Electronic Theses and Dissertations (Masters)
Permanent URI for this collectionhttps://hdl.handle.net/10539/37948
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Item Where Did Things Go Wrong? An Investigation of the Adoption of the Creative Industry and Creative Economy Concepts in the Malawi National Cultural Policy(University of the Witwatersrand, Johannesburg, 2023-07) Phiri, Yotam Alston Maweya; Joffe, AvrilThe enactment in 2015 of Malawi’s National Cultural Policy was heralded as providing the formalised guidelines that would bring together stakeholders in the arts and culture sector towards the attainment of a common set of goals and a unified vision. However, in the eight (8) years that have followed there is a perception amongst non-state actors that the National Cultural Policy contains a vision and goals that do not meet the realities on the ground, nor the needs of its intended beneficiaries. This research challenges the assumption that the failure of the National Cultural Policy is the result of the failure to reconcile the transition of Malawi’s arts and culture from the margins during the Single-Party era to its alignment more centrally in national development agendas in Democratic Malawi. The central argument of this study is that the failed attempt of the government to mimic the application of the creative industry and creative economy concepts utilised with much success in the Global North, in Malawi’s arts and culture sector is at the heart of the National Cultural Policy’s failure. This research study investigates the failure to mimic these Global North concepts without recontextualizing them to the Malawian arts and culture landscape in the early stages of the policy’s development as being the root cause for its subsequent failure. The study utilises a qualitative methodology in order to analyse the various disconnects within the National Cultural Policy and the impacts these have on the policy’s implementation.Item The Intersection of Systemic Racism and Technology and the Consequences for Video Games(University of the Witwatersrand, Johannesburg, 2023-08) Flusk, Timothy; Reid, KieranThe paper documents and reviews the process by which consequences of systemic racism is found in video games through the medium of technology. The principal idea of technology is used broadly to accommodate all media produced by society as tools for wielding and enforcing capitalist ideology. This is used as a means of revealing and mapping the cultural epistemic domain that dominates the West and its former colonies. The principal methodology is drawn from D. Fox Harrel’s Phantasmal Media: An Approach to Imagination, Computation and Expression. The process focuses on using the idea of the phantasmal generation within media, by individuals within systems. As such the process of these phantasm expressing or revealing themselves in various media is tracked and studied from both sides of the process: where they come from and how they are expressed. The principal approach situates the discussion of developing video games within the West, specifically the United States of America. The case studies used to illustrate and apply the methodology include Grand Theft Auto: San Andreas, The Elder Scrolls V: Skyrim and NBA2K17. These are placed in context along side their appropriate phantasmal sibling and representation. Grand Theft Auto: San Andreas is interrogated through the lens of capitalism and the representation of Black criminals in media. The Elder Scrolls V: Skyrim is placed in context of fantasy genre and colonialism. NBA2k17 is placed in context of traditional racist perspectives of Black, athleticism and sport. All case studies utilise the principal twin approach of separating phantasms into hegemonic teleological expectation and ontological racist assertions. This allows the encapsulation of ludic systems as well narrative and character representation within the games.Item A Happier Life Through Sad Mode - Designing Automated Players for Single Player Games(University of the Witwatersrand, Johannesburg, 2023-06) Chola, Saili; Reid, Kieran; Du Preez, KirstenSolo games are a keystone of tabletop board gaming for players and designers alike. While they are numerous and enjoyed by many members of the community, there is a noticeable lack of clarity and exploration of what principles make these games uniquely interactive and enjoyable experiences for players. This project responds to this inadequacy through the development of a playable game and a research report. The game demonstrates and tests the virtues of solo game play mechanics while the report expands and discusses the interpretable results and qualities of said solo game mechanics.Item The Influence of Fandom on the Creative Producers(University of the Witwatersrand, Johannesburg, 2023-07) Moodley, Seyurie; Whitcher, RaymondWhat’s mine is yours and what’s yours is mine, this is the world of fandom. Looking at the ways in which fandoms have had an influence on storytelling; do stories really belong to the original content producer once they have developed a big enough fandom or, are they trying to fulfil the needs of the consumers? Once a fandom has become large enough there is a possibility of malcontent within audience members that can eventually lead to the rise of toxic fandom. The aim of this research is to look at the ways in which creators have tailored and filtered their own original ideas to please audiences, specifically toxic fans and how they have potentially compromised authenticity so that they could franchise a certain story and its respective universe. This paper will investigate the following televisual/ filmic icons of popular culture: Harry Potter (2001-2011), Game of Thrones (2011-2019) and finally Rick and Morty (2013-present). They will be analysed to determine the ways in which fandoms possibly become toxic and lose the ownership of the creative producers/authors/show runners/directors. By analysing these three case studies and their respective fandoms the research will attempt to verify whether a story still belongs to the creative producers