Representations of crime,power and social decay in the South African post-colony in the film Gangster’s Paradise: Jerusalema (2008)

The film Gangster’s Paradise: Jerusalema, released on August 29, 2008, decries the proliferation of crime, violence and social decay in the South African post-colony. The aim of this article is to interrogate the banality in the use of violence and power in the South African post-colony. The filmic narratives of Gangster’s Paradise: Jerusalema reveal that behind the ‘rainbow’ façade presented by South Africa, one encounters festering poverty in ‘non-white’ communities, racial acrimony, broken promises, social and class struggles, and tales of betrayal of the majority of black people by the elite black leadership which now sit comfortably in the seats vacated by their former colonisers. An analysis of the narratives of the film Gangster’s Paradise: Jerusalema permits one to locate apartheid-based economic disparities as still haunting mainly ‘non- white’ local communities, although some whites have not been spared by the vicious new normal of poverty and the effects of corruption. This interpretation is further questioned in the film which shows that, after apartheid, the nationalist leadership encouraged a negative culture of entitlement. The irony in the film is that the masses are also tainted in so far as they commit crimes against other ordinary people and refuse to take responsibility or, rather in an escapist way, blame all the woes of the post-colony on apartheid. Thus, the narratives of Gangster’s Paradise: Jerusalema beg the question: What is going wrong with the dream of democracy for all, irrespective of race, that was the founding principle of the new nation?     

‘Hold that Pose!’ Photography and kabuki in Kitano Takeshi's Kikujiro

This article examines Kitano Takeshi's film Kikujiro (Kikujirō no Natsu, 1999) from two directions: first, as an as an experiment in moving versus still photography, and second, as an exploration of time, memory and Japanese identity. I argue that it is in Kitano's cinematic use of elements from the kabuki drama that the two aspects come together. Kitano plays upon the conventions of both kabuki and film media to highlight the significance of the ‘still shot’ as it functions in human memory. By presenting moments of the story in the format of a child's photograph album, Kitano is able to explore ideas of ‘adult’ and ‘child’ as equally arbitrary constructions. Throughout Kikujiro, Kitano draws on a rich tradition of film, drama and television convention in order to explore the idea of where identity comes from – does it come from the past, the present, or do we make it up ourselves? Kitano places emphasis on the still mie pose to heighten emotion and draw attention to the present moment. By contrasting this method against that of photography, Kitano juxtaposes past and present modes of expression, enabling him to interrogate notions of time and the supposed timelessness of art. Finally, Kitano's critical use of the past locates identity not in some distant, unobtainable myth of the nation, but in the lived experience of each individual as a human being.     

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.     

Re-visioning the “Eye in the Sky”: targeted drone strikes and an ethics of the encounter

ABSTRACT

The complexities which beset any attempts to ascribe a foundational ethic to matters of a political stripe are well known, and continue to provoke fierce debate within studies of international relations, geopolitics and security studies. Unsurprisingly, these questions have taken on crucial import within the sub-field of critical terrorism studies (CTS), as authors grapple with the range of counter-terrorism, counter-radicalisation and counter-extremism practices enacted by the Western state as part of an ongoing ‘War on Terror.’ And while much of this scholarship has been invaluable in problematizing the concept of ‘terrorism’ per se, normative questions have proven somewhat more elusive. Through a reading of the film Eye in the Sky, along with its take on the controversial counter-terrorism practice of targeted drone assassinations, this article reiterates the case for an ethical approach which takes radical difference as the basis for any engagement with the Other. Moreover, and following international relations authors of a poststructuralist lineage, it will be argued that supplementing Levinasian ethics with Derridean deconstruction can open up new and useful ways of approaching such seemingly intractable ethical conundrums.     

From Freud to funny music in films: The case of Blazing Saddles

Abstract

This article contends that music creates comedy in film in two significant ways: first, by ‘setting us up’ and confirming our understanding of purely musical, cinematic musical, and cultural musical codes in the symbolic order of film, only to play with or subvert our established responses to such codes thereafter; and second, by a reliance on age-old rhetorico-musical techniques associated with musical comedy. An analysis of selected scenes from the film Blazing Saddles, directed by Mel Brooks and released by Warner Brothers in 1974, follows, wherein such techniques of musical comedy are shown to be evident. By way of reflecting on these techniques, some thought is given to Sigmund Freud's understanding of the continuum of humour involving play, jest and jokes, within the context of his notion of the principle of economy in psychical expenditure. Accordingly, the author concludes that the political discourse of Blazing Saddles is effective precisely because it is clothed in humour.     

