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.     

South African soap opera as the other: The deconstruction of hegemonic gender identities in four South African soap operas

Abstract

This article examines the potential role of soap opera narratives in the construction (or deconstruction) of identities within the South African context. The narratives of four South African soap operas (Egoli – place of gold, Isidingo – the need, Generations and 7de Laan) are analysed. Although identities of race and class are also relevant in soap opera narrative, this article focuses on gender identities. It is argued that soap opera may be constituted as other, and that it might therefore be a possible site for the deconstruction of hegemonic identities. Brief reference is made to Edward Said and the origin of the term ‘Orientalism’. This is linked firstly to the concept of the other, and more precisely the concept of ‘women as other’ as theorised initially by Simone de Beauvoir, but more specific to this article, Luce Irigaray. The second section argues that soap opera may be gendered as feminine and female and consequently marked as other for various reasons. The final section accepts the hypothesis of soap opera as feminine and female, and thus other, and attempts to analyse the relevant soap operas in terms of the negotiating or deconstructing of gender identities and the consequent social relevance of these texts.     

The Filmmaker's Triage: The Doctor Figure and Images of Trauma

ABSTRACT

While writing a fictionalised feature film screenplay set around the character of a South African doctor during his year of compulsory community service in a rural hospital, I began researching how this figure has been represented in other narrative films, particularly those stories told in an African setting. A number of films and television dramas, some made by African filmmakers and others by filmmakers from outside of Africa, have been produced around the medical encounter. My interest lies not in assessing the health messaging found in these films and programs, which is better left to the health educationalists and medical sociologists, but in examining the fictional doctor figure as the main protagonist in these films. While the sociocultural and political dimensions of medicine, health and illness are relevant, I refer to them only in passing while exploring the fictional imagery of the doctor figure within the imagined filmed-Africa as it appears in the films The Last Face, Beyond Borders and Le grand blanc de Lambaréné.     

The remythologisation of white collective identities in post-apartheid South African film by myth and counter myth

Abstract

Since 1994 a collection of films, referred to here as post-apartheid South African history film, has thematically represented South Africa's apartheid history, and in so doing has engaged with the representation of the white figure in ways which suggest a reformulation of collective South African white identity construction. Part of this process is the phenomenon of the remythologisation, or the counter myth construction, of whiteness as an identity on film. Such mythic representations frequently describe the white figure as connected to aspects of guilt (whether individual or collective), remorse and forgiveness. Often the mythic construction of whiteness on film is delivered in a seemingly oversimplified binary fashion, reducing the representation of white identity in the post-apartheid South African situation to one that is robbed of complexities and nuances.     

(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.     

South African cinema after apartheid: A political-economic exploration

Abstract

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.     

Media,citizenship and the politics of belonging in contemporary South Africa

Abstract

Drawing on a wide range of theoretical and empirical studies, the articles in this special issue examine issues of citizenship and belonging in South Africa. Questions of belonging and citizenship are neither novel, nor particular to South Africa – they have been high on the intellectual (and popular) agenda internationally since at least the early 1990s. Yet South Africa's history of artificially separating and defining its citizens in the racial regimes of colonialism and apartheid still reverberates today, as is reflected in the continued inequalities marring South African society. Post-apartheid governance of redress still requires the use of apartheid categories of ‘race’, but the terms under which we understand what it means to be South African are much wider, and require continued critical reflection. Using South Africa (and not the global North, as is so often the case) as the focal point for rethinking notions of citizenship and belonging, may urge us to rethink these notions and their meanings within fledgling democracies and societies in transition.     

The new Independent Communications Authority of South Africa: its challenges and implications for telecommunications liberalisation in the country

ABSTRACT

Communication and information, thus telecommunications, are vital tools in today's economy. These tools are also the backbone of tomorrow's economy hence they need to be regulated properly by an independent regulator. This is true and necessary not only in South Africa, but globally as well. Liberalisation of the telecommunications industry is a policy direction of most countries worldwide. However, the process of changing from a highly regulated, or unregulated, to a liberalised one is not proving to be easy. This paper examines how the Independent Communications Authority of South Africa (ICASA) will impact on the regulation of South Africa's telecommunications industries in the era of liberalisation and convergence.

The Independent Communications Authority of South Africa Act No 13 of 2000, merges the Independent Broadcasting Authority (IBA) and the South African Telecommunications Regulatory Authority (SATRA), and is intended to regulate the multibillion-rand communications industry. The Proclamation by the South African President Thabo Mbeki of the Independent Communications Authority of South Africa Act came into effect on May 11, 2000. A brief history of telecommunications liberalisation in South Africa is explored, and the paper also evaluates how ICASA should regulate for the promotion of growth and competition in the industry. The paper concludes that many challenges face ICASA, most importantly the fact that councillors of this new authority need to provide a balanced and stable communications regulatory environment for the South African broadcasting and telecommunications industries, in the wake of the recent problems that beset both the IBA and SATRA.     