or whether they have been appropriated by fans, by forcibly adapting the core story to fit the consumers’ needs. All three fandoms will be looked at by taking different approaches, as they could be said to have very different fanbases and therefore it will give this research a better understanding as to how these fandoms work and the ways in which they adapt a story to make it popular or in turn change the story to create shock value. This research will approach a six-phase framework of fan appropriation which will attempt to prove the thesis statement. These phases were created in order to look at and therefore demonstrate how once a story has a big enough fandom, they no longer belong to the original producer but are rather made in the form of participatory culture, as theorised by Henry Jenkins.Item Techno-Orientalism in Science Fiction: A Resistant Reading of Ex Machina(University of the Witwatersrand, Johannesburg, 2023-02) Schoeman, Samantha; Duncan, CatherineTechno-Orientalism is a prominent issue in science fiction media. It perpetuates and propagates negative stereotypes about Asians across a broad audience, tangibly affecting and shaping society’s perceptions. This research focuses on challenging and resisting the dominant portrayal of Asians in Alex Garland’s Ex Machina (2015). I interrogate Ex Machina in a way that centres the female Asian character, Kyoko, using methods of resistant readings and implementing the ‘oppositional gaze’ strategy put forth by bell hooks. My analysis shows how the cinematic apparatus of the film constructs the problematic techno-Orientalist stereotypes, and how viewers can use an oppositional gaze, cyborg theory, and feminist film theory in a resistant reading. In reading the film against the grain, I found that the spectatorial experience changes, allowing for the emergence of different pleasures and compensations not offered through traditional looking relations between film and viewer. I argue that these strategies empower the marginalised characters, affording spectators of the film to glean different and more defiant impressions without detaching from the film’s canon. I further suggest that resistant readings and employment of the oppositional gaze offer an opportunity for more diverse voices and opinions to document and share their critiques and experiences with problematic media representation. This opens the door for further discourse challenging harmful, stereotypical characterisations, thereby growing the field of film studies.Item Lil_ith- A love story for South Africa’s queer, misfit youth(University of the Witwatersrand, Johannesburg, 2023-03) de Jager, Robin Claude; Wessels, ChristopherThis project takes the form of an explorative filmic investigation into and reflection on the archetype of the queer misfit in South African cinema. The film and research take the standpoint of the South African misfit archetype being a post-queer-theory subject in relation to the country’s historical, socio-economic, sexual, traditional and technological landscape. I will compare the appearance of the queer misfit through the arrival of the neon and caustic characters of the New Queer Cinema movement of the 1990s to South Africa’s contemporary emergence of this archetype, positioning Queer Theory and the New Queer Cinema movement of the early as the primary emergence of a ‘true’ queer voice. I will engage with the influence of socio-economic, political and technological stimuli as well as the emergence of post-Queer Theory in the West and South Africa and its contribution to the evolution of the queer and misfit in post-colonial South African cinema. Through a practice-led, autoethnographic approach I combined these findings with core theoretical frameworks on post-modern sexuality by Queen and Schimel to inform and fuel the development of the film Lil_ith. The film stands as a creative execution expanding on the South African Misfit archetype in relation to the global history of Queer Misfit representation as well as its relationship with South Africa as a nation in the process of de-lonialisation within a digitised and globalised world.Item Entangled Intimacies: An Experimental Curatorial Project of Transdisciplinary Becoming-With(University of the Witwatersrand, Johannesburg, 2023-08) Thomas, Rory Lee Stewart; Twalo, SinethembaEmploying strategic modes of textual and curatorial “opacity” (Glissant 1997: 189), this project endeavours to consider how arts-based research methodologies may be uniquely positioned to explore the chaotic embodied implications of the so-called Anthropocene. This work of arts-based knowledge production and explorative enquiry is centred around an exhibition I have curated entitled Entangled Intimacies: art, more-than-human embodiment, and the climate catastrophe, which constitutes this project’s practical component. The exhibition is being held from 10 February to 6 May 2023 at the Goethe-Institut Johannesburg gallery and features newly commissioned artworks by local practitioners Tzung-Hui Lauren Lee, Io Makandal, and Natalie Paneng. This research report considers the ongoing process of curating this exhibition via a varied textual pathway that follows through a number of different considerations and references. These include an assessment of individual and collective grief, the potential of utilising curatorial opacity as a means of relating to the chaos of ecological degradation, and a discussion of a selection of previous curatorial projects from the last two decades which have engaged this reality through contemporary art. These projects include DON’T/PANIC (2011), Sex Ecologies (2021-2022), and the ongoing work of Johannesburg based not-for-profit arts organisation POOL (founded in 2015). The diverse, and at times perhaps disorientating, form of this research report is a curatorial and written reflection on the chaotic implications of more-than-human embodiment in the Anthropocene. This is conceived as an actualisation of curator Stefanie Hessler’s (2020: 249) assertion that “[t]he uneven, uncontainable climate crisis obligates curators to rethink ways of working. Exhibition making in times of ecological disaster … needs to differ from previous curatorial modes.” This project works to remain aware of the city of Johannesburg as its site of emergence while also engaging with the globally interconnected reality of the Anthropocene. It thus offers a propositional, mutable, and exploratory gesture towards what contemporary curatorial practice within this uncertain time and place marked by ecological violence may entail.Item Stumbling on Hybridity’s Playground: Exploring Design-Centric Thinking, Media Boundaries and Limitation in A Hybrid Text Space.