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.     

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.     

The utopia of suburbia: the unchanging past and limitless future in Doraemon

The long-running Japanese children's media franchise Doraemon is commonly interpreted both inside and outside academic discourse as a representation of a positive vision of the future, an analysis based partially on its portrayal of a lovable robot. This view is supported by the series' use of ‘science’ to represent unlimited accessibility, and the branding of the series as a companion to children's scientific education. Doraemon's celebration of the future's boundless potential is complicated, however, by the impulse in recent works to reject the same notion of ‘progress’ on which the series relies. The works remain frozen in a romanticised vision of 1960s’ Japan, and have come to connote childhood nostalgia while presenting characters that do not grow or change over time. In the 2008 film Nobita to Midori no Kyojinden, the perpetual act of returning that defines much of Doraemon today is taken to a dramatic extreme, as a pre-modern ideal becomes the blueprint for both morality and might. Doraemon constructs temporal mixtures that simultaneously glorify both the past and the future.     

Painful Pleasure: The Politics and Aesthetics of Psychosocial Trauma in Impunity

Abstract

Continuous trauma syndrome (CTS) is the foundation for the characters in the film Impunity. The aesthetic choices in the narrative structure are an exploration of the discursive nature of violence and trauma in contemporary South African society. The theorising of continuous stress trauma provides the necessary challenge to the more conventional understanding of post-traumatic stress syndrome and informs the underlying analysis of the film. This analysis is offered in an interlocutory manner with psychology theorist Garth Stevens who provides a hermeneutic reading of Impunity that draws directly from his own research and others in the field of psychology. The paper is offered as an examination of an artistic research, film practice. The practice itself constitutes a theoretical expression which connects the aesthetic and structural choices of the film with the disciplinary observations made by Stevens. It suggests two theoretical approaches from different disciplines brought in conversation with each other to inform the reading of Impunity as artistic expression. The paper puts at its centre the discursive approach to the study of violence and trauma to suggest how the film’s structure and its aesthetics may be connected to research in the field of psychology.     

Inxeba (The Wound): Sexual,Gender, Cultural and Religious Traumata on the African Screen

Abstract

This article is divided into two distinct parts. The first part contextualises John Trengove’s internationally renowned, award-winning, feature-length isiXhosa film, Inxeba. The second part of the article is an interview with Batana Vundla, conducted by Mark Kirby-Hirst (Film Theory and Visual Discourse Subject Manager at The Open Window), held in mid-2018, shortly after the High Court’s decision was made public regarding the final classification of Inxeba. The interview ranges from Batana Vundla’s history in the South African film and television industries, to the production processes behind the scenes of the film and concludes with a focus on the nuanced manner through which the film often broaches a wide variety of physical and psychic traumata.     

News constructs of customary identity versus democratic practice: the case of Lindiwe Dlamini and Mswati III of Swaziland

Abstract

If colonial Africa was governed through ‘indirect rule’ or ‘decentralised despotism’ (Mamdani 1996:8), its legacy remains surprisingly intact post independence. If the notion of the tribe lay at the heart of indirect rule and was effected by institutional segregation, such identities were discursively produced and sustained by being constantly flagged through a range of institutional structures in order to produce ‘willing subjects’ (Foucault 1977). The media has increasingly played a central role in flagging such identities as well as those that contest them, notably a civil identity.

This article examines how ethnic identity continues to be discursively deployed in opposition to democratic governance by focusing on one incident, namely the choice of the Swazi monarch‘s twelfth bride at the annual Reed Dance and its contestation by the bride's mother. The Times of Swaziland covered this dispute and provides an interesting case study. The analysis identifies how the contestations between customary and human rights discourses in this one African location are variously deployed and negotiated by the social actors in this instance, and it teases out the contradictions and tensions between them.     

