Developing a Model for Explaining Network Attributes and Relationships of Organised Crime Activities by Utilizing Network Science

The main objective of this research is to provide an innovative exploratory model for investigating substantive organised crime activities. The study articulates 30 critical independent variables related to organised crime, network science and a comprehensive exploratory approach which converts measurements of the variables into meaningful crime related inferences and conclusions. A case study was conducted to review initial feasibility of the selected variables, exploratory approach and model, and the results suggesting good effectiveness and useability

Themes in the Cinema of Darrell James Roodt

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..

South African Cinema (1)

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...

South African Film Industry

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)...

The Cinema of Jans Rautenbach

THE ANGUISH OF A DREAMER: ABRAHAM (2014) AND THE CINEMA OF JANS RAUTENBACH Introduction: Rautenbach's cinemaA few pioneers in the Afrikaans film industry of the sixties produced a number of films that could be labelled "involved films". The theme of these films was an examination of the cracks in apartheid ideology. They included Emil Nofal-Jans Rautenbach's films like Die Kandidaat (The Candidate, 1968) and Katrina (1968). Several film historians regard Jans Rautenbach as the pioneer of modern, bold and South African filmmaking in the 1960s and 1970s. Together with producer Emil Nofal he made ground-breaking films during a time when South African cinema hardly reflected the socio-political realities of the country. Born in 1936 in Boksburg, Jansen Delarosa Rautenbach grew up in a very poor household. His father worked in the mines. He started his school years at a primary school in Boksburg. Early influences in his life..

The Cinema of Manie van Rensburg (Part 1)

INTRODUCTIONThe name, Manie van Rensburg, is virtually unknown in Europe and the United States of America. Recently, some of his work was screened at a South African film festival in Amsterdam at the Kriterion cinema and I had the honour to present a lecture there on 7 October 1995 regarding Van Rensburg and his presence in the cinema. His film work was also highlighted in a small retrospective during October 1996 at the Vrije Universiteit Brussel. IT WAS NOT THE FIRST TIME a Van Rensburg film was screened outside the borders of South Africa. During the 1980s Van Rensburg received an International Film Festival of New York award for his historical TV drama series, Heroes, and a Merit Award from the London Film Festival was given to him for his filmed play, The Native who Caused all the Trouble. His mammoth production, The Fourth..

The Cinema of Manie van Rensburg (conclusion)

THE CINEMA OF MANIE VAN RENSBURG: POPULAR MEMORIES OF AFRIKANERDOM (Conclusion) The name, Manie van Rensburg, is virtually unknown in Europe and the United States of America. Recently, some of his work was screened at a South African film festival in Amsterdam at the Kriterion cinema and I had the honour to present a lecture there on 7 October 1995 regarding Van Rensburg and his work. His work was also highlighted in a small retrospective during October 1996 at the Vrije Universiteit Brussel. The following is the conclusion of the article the first part of which was published in KINEMA Fall 1997. 1939-1948: The Rise of Afrikaner NationalismFusion, and the consequent split between General Hertzog and D.F. Malan, was of the greatest significance in the history of Afrikaner nationalism. Although Malan's Purified National Party was numerically exceptionally weak, confined largely to the Cape Province and with only 19..

The Struggle for a South African Film Audience

IN THIS ARTICLE, the author aims to discuss the historical process which led to the fragmented nature of film audiences in South Africa presently. He examines the current status of film audiences and stresses the importance of audience development as an important option for the commercial growth of South African film industry. 1. Background and ContextThe years 1959 to 1980 had been characterised by an artistic revival in filmmaking throughout the world, ranging from exciting political films in Africa and Latin America to examples of great art cinema in Europe and Asia. National cinemas(1) emerged in Australia, West Germany, Iceland and New Zealand. In 1977 Iceland, for example, was nearly invisible on the map of world cinema. Few films were made there, but since the establishment of a national film commission similar to our NFVF (National Film and Video Foundation) an independent cinema emerged. Following the establishment of..

The Representation of Gays and Lesbians in South African Cinema 1985–2013

THE REPRESENTATION OF GAYS AND LESBIANS IN SOUTH AFRICAN CINEMA 1895-2013 Despite South Africa's progressive constitution which prohibits discrimination against gays and lesbians, as well as a strong gay movement, South African cinematic images of gay men and women are limited and still at the margin of the South African film industry. One ends up with less than 20 short films, a few documentaries and less than 10 features with openly gay and lesbian characters in the past 114 years of South African cinema. Under apartheid, gay and lesbian voices in film and television were silenced. In a 20-year study of the representation of gays and lesbians in African, Asian and Latin American cinema (Botha 2003; 2012; Botha & Swinnen 2010), the author has noted that homosexual experience is unique in South Africa, precisely because of South Africa's history of racial division and subsequent resistance. South African gay identities..

Short Filmmaking in South Africa

SHORT FILMMAKING IN SOUTH AFRICA AFTER APARTHEID Historical ContextAlthough 1994 saw the birth of democracy in South Africa the South African film industry is much older. In fact, our great documentary film tradition dates back to 1896 and the Anglo Boer War(1). Surprisingly only a few books have been published regarding the history of one of the oldest film industries in the world and one of the largest on the African continent. Between 1910 and 2008 1434 features were made in South Africa (Armes 2008). Approximately 944 features were made in the period between 1978 and 1992, as well as nearly 998 documentaries and several hundred short films and videos (Blignaut & Botha 1992). South African film history is captured in a mere twelve books. Developments in early South African cinema (1895 - 1940) have been chronicled in Thelma Gutsche's The History and Social Significance of Motion..