Academic literature on the topic 'Rolprent'

This article looks critically at the aspect of charactarisation in the film Cry Freedom. A model is introduced for the analysis of characterisation in feature films. The model analyses the main characters in the film as symbols of the intended message. The aim is to determine the meaning of the message and to place the response to the film in perspective. Particular attention is paid to the following aspects of the process of character creation: character formation, character revelation and character development. The author comes to the conclusion that the main character in the film is the scriptwriter Donald Woods, and not the black activist, Steve Biko as has generally been accepted.

Thesis (MPhil)--Stellenbosch University, 2008.
ENGLISH ABSTRACT: The remarkable story of Tsotsi as a gangster in the movie Tsotsi offers several examples of language variation and of language choice as a marker of identity. The situations and contexts portrayed in the movie define, to some extent, the choices of language or variety speakers make. Context-specific factors playing a determining role include gender, purpose, geographical location, social class, and age. Tsotsi, the main character, is a gangster living in Sophiatown, a township outside Johannesburg. The term “tsotsi” generally refers to one who is well-dressed and stylish, but with an undercurrent of dangerous adventure; the character portrayed by Tsotsi in the movie is a self-made man, successful in terms of township gangster culture. The movie traces six days in the life of this young hoodlum, who rediscovers his humanity through various challenges and personal relationships in his surroundings; he finds dignity and the capacity to love through having to take care of a baby accidentally kidnapped during a car hijacking episode, through his friendship with the young woman he forces to take care of the baby, and ultimately through confronting haunting memories of his past. Tsotsi’s mother tongue is Sotho, but Flaaitaal is his language of choice in certain contexts, marking his identity as a tsotsi. This study considers the language variation typical of South Africa, as exemplified by the language choices made by the various characters in the movie. An analysis is offered of the language choices which play a role in defining the identities of the characters in various contexts, such as the use of Flaaitaal by the gangsters among themselves, who switch to Sotho when the more socially acceptable aspects of their identities should come to the fore, and the use of Sotho by the white police captain while interviewing the Sotho parents of the kidnapped baby. It is this function of language choice as a marker of identity that is the focus of the present work.
AFRIKAANSE OPSOMMING: Die merkwaardige storie van Tsotsi as ‘n bendelid in die rolprent Tsotsi bied geleentheid vir die analise van talle voorbeelde van taalvariasie en van taalkeuse as ‘n merker van identiteit. Die situasies en kontekste wat in die rolprent weergegee word definieer tot ‘n mate die sprekers se keuse van taal of variëteit. Faktore spesifiek tot die konteks wat hierin ‘n rol speel sluit in geslag, funksie, geografiese ligging, sosiale klas, en ouderdom. Die hoofkarakter Tsotsi is ‘n bendelid wat in Sophiatown buite Jonhannesburg bly. Die term “tsotsi” verwys oor die algemeen na iemand wat stylvol voorkom, maar met ‘n agtergrond van gevaarlike avontuur; die karakter wat deur Tsotsi gespeel word is ‘n self-gemaakte man, suksesvol in terme van die bende-kultuur van areas soos Sophiatown. Die rolprent fokus op ses dae van hierdie jong bendelid se lewe, waar hy sy menslikheid herontdek deur verskeie uitdagings en persoonlike verhoudings; hy ontdek menswaardigheid en die vermoë om lief te hê deurdat hy vir ‘n baba moet sorg wat per ongeluk ontvoer word tydens ‘n motorkaping, deur sy vriendskap met die vrou wat hy forseer om die baba te versorg, en uiteindelik deurdat hy sy herinneringe aan sy verlede moet konfronteer. Tsotsi se moedertaal is Sotho, maar Flaaitaal is die taal wat hy in sekere kontekste kies om sy identiteit as tsotsi te merk. Hierdie studie fokus op die taalvariasie wat tipies is van Suid-Afrika soos dit deur die taalkeuses van verskeie karakters in die rolprent voorgestel word. ‘n Analise word aangebied van taalkeuses wat ‘n rol speel in die definiëring van die identiteite van die karakters in verskeie kontekste, soos die gebruik van Flaaitaal onder die bendelede self, wat na Sotho oorslaan in situasies waar die meer sosiaal-aanvaarbare aspekte van hul identiteit uitegebeeld behoort te word, en die gebruik van Sotho deur die blanke polisiekaptein as hy die Sotho ouers van die ontvoerde baba aanspreek. Dit is hierdie funskie van taalkeuse as ‘n merker van identiteit wat die fokus vorm van hierdie studie.

