Cinema in a democratic South Africa : the race for representation
Author(s)
Bibliographic Information
Cinema in a democratic South Africa : the race for representation
（New directions in national cinemas）
Indiana University Press, c2010
- : pbk
Available at / 2 libraries
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Graduate School of Asian and African Area Studies, Kyoto Universityアフリカ専攻
ITP||778.24||Sak200018847249
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Note
Filmography : p. 235-238
Includes bibliographical references and index
Contents of Works
- Introduction
Description and Table of Contents
- Volume
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: pbk ISBN 9780253221865
Description
Lucia Saks uses South African cinema as a lens through which to view cultural changes resulting from the end of apartheid in 1994. She examines how media transformed the meaning of race and nation during this period and argues that, as apartheid was disbanded and new racial constructs allowed, South Africa quickly sought a new mode of representation as a way to distance itself from the violence and racism of the half-century prior, as well as to demonstrate stability amid social disruption. This rapid search for a new way to identify and portray itself is what Saks refers to as the race for representation. She contextualizes this race in terms of South African history, the media, apartheid, sexuality, the economy, community, early South African cinema, and finally speculates about the future of "counter-cinema" in present-day South Africa.
Table of Contents
Acknowledgments
Introduction
1. The Burdens of Representation
2. State and Market Enter the Race
3. The Moment of Truth: Screening the Truth and Reconciliation Commission
4. Community and Pandemic: Cinematic Interventions in STEPS for the Future
5. Quo Vadis? Counter-Cinema in South Africa Today
6. The Dialectic of Reconciliation in De Voortrekkers and Come See the Bioscope
Notes
Filmography
Index
- Volume
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ISBN 9780253354570
Description
Lucia Saks uses South African cinema as a lens through which to view cultural changes resulting from the end of apartheid in 1994. She examines how media transformed the meaning of race and nation during this period and argues that, as apartheid was disbanded and new racial constructs allowed, South Africa quickly sought a new mode of representation as a way to distance itself from the violence and racism of the half-century prior as well as to demonstrate stability amid social disruption. This rapid search for a new way to identify and reflect itself is what Saks refers to as the race for representation. She contextualizes this race in terms of South African history, the media, apartheid, sexuality, the economy, community, early South African cinema, and finally speculates about the future of 'counter-cinema' in present-day South Africa.
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