THE PROOF IS IN THE PUDDING: (RE)CONSIDERING THE EXCELLENCE OF ACTIVISM IN THE SOUTH AFRICAN MINING INDUSTRY

ABSTRACT

One of the greatest changes organisations in South Africa experienced through the country's democratisation is the introduction of ‘legitimate’ activism in organisational settings. Organisational communication literature – specifically as manifest in the excellence theory – compounded this through views on the potentially positive impact activism could have on organisations by ‘pushing’ them beyond equilibrium to a state of dynamic equilibrium – mediated through strategic and effectual communication. This view, however, is somewhat fouled by occurrences such as those at Marikana, and concomitant strikes in the country's platinum industry, which have held the economy ‘captive’ in various ways. Organisations – especially the mining industry – need to ask ‘How much activism is too much activism?’ and organisational communication practitioners need to introspectively consider whether this theoretical contribution should not perhaps have come with greater guidance in terms of the chary (if not restrained) implementation of this potentially positive, yet almost insidiously dangerous, communicative feature. this article aims to explore activism in the mining industry of South Africa, specifically from the vantage points of industry heads, as it concerns the changed communicative landscape in this industry post-marikana. to this end, the article will report on seven qualitative, semi- structured interviews – along with existing literature on the topic – as it offers up six considerations in applying the aspect of excellence and ‘positive activism’ within organisations in South Africa's mining industry.     

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?     

China’s Public Diplomacy Rhetoric, 1990–2012: Pragmatic Image-Crafting

During Hu Jintao’s period of leadership, careful public diplomacy language was deployed by the People’s Republic of China from 2000–2012 to describe the international system and China’s role within it. The terms looked at in this analysis are those introduced in the 2000s to recalibrate the ‘multi-polarity’ [shijie duojihua] emphasis of the 1990s. These terms have been deployed within a general ‘reassurance diplomacy’ that emphasised concepts like ‘responsible Great Power’ [fuzeren da guo], ‘multi-lateralism’ [duobian zhuyi], ‘good neighbourhood policy’ [mulin zhengce], ‘democratisation of international relations’ [guoji guanxi mingzhuhua], ‘peaceful rise’ [heping jueqi], ‘peaceful development’ [heping fazhan] and ‘harmonious world’ [hexie shijie]. Ambiguities, implications, impact, and tensions surrounding these terms are considered, and China’s deliberate adjustments pinpointed. China’s soft power intentions emerge from its instrumentalist use of diplomatic rhetoric, though a credibility gap also emerged between actions and words by 2012.     

Turkey’s ambivalent self: ontological insecurity in ‘Kemalism’ versus ‘Erdoğanism’

Abstract

This article aims to understand the ‘non-Western self’ and the different ways its ontological insecurity can manifest, through the example of Turkey, by contrasting Kemalism’s modernizing vision with Erdo?an’s current populism. We argue that the constructions of political narratives in Turkey (and by implication in other similar settings) derive from two interrelated aspects of the spatio-temporal hierarchies of (colonial) modernity: structural insecurity and temporal insecurity. Modern Turkey’s ontological insecurity was constructed spatially, on the one hand, as liminality and structural in-betweenness, and temporally, on the other, as lagging behind the modernization of the West. After discussing how Kemalism offered to deal with such insecurities in the twentieth century, we analyse the Justice and Development Party (AKP) period of the twenty-first century as an alternative attempted answer to these problems and explain why efforts to dismantle the Kemalist framework collapsed into its populist mirror image. The example of the Turkish case underlines the importance of focusing on the different ways in which the structural and temporal insecurities of ‘the non-Western self’ take shape at a given point and manner of entry into the modern international order.     

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.     

The normative threat of subtle subversion: the return of ‘Eastern Europe’ as an ontological insecurity trope

Abstract

A combination of undemocratic developments in Hungary and Poland as well as Eastern Europe’s reluctance to engage in solidary burden-sharing at the height of the refugee crisis in Europe has brought back familiar allusions of Eastern Europeans as troublemakers for European unity and peace. This article offers a discursive dissection of ‘Eastern Europe’ as a subtly subversive challenge to Europe’s security of ‘self’, entailing a fear of being overrun by an ‘other’ perceived as endangering one’s normative and cultural order. Proceeding from Ingrid Creppell’s (2011 Creppell, Ingrid (2011) ‘The concept of normative threat’, International Theory, 3:3, 450–487[Crossref], [Web of Science ®] , [Google Scholar]) notion of normative threat, this article argues that the reappearance of ‘Eastern Europe’ as an ontological insecurity trope is indicative of deeper anxieties within Europe, some of which are systemic (such as doubts about the efficacy of integration and the legitimacy of the European Union) and some of which are contingent (such as concerns about defending the European political order from populist upsurges amidst ‘resurgent nationalism’).