Does the hero make history or does history make the hero? This question, which N.P. van Wyk Louw posed in his 1962 radio drama, Die Held, is of utmost importance to this thesis. In Van Kavalier tot Verraaier Zombie tot Lego-man, the researcher investigates the myths and ideological presentation of the hero in selected case studies of Anglo-Boer War films and drama series, and she attempts to unmask the relevant writer or director s goal in the creation of his or her specific hero archetype. The researcher emphasises in her analysis how the Boer soldier, one of the prominent figures of the white Afrikaner history, has been transformed into a mythical hero during the past century. This archetype has belonged to the nation for quite some time and has been portrayed in such a way, especially in popular culture such as music, theatre productions and films, that certain beliefs among audiences about the Afrikaner history are emphasised. It is important to point out that this thesis provides only an overview of selective case studies, since it would take several doctoral theses to fully examine all the films, short films and drama series that have already been made about the Anglo-Boer War. The hero archetype in case studies of Anglo-Boer War film and drama series is examined within the theoretical framework of narrative, myths, ideology and identity construction. Joseph Campbell s and Carl Gustav Jung s theories on, and especially Christopher Vogler s description of, the hero archetype, as encompassed in the screenplay structure of the Hero s Journey, are some of the most important theories on which this study is based. It is not only the willing hero archetype that is highlighted, but also the anti-hero, the tragic hero, and the role of other archetypes in the plot of a chosen script. The main question the researcher often attempts to answer in her conclusion of a chapter, is: What is the meaning of the representation of heroic soldiers that are so often represented in Anglo-Boer War films and series? During the interviews that the researcher conducted with some of the directors, she discovered that many contemporary directors believe that a myth had been created around the Boer hero, and that the directors tend to identify more strongly with a character from a fairy tale (like a zombie), than with a real historical figure. And yet, judging from the reception of several films and drama series which attempted to redefine this myth, it seems that the majority of white, Afrikaans audiences still hold onto the mythical Boer hero, because this reminds them of their era of innocence , the time when they were willing heroes who fought for a righteous cause, before they became the villains of Apartheid .
Maak die held die geskiedenis of maak geskiedenis die held? Hierdie vraag wat N.P. van Wyk Louw in sy 1962-radiodrama, Die Held, gevra het, is van kardinale belang vir hierdie proefskrif. In Van Kavalier tot Verraaier Zombie tot Lego-man ondersoek die navorser die mites en ideologiese uitbeelding van die held in geselekteerde Anglo-Boereoorlog-rolprente en -dramareeks-gevallestudies, en poog sy om die betrokke skrywer/regisseur se doelwit met die skep van die spesifieke heldfiguur te ontmasker. Die navorser lê in haar ontleding klem op hoe een van die kernfigure uit die wit Afrikanergeskiedenis, die Boerekryger, in die laaste eeu in n mitiese held omskep is. Hierdie argetipe is reeds n geruime tyd lank volksbesit en is veral in populêre kultuur soos musiek, verhoogstukke en rolprente op só n wyse uitgebeeld om sekere mites en ideologiese beskouings rondom die Afrikanergeskiedenis verder by gehore in te skerp. Dit is belangrik om te beklemtoon dat die proefskrif slegs n oorsig gee van selektiewe gevallestudies, aangesien dit verskeie doktorale proefskrifte sal neem om al die rolprente, kort flieks en dramareekse wat reeds oor die Anglo-Boereoorlog-tydperk gemaak is, volledig te ondersoek. Die held-argetipe in Anglo-Boereoorlog-rolprent- en -dramareeks-gevallestudies word binne die teoretiese raamwerk van die narratief, mites, ideologie en identiteitskepping verken. Joseph Campbell en Carl Gustav Jung se teorieë oor, en veral Christopher Vogler se beskrywing van, die held-argetipe, soos in die Heldereis-struktuur omvat, is van die kernteorieë waarin hierdie studie gegrond is. Dit is nie net die gewillige held-argetipe wat aan bod kom nie, maar ook die anti-held, die tragiese held, en die rol van ander argetipes in die plot van n gekose draaiboek. Die kernvraag wat die navorser telkens poog om in haar slotsom van n hoofstuk te beantwoord, is: Wat is die betekenis van die uitbeelding van die dapper kryger wat so dikwels in Anglo-Boereoorlog-rolprente en -reekse voorgestel word? Tydens die onderhoude wat die navorser met sekere van die regisseurs gevoer het, het sy ontdek dat heelwat van die kontemporêre regisseurs glo dat daar só n mite rondom dié Boereheld geskep is, en dat die regisseurs hulself meer met n karakter uit n sprokie (soos n zombie) kan vereenselwig, as met n werklike historiese figuur. En tog blyk dit uit die ontvangs van die onderskeie rolprente en dramareekse wat gepoog het om hierdie mite te herdefinieer, dat die meerderheid van die wit Afrikaanse gehore steeds teruggryp na die mitiese Boereheld, omdat dit hulle aan hulle era van onskuld herinner, dié tyd toe hulle gewillige helde was wat geveg het vir n regverdige saak, voordat hulle die skurke van Apartheid geword het.
Thesis (PhD)--University of Pretoria, 2015.
tm2016
Unit for Creative Writing
PhD
Unrestricted

