Local specificities,global resonances: contesting representations of violence in African films

This article is framed by Adichie's (2010, 2) warning of ‘the dangers of the single story’. It investigates the local specificities and global resonances of the representation of violence projected in two African films. The documentary by Ross Kemp on gangs in Pollsmoor Prison in South Africa (2003) captures and generates distinct cinematic biographies that extend our perceptions of production, exhibition and distribution. In contrast, the fictional film, Dakan, by Guinean producer Mohamed Camara (2001), cinematises the enigma of homosexuality as taboo and an aberration, including the attendant socially constructed homophobia. Both films markedly underemphasise the political and pedagogical imperative of African film producers and audiences, and in this they contest ‘established’ representations of violence that have characterised documentaries about Africa and ‘Third Cinema’ (Solanas and Getino 1996). More critically, this article questions the palpable occlusion of systemic violence that characterises the multiple and complex views of Africa in these two films, to unpack the novel documentation and reformulation of violence, as disseminated by Kemp and Camara.     

The rise of film production and the politics of the star system in South Africa

ABSTRACT

The rise of film production and the ubiquitous presence of the ‘new wave’ of South African films on the international scene in recent years have raised expectations amongst local film stars hoping to get their biggest break by taking leading roles in major South African productions. However, most of these films – particularly co-productions – have continuously used foreign stars in leading roles. As a result, local stars have constantly voiced concerns about the proliferation of foreign artists in leading roles in South African productions. Many explanations have been offered in trying to understand why filmmakers tend to cast a foreign star when a local one could probably do a better job (in, for example, portraying a local icon like Nelson Mandela) and still command a lesser fee. However, this article puts forward that most of these arguments are based on intuition rather than on the real dynamics and externalities governing this practice. The article attempts to make sense of this issue by arguing that the rationale for this practice stems from a film being a high-risk investment that it is driven by the broader financial imperatives of film production. The article offers empirical evidence to suggest that stars do not add economic value to the film, but to themselves (see Elberse 2005), since the bulk of the money goes towards their appearance fees. It is concluded that the traditional model guiding film finance and the logic behind it need to be looked at afresh, given the fact that several films have failed at the box office, both locally and internationally, despite featuring major foreign stars, compared to the massive success of some local films (e.g., Jerusalema, Tsotsi and Yesterday) with local stars in the leading roles.     

‘Local is lekker’: Nation,narration and the sABC's Afrikaans programmes

Abstract

This article provides an exploration of the role of the SABC's Afrikaans language programmes in contemporary South African constructions of national identity. It examines the programmes’ engagement with the construction of (a) national identity by addressing the SABC's mandated obligation towards nation building, and exploring how the broadcaster's Afrikaans programmes are positioned in this regard. The article suggests that the SABC's task to ‘narrate the nation’ is complicated not only by the theoretical dilemmas faced by the terms ‘nation’ and ‘nation building’, but also by the broadcaster's historical ties to the apartheid government. This matter is further complicated for the Afrikaans-language programmes on SABC, given the language's binary position as both ‘unifier’ and ‘oppressor’.     

The alluring voice/the allure of film (theaters): the formation of the voice in the Japanese cinema of the prewar period

Abstract

Kitada Akihiro provides a historical overview of film presentation as a transient business, its migration into dedicated cinemas, and the concomitant rise and fall of benshi film explainer culture, as silent film incorporating a narrative developed out of simplistic ‘moving pictures,’ only to be gradually replaced by ‘talkies.’ He does so by following the career of Tokugawa Musei, one of the most prominent benshi of the 1920s and 1930s, from beginning to end; in describing the changes in audience composition and expectations, he outlines the transition from the showman-like VOICE「声」 to the more ‘talkie’-like voice «声».     

