Journal of African Cinemas – Volume 11, Number 1


Editorial

Journal of African Cinemas: Special Edition on contemporary South African cinema 
pp. 3-9(7) 
Authors: Rijsdijk, Ian-Malcolm; Lawrence, Andrew

Articles

Outsiders, fairy tales and rainbowism in South African comedies: Soweto Green: This is a ‘Tree’ Story (Lister, 1995) and Fanie Fourie’s Lobola (Pretorius, 2013) 
pp. 11-29
Author: Mdege, Norita

Unsettling the ‘New’? Apartheid Did Not Die (Lowery, 1998) 
pp. 31-46
Author: Modisane, Litheko

Resistance documentaries in post-apartheid South Africa: Dear Mandela (Kell and Nizza, 2012) and Miners Shot Down (Desai, 2014) 
pp. 47-67
Author: Moyer-Duncan, Cara

Unravelling Pretville (Korsten, 2012) and encountering Marikana: The superfluous cheer of the Afrikaner volksiel 
pp. 69-82
Author: Steenekamp, Emelia

Reviews

Reviews 
pp. 83-88
Authors: Dovey, Lindiwe; Frassinelli, Pier Paolo

Film Review

Film Review 
pp. 89-94(6) 
Author: Macintyre, Sandy

Bottom of Form

The Journal of African Cinemas will explore the interactions of visual and verbal narratives in African film. It recognizes the shifting paradigms that have defined and continue to define African cinemas. Identity and perception are interrogated in relation to their positions within diverse African film languages. The editors are seeking papers that expound on the identity or identities of Africa and its peoples represented in film.

Publisher: Intellect

ISSN 1754-9221 (Print); ISSN 1754-923X (Online)

Journal website:   https://www.intellectbooks.com/journal-of-african-cinemas

Editors: Keyan Tomaselli and Martin Mhando

Contact: David Nothling – jac@uj.ac.za

CFP: Film in history / History in film Conference

                       

2-4 April 2020

The South African film industry has a long history, albeit racially fractured, uneven and inconsistent.  Since the introduction of Edison’s kinetoscope in 1895, the film industry and a film culture has become deeply entrenched in South African cultural, political and social life.  The historical development of the South African film industry, and in particular pre- and post-1994 state intervention by means of funding mechanisms, offers a rich site of exploration of South African racial and cultural politics, as well as ideological, aspirational and idealised self-representations in film.  Cinema as both a text and a set of practices and activities which are constantly intervening in society, makes cinema an actor in the ‘maintenance, mutation and subversion of systems of power’. Within this framing, film is read and analysed in history and as source of history; in shaping and reflecting the context of production and reception, in short, as ‘agent, product and source of history’, according to Marc Ferro.

History is increasingly consumed on film. Indeed, Marc Ferro goes further than many scholars in emphasising the ubiquitous influence of visual representations of the past.  He says, ‘television (and one can include film here) has become a kind of parallel school’, in other words, film as history.  Paula Amad (2010) on the other hand, in arguing for film as counter-archive, positions film as a medium that poses a challenge to the positivist historical methodology and archive with its emphasis on order, scientific objectivity and neutrality as elaborated by Leopold von Ranke.

The conference seeks to engage with film in South Africa in the four domains discussed above; film in history, film as source of history, film as history and film as counter-archive.  The conference aims to bring together South African and international scholars working broadly in the domain of film and history in and about South Africa.  The conference is open to all scholars whose research interest is film and visual studies from a historical perspective, including research interests in the historical development of cinema (in the South African national, comparative and/or global contexts), cinema culture, audiences, festivals and reception, technologies and the business of filmmaking as well as historians working with film as history, film in history and film as [counter]archive.

