Post-Apartheid Film Industry

Representation, Creativity and Commercialism in the Post-Apartheid Film Industry Since the advent of democracy in 1994, South Africa has been in the process of redefining itself as a nation. The newly elected government recognised the potential role of cinema in democratic transformation and economic empowerment and established a number of strategic interventions and government bodies to foster the growth of the local industry. Similar to other forms of cultural production, cinema is informed by the national Constitution of 1996, which celebrates multiculturalism, freedom of expression, and transformation. However, it is questionable whether this vision is compatible with the state's ambition to build an internationally competitive, and commercially successful film industry. This paper provides a critical analysis of the economic and ideological workings of the post-apartheid feature film industry. The focus is on international co-productions, which have been encouraged by the state since such arrangements are seen to..

The representation and mediation of national identity in the production of post-apartheid, South African cinema

Includes bibliographical references (p. 218-236).In 1994, South Africa was emancipated from apartheid, and in 1996, a new democratic Constitution was released. This charter envisioned a progressive society and placed emphasis on equality, multiculturalism, reconciliation and freedom. The state targeted the cultural industries, including cinema, to carry this new vision to the nation. The problem, however, was that the production, exhibition and distribution infrastructure inherited from apartheid was not only dominated by Hollywood, but also exclusively catered for the white sector of the nation. This monopolised, racially skewed structure continues to pose an obstacle to the dissemination of progressive identities and the sustainability of local cinema. Through an analysis of relevant film policy, industry structure and specific cinematic texts, this study aims to trace the intersection between the dynamics of national identity representation and South Africa's political and economic position as a developing nation in the global marketplace. The research presented took place over a period of three years (2007-2010) and incorporated both quantitative and qualitative methods

Ethics of participatory visual research to address gender-based violence

This briefing paper discusses key ethical issues in research activities which have addressed sexual violence, and which also involve the shared experiences of girls and young women. In participatory visual research (PVR) researchers use artistic tools such as film, drawing and photography to plan and conduct research. This paper looks at the uses and effectiveness of PVR as a research tool for addressing sensitive topics, and the ethical issues that are part of this type of participatory study.Social Sciences and Humanities Research Council of Canada (SSHRC

Using the visual to address gender based violence in rural South Africa Ethical Considerations

The paper presents findings from participatory visual research (such as such as photovoice, digital storytelling, participatory video, and participatory asset mapping) towards investigating violence against women and girls (VAW). Results suggest that while ethical issues may arise in the application of participatory visual tools in contexts of vulnerability, it is still possible to proceed without harm and to gain pertinent insight into this important issue. Qualitative studies with indigenous communities, in particular those that incorporate participatory techniques, can help to build a body of evidence about VAW that is directly informed by the people whose lives are under study

Understanding Specific Contexts of Antiretroviral Therapy Adherence in Rural South Africa: A Thematic Analysis of Digital Stories from a Community with High HIV Prevalence.

Near-perfect adherence to antiretroviral therapy (ART) is required to achieve the best possible prevention and treatment outcomes. Yet, there have been particular concerns about the challenges of adherence among patients living in resource-limited settings in sub-Saharan Africa. The primary objective of this study was to explore adherence in a low-resourced, rural community of high HIV prevalence in South Africa and to identify specific individual and structural factors that can either challenge or support adherence in this context. We applied digital stories as a qualitative research tool to gain insights into personal contexts of HIV and ART adherence. Through an inductive thematic analysis of twenty story texts, soundtracks and drawings, we explored experiences, understandings, and contexts of the participants and identified potential barriers and facilitators for those on lifelong treatment. We found that many of the stories reflected a growing confidence in the effectiveness of ART, which should be viewed as a key facilitator to successful adherence since this attitude can promote disclosure and boost access to social support. Nevertheless, stories also highlighted the complexity of the issues that individuals and households face as they deal with HIV and ART in this setting and it is clear that an overburdened local healthcare system has often struggled to meet the demands of a rapidly expanding epidemic and to provide the necessary medical and emotional support. Our analysis suggests several opportunities for further research and the design of novel health interventions to support optimal adherence. Firstly, future health promotion campaigns should encourage individuals to test together, or at least accompany each other for testing, to encourage social support from the outset. Additionally, home-based testing and ART club interventions might be recommended to make it easier for individuals to adhere to their treatment regimens and to provide a sense of support and solidarity

Digital cinema: an alternative model for post-apartheid cinematic production and consumption?

