thin films, nano-sized particles, small crystallites, or rarely µm-sized grains primarily on substrates of precursor detrital/allogenic PGM grains, and they are of subordinate significance. In the Bushveld/Great Dyke scenario, and in all probability universally, authigenic growth and formation of discrete, larger PGM crystals or nuggets in the supergene environment plays no substantial role, and any proof of PGM “neoformation” in a grand style is missing. The final PGM suite which survived the weathering process en route from sulfide ores via oxidized ores into placers results from the continuous elimination of unstable PGM and the dispersion of soluble PGE. Therefore, the alluvial PGM assemblage represents a PGM rest spectrum of residual, detrital grains.
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Gabara, Rachel. "Africa First: Volume Two. Focus World. 2012. Available for free viewing athttp://www.hulu.com/africa-first. Includes the following five short films: - Rungano Nyoni, director. Mwansa the Great.23 minutes. Bemba, with English subtitles. Zambia. - Matthew Jankes, director. Umkhungo.31 minutes. Zulu, with English subtitles. South Africa. - Daouda Coulibaly, director. Tinye So.25 minutes. Bambara, with English subtitles. Mali. - Stephen Abbott, director. Dirty Laundry.17 minutes. Zulu and English, with English subtitles). South Africa. - Matt Bishanga, director. A Good Catholic Girl.27 minutes. English. Uganda." African Studies Review 57, no. 3 (2014): 254–58. http://dx.doi.org/10.1017/asr.2014.127.
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Abdel-Raheem, Ahmed. "Mental models, (de)compressions, and the actor’s process in body-swap movies." Cognitive Linguistic Studies 5, no. 2 (2018): 376–409. http://dx.doi.org/10.1075/cogls.00026.abd.
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Abstract The body-swap comedy, where someone finds themselves inhabiting an entirely different body, is a well-established Hollywood tradition. Crucially, American filmmakers have tried every twist and contortion of this genre premise at a point or another over the past few decades. And yet, other countries, such as Egypt, Japan, and South Africa, seem to have just now put different spins on the theme. Nevertheless, this genre is under-theorized and under-explored. Drawing on insights from blending theory (Fauconnier and Turner 2002), mental models (van Dijk 2014), and the actor’s process as described by, among others, Stanislavsky (1995, 2008) and Brecht (1964, 1970), this article provides cognitively plausible answers to the perennial questions: What is so funny in body-swap films? How do spectators make sense of this genre? How do blending processes operate in body-swap movies? Do spectators “live in the blend?” What patterns of compression or decompression are at work in body-swap templates? Can humor be a strong determiner of moral-political cognition? And what connections can be drawn between acting and cognitive neuroscience? A discussion of English and Arabic examples (i) points to some of the cultural concepts involved in body-swap films, (ii) shows how conceptual blending in humorous films serves to both perpetuate and modify culturally relevant concepts, and (iii) highlights the necessity to expand the current scope in compression, embodiment and identity research. More generally, then, this article presents a new cognitive theory of how cinema, television, or theatre communicates meaning. The most important aim of this study is thus to contribute to the small but growing number of publications that use the cognitive sciences to inform scholarly and practical explorations in theatre and performance studies, as well as to the study of Arab theatre and cinema, which are among the most neglected subjects in the field.
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Masuku, Bianca, Nolwazi Mkhwanazi, Ed Young, Anastasia Koch, and Digby Warner. "Beyond the lab: Eh!woza and knowing tuberculosis." Medical Humanities 44, no. 4 (2018): 285–92. http://dx.doi.org/10.1136/medhum-2018-011479.
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Eh!woza is a public engagement initiative that explores the biomedical and social aspects of tuberculosis (TB) in South Africa. The project is a collaboration between scientists based in an infectious disease research institute, a local conceptual/visual artist, a youth-based educational non-governmental organization (NGO) and young learners from a high-burden TB community. The learners participate in a series of interactive science and media production workshops: initially presented with biomedical knowledge about TB and, in later sessions, are trained in creating documentary films and engage with ideas around visual representation. The participants are encouraged to make use of this newly acquired knowledge to tell stories from their chosen communities in Khayelitsha, a township in Cape Town. Through its engagement with the complex manner in which TB is experienced, framed and understood by biomedical scientists, young people, and those who have been affected by the disease, Eh!woza presents alternative ways of exploring the complexities of human illness. The integration and interrogation of biomedical understandings, lay narratives and the young participants’ framing of the disease poses questions about ’knowing', and the meanings people attribute to ways of ’knowing' and the actions they impel. The project also presents contrasting reflections on cure—from a biomedical perspective, and care—from the perspective of TB-affected young people and community members. In this article, we describe the Eh!woza project, present thoughts from the participating students on the science and media workshops, and detail the narratives of ill-health and disease from people within their neighbourhoods. We conclude with a critical analysis of the complexities of knowledge communication, notions of cure versus care, and a consideration of the potential contribution of this project to the growth of medical humanities in Africa.