| Abstract: | 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. |