Understanding university student media preferences through the discourses of ‘realism’ and ‘quality’

Abstract

This article examines two of the explanatory discourses most often used by the youth in explaining their preferences for local or global media – those of ‘realism’ and ‘quality’. The article explores the ‘empiricist’ understanding of realism which seeks a correspondence, at a denotative level, between the ‘realities’ internal and external to the text, and argues that a desire for this correspondence, explains the youth's preference for local productions. However, the article also argues that ironically, in many instances, it is global, rather than local productions which most adequately reflect local lived conditions. The article also explores how many students' preference for global media is premised on the perceived superior ‘quality’ (understood in terms of production techniques) and that the discourse of ‘quality’ is one often used by South African media producers to explain the relatively poor state of the local film and television industries. Finally, the article highlights that an attraction to the ‘quality’ of American productions often coexists with a profound anti-Americanism.     

Evaluating authorial ‘objectivity’ and ‘stancetaking’ in reporting the making of a new constitution in Zimbabwean newspapers

ABSTRACT

Zimbabwe held ‘fresh’ elections on July 31, 2013 under a new constitution. This was in line with the provisions of the Global Political Agreement (GPA), a political power-sharing compromise signed between Zimbabwe's three main political parties, following the heavily disputed 2008 harmonised presidential and parliamentary elections. The GPA established in Zimbabwe a Government of National Unity (GNU). On the road to making a new constitution, political differences and party politicking always seemed to take precedence over national interest. This political polarity in Zimbabwe resulted in the heavy polarity of the media, especially along political ideological grounds. The new constitution-making process and all its problems received heavy coverage in almost all national newspapers. This article analyses the discourse-linguistic notion of ‘objectivity’ in ‘hard’ news reports on the new constitution-making process by comparing the textuality of ‘hard’ news reports from two Zimbabwean national daily newspapers: the government-owned and controlled Herald and the privately owned Newsday. Focusing on how language and linguistic resources are used evaluatively in ways that betray authorial attitudes and bias in news reporting, the article examines how the news reports uphold or flout the ‘objectivity’ ideal as explicated through the ‘reporter voice’ configuration, and within Appraisal Theory.     

Disquieting growth: urban space in Kawashima Yūzō's film Suzaki Paradise Red Light

This article examines how Japanese postwar cinematic texts manifest and comment upon contemporary political and economic events, and considers the usefulness of cinema for a more complete historical understanding of the period. In particular, it argues for the significance of fūzoku eiga, or ‘films of customs and manners’ by analyzing a representative text of that genre, Kawashima Yūzō's 1956 film Suzaki Paradise Red Light. Although Kawashima's film has been treated as an apolitical melodrama, a close textual analysis reveals it to be a counter-narrative to the success story of postwar economic recovery and growth that the Japanese state sought to promote. Key to this analysis is an examination of the urban space of the Suzaki neighborhood in Tokyo, as depicted in the film. Kawashima's tour of Suzaki addresses the issues of the economic stagnation within the metropolis, uneven development, and the liminal space of muen, or ‘no ties,’ which offers a brief refuge from an increasingly disciplined everyday life.     

Media and tutor-learner interaction in distance education

SUMMARY

Technological developments in recent years have provided greater scope in the selection and combination of media for presenting courses in distance education. This article explores the uses and limitations of a number of ‘old’ and ‘new’ media in distance education from the perspective of their educational and communication advantages. The main emphasis is not on technological developments, but on the potential of various media to create a greater degree of interaction between tutor and student than has previously been possible through traditional media such as print and audio-visual media.     

Journalism education and practice in South Africa and the discourse of the African Renaissance