Multiculturalism in South African soap operas

Abstract

This article explores the multicultural dimensions within the texts of three South African soap operas (soaps). It uses text analysis and interviews as a methodology to expose the intricate web of influences that are all part of the fabric of a South African soap.

The text and discursive analysis are based on Systemic Functional Linguistics Theory of Halliday. The analysis of the texts proceeds from a pre-interpretation stage, through an analysis stage and into a revisit or re-interpretative stage. The creators of the texts as well as commercial bias are seen as politico-economic and cultural influences which may have direct bearing on the texts and are therefore interrogated. The findings confirm no multicultural model for South African soaps and show correlation between commercial interests and homogenised South African stereotypes.     

Mediation Practice in the South African Construction Industry: The Influence of Culture, the Legislative Environment, and the Professional Institutions

We studied mediation practice in the South African construction industry by surveying sixty-three mediators. We found that mediators are more intent on resolving disputes for the parties than on assisting the parties to find their own settlements. In addition, we found that greater emphasis by parties to the dispute is placed on technical expertise, authority, and a clear understanding of the matter in dispute than on moving the parties toward an in-depth understanding of each other's perspectives. We conclude that mediation practice in the South African construction industry is not consistent with generally accepted principles of mediation. We also argue that the fragmented and potentially adversarial traditional procurement system predominantly used in South Africa, together with the inadequate institutional response in promoting mediation as a preferred dispute resolution method, is encouraging mediation to develop in this way. This is cause for concern, not only because this practice represents a departure from the underlying philosophy of mediation — dialogue aimed at amicable and long-lasting solutions that are in everyone's best interests — but because it is incompatible with the Southern African worldview concept of ubuntu .     

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.     

Reactions to globalisation by the television industry in post-apartheid South Africa

ABSTRACT

This article discusses the different ways in which the South African television industry has reacted to globalisation forces during the post-apartheid era that started in the early 1990s. Of particular interest is how the local television industry initially planned political and economic reforms aimed at bringing the industry more in line with global trends, but then later reacted mainly to protect the local television production industry against foreign competition and to protect local viewers against perceived cultural imperialism impacts of foreign programs. These protective actions were however not as successful as was intended with regard to promoting local television content production. The paper discusses the underlying dynamics of the globalisation and the various localisation processes that occurred (varying chronologically from primary, to secondary, to tertiary localisation), as well as the ways in which television industries in other parts of the world have reacted to similar global forces. It is contended that the local South African television production industry stands to benefit most in future if broadcasting policy makers respond more pro-actively to opportunities offered by global technological forces operating upon the industry. This is in agreement with the thrust of the latest broadcasting policy process of the Department of Communication. It is concluded that a recent joint initiative by the country's two major broadcasters in which an increased number of both locally produced and other “African” programs are being broadcast via satellite to prospective geo-cultural markets in the rest of Africa, holds promise for the future viability of the South African television industry.     

Suid-Afrikaanse "alternatiewe" rolprente en die Suid-Afrikaanse sosio-politieke werklikheid. 'n Historiese,teoretiese en analitiese verkenning (Deel 1)

SUMMARY

The "alternative" film originated in South Africa because people or groups outside the apartheid establishment were unable to communicate through existing mass media structures, and their own communication channel had to be established.

The key question addressed in this article is whether the "alternative" South African film actually succeeds in making a contribution, on an intercultural level of communication, to the socio-political reality of South African society, and to what extent the film as communication medium succeeds in establishing positive intercultural communication? A study of four films is undertaken, according to Pieter J. Fourie's theoretical model (1983), whereby the content and shaping aspects of film images are examined from a contextual as well as an analytical point of view.

The value of the "alternative" film lies in the fact that the South African reality is seen from the perspective of the "black" or "coloured" person. For many years "whites", on account of their ethnocentric attitude and the absolutization of their values and norms, were never really aware of other race groups' values and norms, and were not interested in how these people experienced reality. In this regard the "alternative" film has a dual function significant to intercultural communication: on the one hand it offers self-expression – an important principle and starting point for intercultural communication – to people outside the apartheid establishment, and on the other hand, it gives whites within this establishment the opportunity to become acquainted with the worlds of other cultural and ideological groups.

If the South African film wants to present a model for reality, it will have to take into account the complexity of multicultural diversity without absolutizing certain people's cultural values and ideological perspectives. Communication should rather take the form of "dialogue".     

Yesterday,AIDS and structural violence in South Africa

ABSTRACT

This article is based on a reading of the South African film Yesterday, which deals with the topic of ? AIDS. In the discourse analysis of the film text, the role of signs – verbal, visual and aural – in constructing meaning is examined, as well as the effect of different filming techniques. The film is then related to the broader South African socio-political context. The writer considers how representative Yesterday is of the AIDS situation in South Africa, a question which necessitates going beyond the film text and considering actual events in South Africa, past and present, as well as referring to other relevant examples of AIDS-related discourse.     