D.Litt et Phil.
This thesis constitutes an investigation into the specific nature of translation for the screen and television. To this end, three films, dubbed into Afrikaans from English, French and German respectively, are studied. The language dubbing translator is faced with specific challenges such as extra-linguistic and paralinguistic factors, the most important of which is the synchronization of target language solutions with the visible lip movements of characters. These constraints compel the translator to employ various translation strategies, such as insertion, deletion and substitution. The study argues that, in view of the number of deviations from the source text, the term equivalence cannot be used to describe the relationship between the source and target text. Since the task of the dubbing translator is to create dialogue that has to be spoken by dubbing actors, the study further argues that playability can be the only true test for the success of a dubbing translation. No single definition exists for the term playability. Whereas most actors and directors can distinguish a playable text or translation from one that is not, owing to their drama training, only some dubbing translators have an instinctive feel for it. As drama training for dubbing translators is not an option, the study takes the most salient aspect of playability, namely character dialogue, as starting point and sets as its main objective the development of an instrument that would enable translators, without the above-mentioned intuitive unconscious competence, to create playable character dialogue for individual characters. Using Bateson's theory of Logical Types and Dilts's theory of Logical Levels, a congruence model is developed. Adding insights from various disciplines, such as Visual Communication and Semiotics, the model is expanded to consist of three components: visual, paralinguistic and linguistic. The model is tested next by being used for the analysis of the corpus of films. The study finds that by analysing the visual, paralinguistic and linguistic components, and their relations to one another, according to focus areas such as Environment, Behaviour, Skills and Capabilities, Values and Beliefs, and Identity, not only are the intentions of characters clearly established, but the intention of the original sender is also revealed. This enables the dubbing translator to create character dialogue that achieves congruence among all the different levels. The study argues in conclusion that the model can also be used for the analysis and translation of other text types. Whereas the objective of the study is to make a contribution to the field of Translation Theory, the various applications suggest that the thesis also contributes to the following fields of study: Applied Linguistics, Literary Theory and Communication Studies

Internationally, there is concern among judges and organisers of documentary film festivals pertaining to the lack of a proper storyline in documentary films. According to certain documentary film producers and theoreticians, however, there is a solution. They are of the opinion that the three-act structure that was originally applicable to fiction films can also be applied to documentary films. The three-act paradigm serves as a guideline for the writing of successful fiction film screenplays. Should the three-act structure be applied to documentary films, the three-act paradigm could possibly achieve the same measure of success. Therefore, the research questions are, firstly: What are the basic elements of successful screenplay writer, Syd Field’s three-act structure? Secondly, to what extent do the three selected films by Michael Moore namely Bowling for Columbine (2003), Sicko (2007) and Fahrenheit 9/11 (2004) adhere to the requirements of Syd Field’s three-act structure? The research for this study was performed by means of a literature overview of Field’s three-act structure; secondly, by means of semi-structured interviews with four South African documentary film producers; and thirdly, a qualitative content analysis of three of Michael Moore’s films. The interviews consisted of semi-structured questions about the problem pertaining to story structure in documentary films, and how Syd Field’s three-act structure can make a contribution to the success of the documentary film. The study entails a qualitative content analysis of three selected documentary films by Michael Moore. The three-act structure of Syd Field was analysed by means of a literature study and seven main elements were identified as the important elements for a three-act structure. The three films by Michael Moore were analysed by means of a qualitative content analysis based on the seven elements to determine whether the three films adhere to the three-act structure elements. The findings of the study are as follows: The three documentary films by Michael Moore, namely Bowling for Columbine, Sicko and Fahrenheit 9/11, possess all seven elements of the analysis framework that was composed according to Syd Field’s three-act structure. The conclusion can therefore be drawn that a large part of the success of the three selected films by Moore is based on the three-act structure elements that can be found in all three films.
MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

M.A. (Communication)
The study comprises the testing and application of the theory of Peters (1972) as framework for the quantitative and qualitative analysis of film content. A survey of literature in the field C film content showed a lack of research on the film as semiological structure. This could be attributed to some amount of disagreement amoung researchers on the specific characteristics of film code or language. Existing theories overarticulated either technical or aesthetical aspects of film. The theory of Peters (1972) was used as framework for content analysis because it incorporates both technical and aesthetical aspects of film. Two empirical studies were conducted. in the first study the validity of Peters' theory was tested. The study was completed in three stages: (a) The compilation of a 30-item fimcriticism questionnaire. (b) The rating of two films by two groups of subjects on the mentioned questionnaire. (c) Factor analyses on the ratings of the two films. Results showed a high degree of similarity between the different factors and Peters' theoretical segments of the film. In the second study the theory of Peters (1972) was applied as framework for the quantitative and qualitative analysis of a sample of South African films. Results confirmed Peters' theory as being sufficiently comprehensive for the measurement of both technical and aesthetical aspects of film.