Gender and Race in the South African Film Industry: A Comparative Analysis of the Representation in South African Film Festivals

Communicatio ◽  
2018 ◽  
Vol 44 (1) ◽  
pp. 16-33
Author(s):  
Rozanne Engel
Keyword(s):  
Comparative Analysis ◽  
South African ◽  
Film Industry ◽  
Film Festivals ◽  
The South ◽  
Gender And Race ◽  
African Film

“On Reading The South African Film Industry”

Critical Arts ◽  
1980 ◽  
Vol 1 (1) ◽  
pp. 57-62 ◽  
Author(s):  
Richard Harvey
Keyword(s):  
South African ◽  
Film Industry ◽  
The South ◽  
African Film

scholarly journals South African Film Industry

1995 ◽  
Author(s):  
Martin P. Botha
Keyword(s):  
South African ◽  
Film Industry ◽  
Identity Crisis ◽  
Committee Chairman ◽  
The South ◽  
African Film ◽  
Social Affiliations ◽  
Key Players ◽  
Film And Video

THE SOUTH AFRICAN FILM INDUSTRY: FRAGMENTATION, IDENTITY CRISIS AND UNIFICATION IntroductionFilm and video are regarded as vital in South Africa's transition. Amongst others, film and video can foster a stable, democratic and united society. However, the South African film industry cannot fulfil this role at present due to fragmentation and consequently an identity crisis. The industry therefore needs to change. One of the key players in previous debates about the restructuring of the local industry, the Film and Allied Workers' (FAWO) Distribution Committee chairman, Seipati Bulane-Hopa, describes the need for cinema in our society in these words: Cinema ... serves as a vehicle for people to articulate their different social affiliations and define their respective historic cultures, traditions, social and political experiences. If cinema is only used to entertain and not to educate, then the chances of transforming our society are slim (Blignaut & Botha, 1992, p.88)....

scholarly journals The Cinema of Darrell James Roodt

2013 ◽  
Author(s):  
Martin P. Botha
Keyword(s):  
South African ◽  
Film Industry ◽  
Television Series ◽  
The South ◽  
African Cinema ◽  
African Film ◽  
Feature Films ◽  
Genre Films

THE JOURNEYS OF THE MARGINALISED: THE CINEMA OF DARRELL JAMES ROODT South African director Darrell James Roodt is one of the most dominant and prolific figures in the South African film industry (Armes 2008: 112), having made a total number of 34 feature films and several television series to date. Surprisingly, few academics have devoted chapters in books or doctorate dissertations to his work (Blignaut & Botha 1992; Botha & Van Aswegen 1992; Murphy & Williams 2007; Treffry-Goatley 2010). Roodt's oeuvre includes some of the milestones in South African cinema since 1980s, as well as genre films such as Dracula 3000 (2004) which received negative notices by critics (Murphy & Williams 2007). This article forms part of an ongoing investigation into the cinema of Roodt and is a follow-up to an earlier attempt to explore some of the major themes in his oeuvre (Botha 2011). Darrell Roodt was born...

scholarly journals Themes in the Cinema of Darrell James Roodt

2011 ◽  
Author(s):  
Martin P. Botha
Keyword(s):  
South African ◽  
Film Industry ◽  
Television Series ◽  
African Society ◽  
The South ◽  
African Cinema ◽  
South African Society ◽  
African Film ◽  
Feature Films ◽  
Genre Films

WOMEN ON THE MARGIN OF SOUTH AFRICAN SOCIETY: THEMES IN THE CINEMA OF DARRELL JAMES ROODT South African director Darrell James Roodt is one of the most dominant and prolific figures in the South African film industry (Armes 2008: 112), having made a total number of 25 feature films and three television series to date. Surprisingly few academics have devoted chapters in books or doctorate dissertations to his work (Blignaut & Botha 1992; Botha & Van Aswegen 1992; Murphy & Williams 2007; Treffry-Goatley 2010). Roodt's oeuvre includes some of the milestones in South African cinema since 1980s, as well as genre films such as Dracula 3000 (2004), which received negative notices by critics (Murphy & Williams 2007).This article forms part of an ongoing investigation into the cinema of Roodt and is an attempt to explore some of the major themes in his oeuvre.Darrell Roodt was...

scholarly journals South African Cinema (1)

2006 ◽  
Author(s):  
Martin P. Botha
Keyword(s):  
South Africa ◽  
New York ◽  
South African ◽  
Film Industry ◽  
The South ◽  
African Cinema ◽  
Film Distribution ◽  
African Film ◽  
American Films ◽  
The World

110 YEARS OF SOUTH AFRICAN CINEMA (Part 1) The South African film industry is one of the oldest in the world. The Kinetoscope, invented by Thomas Edison, reached Johannesburg by 1895, only six years after its introduction in New York. Between 1895 and 1909 mainly British and American films reached many parts of South Africa by means of mobile bioscopes. The first permanent cinema was built in 1909 by Electric Theatres Limited in Durban. Over the next five years several film distribution companies built cinemas across the country, which led to serious competition....

“Experience that Generates Experience”: The Influence of the Comedy in three South African Writings

2021 ◽  
pp. 131-142
Author(s):  
Marco Medugno
Keyword(s):  
South Africa ◽  
Comparative Analysis ◽  
Creative Writing ◽  
South African ◽  
Historical Context ◽  
Divine Comedy ◽  
The South ◽  
Literary Context ◽  
Divine Justice

This article aims to explore the intertextual relationships between Dante’s Divine Comedy and three pieces of creative writing: Chariklia Martalas’ “A Mad Flight into Inferno Once Again”, Thalén Rogers’ “The Loadstone” and Helena van Urk’s “The Storm”. By employing a comparative analysis, I argue that, even though decontextualised, the Comedy still represents a fruitful aesthetic source for representing particularly war-torn and violent contexts such as South Africa during apartheid and colonialism. I explore how the authors, through intertextual references and parodic rewriting, both re-configure the poem and challenge some of the Comedy’s moral assumptions and the idea of (divine) justice. I aim to show how Dantean Hell, far from being an otherworldly realm, is in fact transfigured and adapted to effectively represent (and make sense of) a historical context. In other words, through an intertextual analysis, this analysis tries to understand why and how the Comedy resonates with the South African socio-political (and literary) context.

Sign in / Sign up

Export Citation Format

Share Document