(University of the Witwatersrand, Johannesburg, 2023-07) Goldberg, Peta Nicole; Reid, KieranThis research posits an experimental thesis statement; “creative hybridity is a boundary-making event”. The dissertation takes place through an active narrative of experimentation playing with the ideas of how creativity engenders itself through hybridity and identity of medium. Using a design-centric outlook as well as a practice rooted, and at times spatio-visual thinking, the research posits that creative production (that is hybrid) bounds itself to patterns and structure to be recognized. The dissertation uses the case study ‘S.’ by J.J. Abrams and Doug Dorst (2013), a multimodal literature case study to explore hybridity, more specifically design production, through the lens of the thesis statement.Item Bridging the Digital Divide: Afrocentric Approaches in the 2021 My Body My Space Online Arts Festival for Rural Emakhazeni, Mpumalanga(University of the Witwatersrand, Johannesburg, 2023-08) Khathi, Nomfundo Linami; Ntombela, NontobekoThe attempt at online arts festival for a rural community seems to be executed in ways that do not consider issues of digital dissemination in historically marginalised spaces. Those organising events requiring internet access in rural communities overlook that rural areas are not very ‘well’ developed. The study does not reject online arts festivals for historically marginalised areas but suggests that the approach taken should take into account rural issues related to resources. The hindrances with online access for rural communities have not been adequately addressed. The theory of Afrocentrism emphasises that Africans need to make Africa the centre of their own problems and solutions, by advocating that Africans need to locate themselves historically and culturally. They need to acknowledge their context and situation so that they can provide solutions aligned with their problems. The study notices a paradigm shift in South Africa, as the MBMS festival is now being held in the rural Emakhazeni community, moving away from the ‘traditionally known’ urban festival locations. This shift includes moving from an in-person MBMS festival to an online format in 2021, which has been affected by data and internet coverage issues in rural Emakhazeni. While the festival is accessible online by anyone, its original intention was to serve the Emakhazeni rural community. Through a predominantly qualitative research approach, primary and secondary data were examined, exploring the 2021 MBMS online arts festival hosted on WhatsApp for rural Emakhazeni. The stakeholders in this study include the organisers of the MBMS festival, the Department of Arts and Culture, the Emakhazeni community members, and the performers of the festival. I engage d with multiple sources, to explore how these paradigm shifts could be envisioned or executed differently with an Afrocentric perspective. Although the MBMS online festival is curated in a way that appears to respond to the modern discourses on accessibility and audience development, it simultaneously forgets that rural areas are not very well developed in many parts of South Africa. Through an exploration of the 2021MBMS festival, I unpack the way it established online accessibility and address the implications of this for the rural Emakhazeni. This research contributes to the investigation of what was silenced during the colonial and apartheid eras in South Africa, when many individuals were marginalised and denied access. Both practical steps and policy-oriented approaches are suggested by the study.Item Seeing Beneath and Beyond the Red: Exploring the layers and folds in the Atlas I and Atlas II paintings of Penny Siopis through an understanding of affect theory and a pondering of the affective aesthetic experience(University of the Witwatersrand, Johannesburg, 2023-08) Marakalala, Mamelodi Dolly; Valley, GreerEmotion has always held a significant role in the creation and then the experience of objects of art. Artists have life experiences that eventually seep into their works through the use of interesting materials and techniques, engaging with a range of mediums, and going as far as their imagination takes them. In turn, under varying contexts, viewers get to relate to the feelings emitted from the paintings. Grounded in art historical and visual cultural theorisations of affect, this study explores the Atlas I and Atlas II (2020) paintings of Penny Siopis (b. 1953) from Stevenson Gallery’s In The Air (2020-2021) exhibition. It is based on the reading that their formal characteristics, especially the scenes, shapes and red colour appearing in a single painting represent specific emotions, which are to be articulated properly through symbols found in the realms of other media, including music, literature, and film. Additionally, research on the aesthetic experience is also explored, including fanatic responses from digital social media platform Instagram, a book on the emotional expression of crying in front of paintings, an empirical study that focuses on emotional content in paintings and the emotional experiences that follow, as well as a look at the contexts that situate affect in a real and diverse world. I make use of a qualitative conceptual research method to ensure that all present information on the facets and depths of this study are assessed and illuminated meaningfully, to produce a well-rounded and nuanced understanding of Siopis’ art as well as the art experience.