Abstract

At the turn of the century there was sheer optimism that ‘Africa's time’ to address all its problems had come, and as a result the 21st century was widely hailed as the ‘African century’ (Ban 2008; Makgoba 1999; Mbeki 1999; O'Reilly 1998; Zoellick 2009). This pronouncement was accompanied by the parallel call for the African Renaissance, which challenged many institutions to align themselves with this ‘crucial phase’ in the history of Africa. In the process, expressions such as ‘de-Westernisation’, ‘Africanisation’, ‘indigenisation’ and ‘domestication’ became buzz-words. Yet, after almost a decade of such claims, there appears to be very little, if anything, gained from these confident pronouncements. This article is situated within embryonic debates on the Africanisation of the curricula. The article explores the current thinking on journalism education (the teaching of journalism) and practice (the practice of journalism) in the country, with a view to furthering our understanding of journalism agility deemed important for the ‘African century’. It further explores the opportunities and limitations of situating journalism education and journalism practice within the discourse of the African Renaissance. The key data that form the basis of this article were collected through interviews and an open-ended questionnaire from a sample consisting of journalists, journalism educators and senior journalism students. The findings point to the need to rethink journalism education and journalism practice, given the trends of globilisation and the equally compelling need to Africanise.     

Kawabata's views of language and the postwar construction of a literary genealogy

Abstract

This paper shows the ways in which, in the immediate post-war period (1945–1951), Kawabata Yasunari (1899–1972) reflected on his earlier, pre-war literary career and re-envisioned his postwar literary trajectory by constructing a new genealogy of the modern novel in Japan, in relationship to the intricate issues of the literary styles of the modern novel, ‘national language’ (kokugo), and the literary tradition. By examining his Shin bunshō tokuhon (New Guide to Literary Language, 1950), which presents Kawabata's past and present views of literary language, I will argue that Kawabata's changing views of language and literary style must be understood in the context of contemporary debates over national language policy and language reform movements. I will show the manner by which Kawabata formulated his views of language in dialogue with his two rival writers: Yokomitsu Riichi (1898–1947) in the prewar period and Tanizaki Junichirō (1886–1965) in the postwar period. As we shall see, the death of his close literary colleague Yokomitsu in 1947 and Tanizaki's unflagging literary exploration during and following the war prompted Kawabata to position himself in a genealogy of modern Japanese literary writers as well as in relationship to the linguistic and literary tradition of Japan.     

Between a croc and a herd place: Battle at Kruger and nature interpretation

Abstract

The article examines the popular YouTube clip Battle at Kruger and its National Geographic spin-off Caught on safari: The battle at Kruger. In seeking to account for the clip's popularity and National Geographic's motivations for making the hour-long feature, the author draws on the burgeoning studies of wildlife film in an effort to contextualise this new ‘eye-witness’ approach within the traditions of documentary films focusing on nature – particularly animals. Furthermore, do the clip and its online popularity suggest a new direction for wildlife documentary in an age of increasingly advanced filming technologies and digital broadcast platforms?     

Cyberspace,simulation, artificial intelligence,affectionate machines and being human

Abstract

This article focuses on the question whether the technologically enabled advent of ‘virtual reality’ or ‘cyberspace’ has a significant impact on human experience of the world. Gilbert Germain's work on Virilio and Baudrillard gives greater insight in this regard, specifically regarding cyberspace as the new ‘frontier’, and focuses on the alienating effects of cyberspace regarding the human life-world. Turkle's recent work regarding robotics similarly points to a fundamental shift in human attitudes towards ‘embodied’ artificial intelligence, especially concerning its capacity for affectivity, which further marks a turning away from the complexity of human relationships in favour of supposedly uncomplicated ‘machine relationships’. Derrida enables one to better understand the changing relation between humans and machines in terms of the reconfiguration of human subjectivity. Together with Turkle's work in this domain, it points to a surprising ‘reconfiguration’ of conceptions regarding being human. Finally, Feenberg's retrospective on the fraught relations between humans and technology, as reflected in various fictional and theoretical works, as well as social developments, provides a suitable conclusion, given his affirmative remarks on the prospects of human autonomy in relation to the Internet.     

Scalable competency in the communication profession

ABSTRACT

This article describes a research project that investigated the factors that enable entry to and advance within a career in professional communication. The scope of ‘professional communication’ is delimited to the areas that are embraced by the broad and overlapping domains of marketing communication, public relations, internal and external communication. A grounded theory approach was used. Individual professional competencies were identified and clustered. The ability to accumulate or scale these was termed ‘scalable competency’ and identified as a central factor in professional advancement. Scalable competency is related to two sets of determinants that are described as ‘push’ and ‘pull’ factors. An additional competency, that of integration, was identified as a factor that applies to both sets of determinants. Constraints to advancement were also identified.     