Select conference papers will be considered for publication in an edited volume

Abstracts for presentations are invited in the following broad thematic areas:

  1. Histories of the development of the South African film industry (‘national’, ‘ethnic’ and comparative)
  2. Film and nation-building in pre- and post-1994 South Africa
  3. State intervention in the film industry in pre- and post-1994 South Africa (state subsidies, the NFVF, censorship)
  4. Audiences and reception
  5. Film festivals
  6. South African film scholarship
  7. Archives, counter-archives and film (the South African National Film, Video and Sound Archives)
  8. Film, heritage and tourism

Film Screenings

The conference will include film screenings of select films from the South African National Film, Video and Sound Archives and short films produced by University of Pretoria History students.  Filmmakers are also invited to submit their own productions for consideration.

Publication

A select number of original research papers will be considered for publication in an edited volume of essays.

Timelines

Abstract deadline:  20 January 2020

Abstracts can be submitted to history@up.ac.za

Acceptance responses: 7 February 2020

Publication-ready papers to be submitted by 17 April 2020

Inquiries can be directed to:

Ian Macqueen: ian.macqueen@up.ac.za

Glen Ncube: glen.ncube@up.ac.za

Nisa Paleker: nisa.paleker@up.ac.za

Dr G Paleker

Senior Lecturer

Department of Historical and Heritage Studies

Tel: 012 420 2264

Email: nisa.paleker@up.ac.za

CFP: Journal of African Cinemas & The Conversation

The Journal of African Cinemas (JAC) is working with arts editor Charl Blignaut at The Conversation to increase exposure of African films in its pages.  The aim is to recruit short journalistic articles for The Conversation, which can in due course be repurposed into longer reviews of films and even articles for JAC – or anywhere. 

Also, current and recently published academic articles in JAC, Critical Arts,  or any journal, could be revised in short form for submission to The Conversation (TC), and linked to the published article.  This mechanism has been shown to  massively increase readers and citations of the original article first published in the academic journal. TC’s aim, of course, is to popularize academic work for the wider public and thereby to demonstrate its social relevance. 

Anyone interest to please contact Charl direct, or submit a pitch on The Conversation website.  Please cc me so we can track the impact of this call.  Charl Blignaut charl.blignaut@theconversation.com

Journal of African Cinemas:  https://www.intellectbooks.com/journal-of-african-cinemas

Critical Arts:   https://www.tandfonline.com/loi/rcrc20

The Conversation:   https://www.google.com/search?q=theconversation+south+africa&rlz=1C1GGRV_enZA813ZA813&oq=thecconversation&aqs=chrome.4.69i57j0l5.7542j0j7&sourceid=chrome&ie=UTF-8

This notice is endorsed by the SACOMM Screen Studies interest group.

CALL FOR ABSTRACTS: Social Media, Fake News and Hate Speech

NORTH-WEST UNIVERSITY, SOUTH AFRICA
FACULTY OF HUMANITIES
INDIGENOUS LANGUAGE MEDIA IN AFRICA (ILMA) CONFERENCE
JUNE 27
28, 2020
NORTH-WEST UNIVERSITY, MAFIKENG CAMPUS, MMABATHO, SOUTH AFRICA


The advent of social media (such as Facebook, Twitter, WhatsApp, YouTube etc.) has brought about democratisation of communication as the public that hitherto had been considered to be consumers of messages has now also become producers. The platform of social media is open to everyone who has a device, an account to use and data or access to the internet. Communication has never been better and interesting in the history of man.

However, as we celebrate this ‘power’ of communication given to the people through social media, we also need to ponder the other side of this communication. This advent of social media and with it more opportunities for free participation by citizens in debates has given impetus to insurgent politics and also brought on us the acceleration and strengthening of post-truth, fake news and hate speeches. Before the emergence of social media, there were fake news and hate speech carried by different media in the chronology of media and communication history. These phenomena have been there since the time of communication by mere words of mouth, and through the advent of print, radio and television media. It has however become more obtrusive with the emergence of social media. This has had some deleterious impact on human relationships and the society at large. It has created crisis and fueled it to monstrous proportions.