Racial animosity and political party partisanship in South Africa: the case of the African National Congress and the Black African majority

As it is in many countries, racial rhetoric is a feature of South African national government elections. The use of such rhetoric provokes the question, how much is political party support in the country driven by interracial animosities? Using the nationally representative public opinion dataset, the South African Social Attitudes Survey, this article looks at party closeness to the African National Congress (ANC) amongst the black African population. The ANC is one of the oldest and most powerful political parties on the African continent and currently dominates South Africa’s parliamentary government. Constructing four indexes of racial attitudes and behaviours, the article investigates whether partisanship with the ruling party can be predicted by racial animosity. The period under investigation is 2010–2014. Bivariate and multivariate quantitative techniques are employed to test the relationship between ANC partisanship and racial animosity. The results of this investigation show that racial enmity in the country is troublingly widespread. Public opinion analysis, however, found no correlation between racial acrimony and ANC partisanship. Other factors are driving black African identification with the country’s ruling party. The implications of these results for the study for political party support in South Africa are discussed and future avenues of research presented.     

Opposition Parties and the Voters in South Africa's General Election of 1999

Variance in partisan choice among South African voters can be predicted on the basis of what is known about the way voters see economic trends, evaluate government performance, perceive political parties, and rate party leaders. However, in this analysis it is demonstrated that factors related to racial divisions shape and filter how voters perceive political performance, and to some extent lead different voters to emphasize different performance criteria. But race does not affect the way voters make decisions. Thus, South Africa's opposition parties are weak not because black voters, the overwhelming majority of the electorate, operate with a decision-making apparatus that emphasizes unity over performance or is hostile to pluralism and opposition. Rather, support for the African National Congress can be accounted for first, by positive ratings of its performance in government and second, by the fact that those black voters dissatisfied with the performance of the African National Congress (ANC) do not see a legitimate alternative among the existing opposition parties.     

Current film policy in South Africa: the establishment of the National Film and Video Foundation of South Africa and its role in the development of a post-apartheid film industry

Abstract

The author aims to discuss the historical process which led to the establishment of the National Film and Video Foundation (NFVF), its strategies and vision for a post-apartheid film and video industry, and its potential role in policy formulation beyond the borders of South Africa. It is not an attempt to provide an insider's critique and/or analysis of current film policy, but aims to highlight the role of the NFVF in the policy-making process.     

Confessions of a South African ambassador

Prepared originally for presentation at a biennial conference of the Australian Historical Association, this article is a retrospective on the author's term (1988-92) as South African Ambassador to Australia in the twilight of white rule. Apartheid South Africa was firmly fixed in Australian public demonology. The author conceived of it as his role to use the media to project a more realistic image of his country than the demonic stereotype then prevailing. While achieving some success, he found himself the target of ambitious colleagues at home. Thus, besides examining what an individual diplomat did in given historical circumstances, the article touches on the nature of the former South African Department of Foreign Affairs.     

Confessions of a South African ambassador

Prepared originally for presentation at a biennial conference of the Australian Historical Association, this article is a retrospective on the author's term (1988–92) as South African Ambassador to Australia in the twilight of white rule. Apartheid South Africa was firmly fixed in Australian public demonology. The author conceived of it as his role to use the media to project a more realistic image of his country than the demonic stereotype then prevailing. While achieving some success, he found himself the target of ambitious colleagues at home. Thus, besides examining what an individual diplomat did in given historical circumstances, the article touches on the nature of the former South African Department of Foreign Affairs.     

Towards linking normative theory,communication policy and audiences in South African communication research

Abstract

In this article the need to revisit South African normative media theory and communication policy against the background of fundamental audience research is emphasised. This is done in view of the postmodemist argument that ‘classic’ normative media theory is no longer suitable as a yardstick for the measurement of media performance, quality and ethics in postmodern societies, in a changing media landscape. Bearing in mind that South Africa cannot be fully characterised as a postmodernist and advanced capitalist society, but based on the nature of its First World media system functioning in a multi-cultural, multi-racial, multi-ethnic and multi-linguistic society, the tendency to see ubuntuism as a point of departure for such revision is questioned. This is done in favour of an approach in which difference and diversity are acknowledged, including the different roles the media can play and the different forms in which it can (and do) contribute to social responsibility. As far as policy research is concerned, it is emphasised that such research should be based on normative theory about the role of the media in South African society. If not, South African communication policy will continue to be fragmented and responsive to mainly technological developments and opportunities, instead of being based on communicative goals and needs. This article concludes by emphasising that both normative theory and policy should be based on fundamental audience research, which is argued to be neglected in South African communication research.