(Re)inventing African oral traditions and national heritage(s) through film images: The case of Keita! The Heritage of the Griot [1995] and Kare Kare Zvako: Mother's Day [2004]

ABSTRACT

The aim of this article is to explore how African films such as Keita! The Heritage of the Griot and Kare Kare Zvako: Mother's Day reinvent oral traditions on-screen, so that the traditions are revitalised and given new life in a contemporary world where visual and literary narratives have tended to dominate the collection and dissemination of information. The ontological and cosmological dimensions of African oral traditions provide the cultural humus that continues to feed the narrative structures of most African films. It is argued that the films' conscious refusal to be totally submerged in European modernism or their capacity to merge some traditional aspects with modern values is what constructs the multiple subjectivities that most African filmmakers strive to bring out. By using oral narrative structures embedded in songs, storytelling, myths, legends, poems, riddles, anecdotes and proverbs, the selected African films recreate traditions and heritage; they help to preserve African values that face a Western onslaught, promoted through European languages. Oral narratives carry a freight of cultural meanings infused in different modes of expression, while articulating the philosophies and beliefs of African people. It is important to recognise and [re]discover the critical role played by oral narratives in order to understand the epistemologies and ontologies that inform the construction of African films. A study of this nature is critical in that it builds on the existing indigenous knowledge systems embedded in orature (oral literature) that remain threatened by European cultural imperialism, which is promoted through the Hollywood film paradigm.     

A computational text analysis of the South African banking sector's representation of its core values: A corpus-driven approach

Abstract

This article uses corpus linguistics (CL) to computationally quantify and qualitatively explain how meaning is represented vis-à-vis core values in the text of the 2009 annual reports of the South African banking sector. Core values prescribe the behaviour, attitude and character of an organisation and may be indicative of an organisation's ideologies. This article draws on the work of Fox (2006a and b), who advances the new development of merging linguistics and corporate communication, and in so doing adopting a transdisciplinary perspective on language. Written text is an ideal method with which to capture an organisation's ideologies through corporate public discourse (CPD) such as annual reports, because the organisation can control the content and distribution. However, as corporate messages are generally written by the ‘entity’ and not by the individual, writers essentially accept the banks’ practicing power through consent. The results illustrate how the repeated use of content words may skilfully position the reader of the text positively towards the South African banking sector's core values represented in the text. Researching language in organisations not only facilitates strategic competence in comprehending communication processes, but can also be beneficial in terms of more credible CPD.     

Towards global relational theorizing: a dialogue between Sinophone and Anglophone scholarship on relationalism

Abstract

What is ‘relational theorizing’ in International Relations and what can it offer? This article introduces a thematic section that responds to these questions by showing two things. First, relational theorizing is not a doctrine or a method, but a set of analyses that begin with relations rather than the putative essences of constitutively autonomous actors. Second, relational theorizing has emerged from different geo-linguistic traditions, and a relational approach to International Relations (IR) can offer the language and space for increased and productive engagement beyond Anglophone scholarship. This thematic section takes a significant step in this direction by staging a dialogue between Sinophone and Anglophone scholarship on relational IR theorizing. Such an engagement shows points of comparison and contrast, convergence and divergence. In this way, the essays presented here contribute to developing a more ‘global’ IR.     