These are some of the issues we intend to focus on in this conference. Submissions can touch on any of the following points:

  •  Theorisation around social media, fake news and hate speech
  •  Social media, Fake news, hate speech and the economy
  •  Social media, Fake news, hate speech and politics
  •  Social media, Fake news, hate speech and nationality
  •  Social media, Fake news, hate speech and race
  •  Social media, Fake news, hate speech and human relations
  •  Social media, fake news and hate speech in organisations
  •  Social media, fake news, hate speech and religion
  •  Social media, language use, fake news and hate speech
  •  Social media, indigenous language, ethnicity and hate speech
  • Social media, indigenous culture, fake news and hate speech
  •  Social media, citizen education, fake news and hate speech
  •  Social media, fake news, hate speech and xenophobia
  •  Strengths and weaknesses of various social media for fake news and hate speech
  •  Social media regulation, fake news and hate speech The list is by no means exhaustive.

Kindly submit abstracts of between 300 and 500 words to Dr. Francis Amenaghawon at

olaiyagba@yahoo.com

Papers presented at the conference, after peer-review process, will be published in Habari: ILMA Book Series. Habari is the Swahili word for News. The book series editors are Professor Abiodun Salawu and Prof. Itumeleng Mekoa.

Important Dates:

  1. Abstract Submission – February 28, 2020
  2. Acceptance/Rejection Notice – March 15, 2020
  3. Conference Registration Opens – March 30, 2020
  4. Conference – June 27 – 28, 2020

Registration Fees:

Academics – R2500.00
Students – R1000.00
International participants – USD180.00

SCREENING: ‘Under the Rainbow’ (Dir. Pamela Adie)

16:00, Saturday, 12.10.2019, AFDA Johannesburg

Pamela Addie is a Nigerian based queer rights activist.  She will be visiting South Africa to engage with activist organisations here.  GALA is working with these activist organisations such as Iranti and ISLA who are hosting Pamela.

On Saturday, 12 October, 2019 (16:00) her film “Under the Rainbow” will be screened at AFDA Johannesburg. 

‘Under The Rainbow’ is a visual memoir tracing Nigerian activist Pamela Adie’s journey of self-discovery in a powerful story of love, rejection, loss, and triumph set against the backdrop of a deeply homophobic society. 

Please join us at the film’s first Johannesburg screening which will be followed by a panel discussion with Pamela Adie, Phumi Mtetwa and Sibongile Ndashe.

Venue: AFDA, 41 Frost Avenue, Braamfontein

Date: 12 October 2019

Time: 4pm

RSVP: siphesihle@amandla.mobi

More info: 

https://africasacountry.com/2019/07/nigerias-first-lesbian-documentary

https://www.facebook.com/events/436561106990260/

CFP: Valenti Global Communication Summit 2020

Call for Papers

Valenti Global Communication Summit 2020

@frica: digital media conference

Houston, TX – February 27/28, 2020

Deadline for extended abstracts: November 22, 2019

While the economic, political, cultural and social transformations brought about by the rise of digital technologies, particularly in the media and telecommunications sectors, are visible all over the world, it is in African countries that they are projected to have the biggest impact in coming years. Africa, particularly Sub-Saharan Africa, has one of the fastest growing number of internet and mobile users in the world.

In many parts of the continent, access to information and communication technologies (ICTs) has been seen as an opportunity to “leapfrog”, a concept that the World Bank defines as making “a quick jump in economic development” by adopting technological innovation. This is exemplified by the success of African startups like Ushahidi, a crowdsourcing mapping tool created in Kenya, or Jumia, Nigeria’s number 1 online retailer; the recent opening of Google’s Africa AI center in Ghana; and the ever-growing presence of mobile payment and banking across the continent. Digital communication technologies have also been used strategically by citizens in the continent to engage in grassroots political movements that have toppled long-time rulers, led to (sometimes short-lived) regime changes, and brought about changes in legislation.

The fast growth of digitally enabled communications and services has also brought challenges for the continent. For example, well-before the notion of “fake news” became a buzzword in U.S. politics, many African nations, from South Africa to Gabon or Nigeria, were targets of large-scale misinformation campaigns over social media such as WhatsApp and Facebook. Additionally, young, highly-educated, and digitally-savvy graduates in many African countries have been employed by transnational tech companies such as Facebook for data processing in what some authors describe as digital sweatshops. The positive and negative impacts of this technological revolution are therefore important to consider.

