ETD Collection

Permanent URI for this collectionhttps://wiredspace.wits.ac.za/handle/10539/104


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Has files: YesSubject: search.filters.subject.South African film

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    Exploring social identity in South African Indian cinema through filmmaking
    (2023)
    In the following research report to accompany my creative output, I explore the construction of social and cultural identity through South African cinema with particular reference to the Indian community. Through my research I focus on how issues of social and cultural identity in South Africa are addressed by Indian filmmakers. Understanding the contextual space of cinema in South Africa is important to assess the context and issues filmmakers address in their films, by defining how they are applicable to the construction of cultural identity and the perpetuation of certain clichés. The themes investigated in relation to the construction of cultural identity will be based on race, class, and socio-economic inequalities. I will look at the issues explored in their films using these discoveries to inform my own filmmaking practice. In so doing, I explore certain themes within the films by the filmmakers under investigation, and apply the discussed analysis to my own short film. I apply the theoretical underpinning and analysis to my own practice in order to reach a conclusion concerning how the construction of social identity is addressed within South African film.
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    In the car with Oliver Schmitz's Hijack stories (2000): The journey of a South African film in translation
    (2008-03-12T13:56:04Z) Jacobsohn, Bianca
    ABSTRACT: This research report follows the journey of the South African film Hijack Stories (2000) in translation, looking at the various processes – state, institutional and individual - which led to the film’s existence. The context of the South African film industry (institution) during the country’s (state) apartheid past and democratic present have influenced those involved (the individuals) in the film-making process as well as their subjectivities. It is revealed that Hijack Stories (2000) is a film targeted at foreign audiences and that these audiences ascribe value to South African content. This value is acquired on the basis of the historical and social circumstances of South Africa, which has long sustained the interest of the outside world. Hijack Stories (2000) emerges as a cultural commodity, packaged and marketed according to the imaginings that the world has of South Africa. Translation then takes place at the junction of these processes and their related social, financial, political and historical factors, thereby facilitating the international circulation of Hijack Stories (2000) within the greater context of globalisation.