Language visibility and language removal: A South African case study in linguistic landscape change

Abstract

Some changes of an evolving language regime are moderate in nature as they do not necessarily entail the removal of a language from the linguistic landscape. They can be deemed less moderate when a former prestigious language is removed, as is the case in post-Soviet countries where former bilingual signs are physically replaced by new, predominantly monolingual signs, no longer displaying Russian. South Africa's constitutional language requirements do imply the re-profiling of public signs in order to feature an African language; changes that seem compatible with a moderate approach to linguistic landscaping. Do the different policies that regulate the linguistic landscape – and the resulting changes themselves – actually reflect this moderate approach? This article analyses two aspects of linguistic landscape change: language visibility policy and linguistic landscape data collected in three towns in the Kopanong Municipality, Free State Province. A central finding is that it is left to provinces and municipalities to promote bi- or multilingual language visibility and that the Kopanong Municipality plays a conservative role in this. Significant changes in the linguistic landscape are being introduced by external role-players such as national government agencies. The removal of Afrikaans from the linguistic landscape may be linked to the latter.     

Spiritualism and modernism in the work of Kawabata Yasunari

Abstract

Kawabata Yasunari held a deep interest in the study of spiritualism from his very youth. He demonstrates his knowledge of the field in his writing in a variety of ways, particularly in the short stories he published during the prewar period. Thus far, scholarship has considered Kawabata's relationship with spiritualism primarily in terms of his biography: there has yet to be a satisfactorily rigorous study taking into account historical context and his use of spiritualism as novelistic technique. This article analyzes Kawabata and spiritualism with respect to modernism by looking at the short stories ‘The Full White Moon’, ‘Requiem’, and ‘Lyric Poem’. This analysis will also help illuminate the diversity of Kawabata's approaches to modernism.     

Pseudo-communication and the return of the sophist: Thank you for smoking,at first sight

Abstract

The present era is one of pseudo-communication and overwhelming relativism, where, at best, the ability to persuade one's opponents or a potential audience of the ‘rightness’ (as opposed to the communicable ‘truth’) of one's position, is all important. A closer look at the recent film, Thank you for smoking, shows it to be a stalking horse for precisely this kind of pseudo-communication and relativism, and an all the more successful one in light of its rhetorical sophistication and entertainment value. However, this is no reason to give up on the old-fashioned notion of communication (or ‘truth’), even if one has to reject the illusion – so long entertained by Western philosophy – of unambiguously clear communication of the ‘truth’ in any univocal or absolute sense. Through an analysis of the film in question an attempt is made here to demonstrate that it is a supremely persuasive piece of sophistry in the sense that Plato gave to the term, but that today (given what one has learned from the post-structuralist thinkers), instead of rejecting it on this basis, one should appropriate its lessons in rhetoric and turn it against itself, showing how a complex notion of communication and ‘truth’ of a certain kind may be uncovered in its interstitial rhetorical spaces. This is of particular importance to South Africa, given the fact that ‘persuasive communication’ forms part of curricula in communication studies. The paper aims to show how short sighted the unqualified emphasis on ‘persuasion’ is, especially in South Africa.     

The meaning of post-apartheid Zulu media

Abstract

This article explores the relationship between certain South African media corporations, growing post-apartheid Zulu media platforms, the size and diversity of Zulu-speaking media consumers, and the historical socio-cultural construction of ‘Zuluness’. This relationship, this author observes, manifests largely through media corporations’ increasing recognition of Zulu people's pride in Zulu (i.e. the language) and ‘Zuluness’ – all of which are historical products of various forms of socialisation. Coopting this pride, profit-driven media corporations are commodifying Zulu and ‘Zuluness’. This commodification via the establishment of Zulu media outlets is paradoxical: 1) it is a transformation of a public and open Zulu cultural sense of ‘being’ into institutionally determined commodities exchangeable for revenue, for the ultimate benefit of media owners other than the masses of Zulus themselves; 2) it is a form of commoditisation that gives Zulu a linguistic profile that has historically been accorded only to English and Afrikaans. This article's argument is further briefly articulated through various intellectual frames: Graham Murdoch and Peter Golding's conceptualisation of critical political economy of communications and culture (2005); John and Jean Comaroff's anthropological analysis of commercialisation of ethnicity (2009); and, for South African specificity and precedent, through Herman Wasserman's reading of Afrikaans media corporations’ commercialisation of Afrikaans language and identity. Then the question is: What does the explored relationship mean for South Africa's multilingualism?