The book lays bare the public critical engagements around old renegade films and new ones. He concludes with a discussion of independent filmmaking, the obstacles facing South Africans who want to make films with artistic and political integrity, and the possibilities of progress in the future. Going behind the scenes the author looks at the financial infrastructure, the marketing strategies, and the works habits of the film industry. Development and Public Health Communication. Illustrated throughout with excellent visual examples, this cinema history will be of value to film scholars and historians, as well as to practitioners in South Africa today.
In doing so, the book enriches and is enriched by established methodologies of film study, by expanding the cultural and conceptual boundaries of film as a phenomenon of textual circulation. Critical Arts, 26 3 : 237-253. Author: Keyan Tomaselli Publisher: Hoboken : Taylor and Francis, 2013. Metaphysics of the Text and Cultural Economy in the Information Age, Critical Arts, 24 1 :51-74. It dissects their subtleties in the public lives of forgotten films from South Africa that are oriented to black social experience—Come Back, Africa 1959 , uDeliwe 1975 , Mapantsula 1988 , alongside a new one, Fools 1998 , and a television comparator Yizo Yizo 1999-2001 —excavating from the record iconic and newer black-centered films and television. Critical Arts, 26 3 : 328-352. International Journal of Cultural Studies, 15 6 : 567-582.
Reprint in book form of Cultural Studies Theme Issue, edited by Wright and Tomaselli, 2008, 22 2 , 173-186. It explores tensions between English-language and Afrikaans-language films, and between films made for blacks and films made for whites. Keyan Tomaselli is an urban geographer turned media and film producer, scholar, and in latter years his interests have taken him into critical indigenous qualitative and some quantitative research methodology. It explores tensions between English-language and Afrikaans-language films, and between films made for blacks and films made for whites. African Cultural Studies and Difference.
South—North perspectives: the development of cultural and media studies in Southern Africa. International Journal of Cultural Studies, pp. Black films, film critics, and various movements in South. He also explores two interrelated issues that have recurred throughout the history of cinema: the economic and cultural hegemony of Hollywood on the one hand, and, on the other, the attempts of film-makers elsewhere to establish indigenous national cinemas drawing on their own cultures and societies. It describes the films and comments on their relationship to South African realities, addressing all aspects of the industry, focusing on domestic production, but also discussing international film companies who use South Africa as a location. Film and Trauma: Africa speaks to Itself through Truth and Reconciliation Films.
Critical Approaches to African Cinema Discourse will offer scholars and students in film, media, and cultural studies, as well as in history, and Black and African studies, a broader understanding of African cinema as a cultural art. Chapman examines the rise to dominance of Hollywood cinema in the silent and early sound periods. Going behind the scenes the author looks at the financial infrastructure, the marketing strategies, and the works habits of the film industry. Cinema of Apartheid : Race and Class in South African Film. He is a Fellow of the University of KwaZulu-Natal, and was a Smithsonian Research Associate in its Department of Anthropology.
. Social Polarization; Notes; Bibliography; South African Feature Films a Chronology: 1910-1985; Selected Documentary Films; Index. Journal of African Cinemas, 5 2 : 237-252. Abstract: This study analyses the historical development of South African cinema up to he book's original publication in 1988. The contributors show that it is informed not only by ideological determinants but also by the concern to boost perspectives for reading African film images that may or may not belong to the conventional interpretations proffered in Euro-American critical paradigms. Media, Culture and Society, 35 1 : 36-43.
This study analyses the historical development of South African cinema up to he book's original publication in 1988. Afri ethics, Communitarianism and Libertarianism, The International Communication Gazette, 71 7 : 577-594. Consuming Nature: Antarctica, penguins and pollution. Theory Meets Theatre Practice: Making a Difference to Public Health Programmes in Southern Africa. Cultural Tourism and Identity: Rethinking Indigeneity. Through analysis of public reflections on the films' representations of black identity, the book shows the complex nature of films in modern public life.
Going behind the scenes the author looks at the financial infrastructure, the marketing stra. Curriculum Inquiry, 42 1 : 80-102. Submitted to the Journal of Child Development. Media in Africa: Political, cultural and theoretical trajectories in the global environment, International Communication Gazette, 71 6 : 473-489. He discusses the characteristic themes of American movies from the Depression to the end of the Cold War especially those found in the western and film noir — genres that are often used as vehicles for exploring issues central to us society and politics.
The cinema of apartheid: race and class in South African film User Review - Not Available - Book Verdict Written from a strong leftist and anti-apartheid viewpoint, this work is interesting, although choppily organized and too limited in scope. This study spans the twentieth century and beyond through detailed analyses of selected films, beginning with De Voortrekkers 1916 through to Mapantsula 1988 and films produced post apartheid, including Drum 2004 , Tsotsi 2005 and Zulu Love Letter 2004. It describes the films and comments on their relationship to South African realities, addressing all aspects of the industry, focusing on domestic production, but also discussing international film companies who use South Africa as a location. Contents: Cover; The Cinema of Apartheid; Title Page; Copyright Page; Original Title Page; Original Copyright Page; Acknowledgements; Table of Contents; Introduction; 1. Going behind the scenes the author looks at the financial infrastructure, the marketing stra.
Critical Arts 26 1 : 14-38. His interests are political economy, African cinema and visual anthropology. Against a detailed history of the medium's savage introduction and exploitation by colonial powers in two very different African contexts, Dovey examines the complex ways in which African filmmakers are preserving, mediating, and critiquing their own cultures while seeking a united vision of the future. Third Screens, Third Cinema, Third Worlds and Triadomania: Examining Cellphilm Aesthetics in Visual Culture, Communitas 15: 97-111. Alter-Egos: Cultural and Media Studies.