Unseeing Constructed Imagery: Recognizing the Destabilization of Deviances within Black South African Storylines in Telenovelas; A Manifesto for Revolutionizing the South African Cinemascape.

Abstract

The gaze and the voice are important for thinkers working alternatively and thinking independently from Hollywood (Diawara, 2010 in Mxokozeli, 2021: 61). Unseeing Constructed Imagery: Recognizing the Destabilization of Deviances within Black South African Storylines in Telenovelas; A Manifesto for Revolutionizing the South African Cinemascape. In this study, I examine how Black South African telenovelas contribute to the propagation of distorted images that reinforce myths about Black South Africans. I also explore the potential for creating telenovelas that deviate from this trend by opening up to ‘everyday’ narratives. This study proposes that there is no monolithic Black existence, it advocates for expanding the regime of representation and a platforming of deviant or alternative Blackness. Through the methodology of narrative theory (Barthes, 1974; Todorov, 1971), representation (Hall, 1997), and postcolonial theory (hooks, 1992; Hall, 1997) I carried out an analysis of telenovelas within the South African Cinemascape (Ebrahim, 2018; Masilela, 2000; Selekane,2019; Antonov 2022). Latent to the accumulative purpose of building an argument for theatricality (Ukala, 2001; Dlhomo, 1977; Popat & Palmer, 2005; Elam, 2002; Weber, 2004) and queering methodologies (McDonald, 1999). A short film was produced, as a presentation for the inception of a possible solution to the problem of destabilizing Black South African storylines. The film, as a form knowledge production, engages with a manifesto that advocates for deviance and loving Blackness. In the film produced, the aim is to expand an avenue for Black South African narratives that are deviant, holistic, everyday, magical, and authentic to permeate the South African Cinemascape. In conclusion, the study proposes that embracing a manifesto centred on rebellion, deviance, queering methodologies, and theatricality could offer a pathway for visible progress in producing narratives aimed at middle-class Black people in South Africa, while maintaining profitability. This approach invites reflection on how such methodologies could inspire change, without necessarily requiring universal adoption, but rather encouraging diverse, impactful contributions to the South African Cinemascape.