Patterns of cinematic production and consumption are often symptomatic of wider politico-economic and socio-cultural forces. This is the case in South Africa, where this site of cultural production, like the society as a whole, is marked by severe racial stratification and division. One finds, for example, that as a direct result of apartheid inequality, the majority of the population has been alienated from the mechanisms of cinematic production and consumption. This fragmentation remains one of the greatest challenges to the sustainability and racial transformation of the post-apartheid film industry. In this article I present a critical discussion on the rise of the low-budget, digital film in South Africa. With careful reference to prevailing politico-economic conditions and available state-support measures I analyse the potential of digital technology to revolutionise cinematic production and consumption practices. In analysis, it was found that while cinema has indeed become somewhat more accessible, the production, distribution and exhibition of motion pictures in South Africa remain monopolised, exclusive and inaccessible to the majority. Moreover, it is questionable whether the digitised consumption mechanisms in place penetrate a wide enough market to sustain the movement. Therefore, although this is indeed an exciting movement in the industry, it should not be viewed as an outright replacement of existing technology nor a means for independent filmmakers to make it alone. On the contrary, it is most likely to run parallel to existing entertainment mechanisms and state support will still be required to encourage diversity and encourage sustainability

South African cinema after apartheid: A politicaleconomic exploration

When South Africa was emancipated from the oppressive apartheid regime in 1994, it was a severely divided society in need of an inclusive national identity to bind its citizens and maintain peace. Therefore, the state targeted the cultural industries, including film, as a means of promoting symbolic representations of national unity. The film industry was further identified as a priority sector for economic growth and as a potential platform for equitable redress. This article discusses existing and emerging finance, distribution and exhibition structures in the post-apartheid film industry. It considers government interventions in the form of film policies and development strategies with the purpose of examining the influence of globalising forces, in particular neoliberalism, on the apparent market-orientation of such interventions. The results presented indicate that the post-apartheid vision of equality, freedom and diversity does not always sit comfortably with the neoliberal, free-market principles promoted in the Growth, Employment and Redistribution (GEAR) programme of 1996. Moreover, it suggests that in this commercial environment, the voices of the historically oppressed black majority, rather than enjoying a sense of artistic and creative freedom, can in fact encounter commercial censorship through the commodification of films for an export-orientated market

What Does It Mean to Be a Young African Woman on a University Campus in Times of Sexual Violence? A New Moment, a New Conversation

Sexual violence in the higher education is an epidemic of global proportions. Scholars conclude that the individual and collective silence that surrounds such violence enables its perpetration and that violence will only be eradicated when we break this silence. In this paper, we used two participatory visual methods (PVM), collage and storytelling, to explore what sexual violence at university looks like and what it means to woman students. Two groups of student teachers in two South African universities were engaged in collage and storytelling workshops in late 2017 and early 2018, respectively. We thematically analyzed the issues that emerged from the data, drawing on transformative learning theory to explore how our approach might help women students to break the silence around sexual violence and stimulate critical dialogue to address it. Our analysis suggests that these visual tools enabled deep reflections on the meaning and impact of sexual violence, particularly for women. In addition, the participatory process supported introspection about their experiences of sexual violence and their responses to it as bystanders in and around campus. More importantly, they discussed how they, as young women, might break the silence and sustain new conversations about gender and gender equality in institutions and beyond

Arthritus: Isifo samathambo.mov

This video narrative was created in November 2013 in a digital storytelling workshop in an under-resourced, rural community of high HIV prevalence of South Africa. It is a product of the ‘Adherence Stories project that was funded by the Wellcome Trust (PI: Astrid Treffry-Goatley; WT 106852AIA). The aim of this study is to employ community stories to explore community perceptions of HIV, ART adherence and adherence to other chronic medications in this setting. The workshop was facilitated by professional facilitator Pam Sykes and hosted by Africa Centre for Population Health

Mother and child: Umama nengane.mov

<p>This video narrative was created in November 2013 in a digital storytelling workshop in an under-resourced, rural community of high HIV prevalence of South Africa. The aim of this study is to employ community stories to explore community perceptions of HIV, ART adherence and adherence to other chronic medications in this setting. The workshop was facilitated by professional facilitator Pam Sykes and hosted by Africa Centre for Population Health.</p