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9780415216807 041521680X South African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelationships between South African cinema and key points in South Africa's history, showing how cinema figures in the making, entrenching and undoing of apartheid. 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). Jacqueline Maingard discusses how cinema reproduced and constructed a white national identity, taking readers through cinema's role in building white Afrikaner nationalism in the 1930s and 1940s. She then moves to examine film culture and modernity in the development of black audiences from the 1920s to the 1950s, especially in a group of films that includes Jim Comes to Joburg(1949) and Come Back, Africa(1959). Jacqueline Maingard also considers the effects of the apartheid state's film subsidy system in the 1960s and 1970s and focuses on cinema against apartheid in the 1980s. She reflects upon shifting national cinema policies following the first democratic election in 1994 and how it became possible for the first time to imagine an inclusive national film culture. 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., South African National Cinemaexamines how South African films have represented national identities, especially with regard to race, across the twentieth century. Jacqueline Maingard critically analyzes particular films that engage questions of national and national identity, establishing interrelationships with key points in South Africa's history. Through detailed investigations of selected films, including De Voortrekkers at one end of the twentieth century and Mapantsula at the other, she discusses how South African cinema figures in the making, entrenching and undoing of apartheid. South African National Cinemafocuses on how early cinema screened "the colonial" and skewed the sense of nation in a way that both reproduced and helped construct a white national identity. It takes readers through the building of white Afrikaner nationalism in the 1930s and 1940s, the creation of black audiences, especially in the mines in the same period, and the cinematic production of black nationalidentity. It takes readers through the building of white Afrikaner nationalism in the 1930s and 1940s, the creation of black audiences, especially in the mines in the same period, and the cinematic production of black identities in a group of films made between 1949 and 1959. Maingard examines anti-apartheid films of the 1980s and 1990s showing how shifting policies after the first democratic election in 1994 made it possible for the first time to imagine and begin to develop an inclusive national film culture., Through detailed investigations of selected films, from De Voortrekkers at one end of the twentieth century and Mapantsula at the other, Jacqueline Maingard examines how South African films have represented national identities, especially with regard to race, across the twentieth century. South African National Cinema critically analyzes particular films that engage questions of nation and national identity, establishing interrelationships with key points in South Africa's history and discusses how South African Cinema figures in the making, entrenching and undoing of apartheid. The book examines: how early cinema screened 'the colonial' and skewed the sense of nation in a way that helped construct a white national identity the building of white Afrikaner nationalism in the 1930s and 1940s, the creation of black audiences, and the cinematic production of black identities in a group of films made between 1949 and 1950 anti-apartheid filmsof the 1980s and 1990s. Students of film studies, black studies and cultural studies, will all find this a fascinating and valuable addition to their bookshelves.
9780415216807 041521680X South African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelationships between South African cinema and key points in South Africa's history, showing how cinema figures in the making, entrenching and undoing of apartheid. 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). Jacqueline Maingard discusses how cinema reproduced and constructed a white national identity, taking readers through cinema's role in building white Afrikaner nationalism in the 1930s and 1940s. She then moves to examine film culture and modernity in the development of black audiences from the 1920s to the 1950s, especially in a group of films that includes Jim Comes to Joburg(1949) and Come Back, Africa(1959). Jacqueline Maingard also considers the effects of the apartheid state's film subsidy system in the 1960s and 1970s and focuses on cinema against apartheid in the 1980s. She reflects upon shifting national cinema policies following the first democratic election in 1994 and how it became possible for the first time to imagine an inclusive national film culture. 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., South African National Cinemaexamines how South African films have represented national identities, especially with regard to race, across the twentieth century. Jacqueline Maingard critically analyzes particular films that engage questions of national and national identity, establishing interrelationships with key points in South Africa's history. Through detailed investigations of selected films, including De Voortrekkers at one end of the twentieth century and Mapantsula at the other, she discusses how South African cinema figures in the making, entrenching and undoing of apartheid. South African National Cinemafocuses on how early cinema screened "the colonial" and skewed the sense of nation in a way that both reproduced and helped construct a white national identity. It takes readers through the building of white Afrikaner nationalism in the 1930s and 1940s, the creation of black audiences, especially in the mines in the same period, and the cinematic production of black nationalidentity. It takes readers through the building of white Afrikaner nationalism in the 1930s and 1940s, the creation of black audiences, especially in the mines in the same period, and the cinematic production of black identities in a group of films made between 1949 and 1959. Maingard examines anti-apartheid films of the 1980s and 1990s showing how shifting policies after the first democratic election in 1994 made it possible for the first time to imagine and begin to develop an inclusive national film culture., Through detailed investigations of selected films, from De Voortrekkers at one end of the twentieth century and Mapantsula at the other, Jacqueline Maingard examines how South African films have represented national identities, especially with regard to race, across the twentieth century. South African National Cinema critically analyzes particular films that engage questions of nation and national identity, establishing interrelationships with key points in South Africa's history and discusses how South African Cinema figures in the making, entrenching and undoing of apartheid. The book examines: how early cinema screened 'the colonial' and skewed the sense of nation in a way that helped construct a white national identity the building of white Afrikaner nationalism in the 1930s and 1940s, the creation of black audiences, and the cinematic production of black identities in a group of films made between 1949 and 1950 anti-apartheid filmsof the 1980s and 1990s. Students of film studies, black studies and cultural studies, will all find this a fascinating and valuable addition to their bookshelves.