Because African countries, their people, and their mediated interactions remain understudied in the fields of media and communication, especially in Western countries, the “@frica: digital media conference” invites extended abstracts (800-1,000 words) that examine the transformations and disruptions of digital media in African countries.

Specifically, but not exclusively, we invite contributions that explore any of the following questions:

  • What methodological challenges exist in studying digital media use (such as social media and/or mobile communications) in Africa?
  • What theoretical frameworks, constructs and paradigms are best suited to study transformations and disruptions of digital media in Africa?
  • How has social media been used by African political actors, social movements and grassroots activists and to what effect?
  • What are the roots, consequences and differences between countries of existing disparities in access to digital media in Africa?
  • How are digital technologies influencing, complementing, and/or superseding journalistic practices in Africa?
  • How does the sharing economy (e.g. Uber, Upwork…) transform and/or reinforce social norms, values, practices, structure and culture in Africa?
  • What are the prevailing regulatory frameworks that affect digital media use in Africa?
  • What socio-economic, cultural and economic factors shape the adoption, diffusion and appropriation of digital technologies in Africa?

The deadline to submit extended abstracts is November 22, 2019. To submit an extended abstract, please go to https://easychair.org/conferences/?conf=admc20. You will need to create an account to make a submission.  

The organizers will notify by email the authors of accepted extended abstracts by December 6, 2019. Authors will be expected to submit full papers by February 2, 2020.

The “@frica: digital media conference” will accept a limited number of virtual presentations, in which authors who are unable to travel to Houston, will be able to present their work and get feedback from the audience virtually. Authors who wish to be considered for one of the virtual presentation slots should indicate their preference when submitting their extended abstracts.

A selection of accepted papers will be included in a Special Issue of the Journal of African Media Studies to be published in 2020. Only accepted papers that are presented at the conference will be considered for the Special Issue. Questions about the conference and the Call for Papers can be sent to valentiglobalsummit@uh.edu

EVENT: Mini-INPUT Johannesburg

The Mini-INPUT will be showcasing productions screened and discussed at the INPUT 2019 conference which was held in Bangkok in May 2019.

More than 400 delegates (all TV professionals) gathered in Bangkok to discuss and showcase the state of broadcasting.
Mini-INPUTs are designed, to disseminate know-how and solutions to local broadcasting professionals and are scheduled around the world.
INPUT is not a festival. It does not showcase “the best” productions or award prizes to productions. Instead, productions that offer solutions, creative insights into the industry challenges are showcased. They form a basis of international know-how and programming exchange. Not on a platform of a marketplace – but on a platform of professional curiosity.

At the Johannesburg Mini-INPUT, broadcasting professionals, media scholars, policy makers and audience have a chance to watch and discuss 13 of the 50 productions screened at the conference. These have been carefully curated to tackle topics that are of interest of the regional stakeholders by the INPUT National Coordinator for South Africa, Henriette De Villiers and the SACOMM ExCo. Member for Screen Studies, François Smit.  The programmes are screened in themes sessions to focus discussion around these topics.

INPUT is an organization based on volunteer engagement by professionals around the world who are supported by their own organisations. It is not steered by ideologies other than “storytelling in the interest of the audience”. It is an open platform for the exchange of programme ideas and professional know-how.

Who should attend?
INPUT is a conference aimed at TV makers and media scholars. Productions screened range in genre, format and audience share. It is as much a showcase of “Bread and Butter TV” as it showcases block buster fiction series or high-end documentaries. The plurality of the perspectives of the delegates at the conference is what makes INPUT a “must attend” event.

The Mini-INPUT is kindly hosted by AFDA Johannesburg (41 Frost Avenue, Braamfontein Werft)  on Thursday and Friday, 24 & 25 October 2019.

Registration is free of charge, but an RSVP is essential to make sure that access to the screenings and discussions are guaranteed.

Please RSVP to Simone Singh (simone@afda.co.za), stating your organization and function as well as which days you would be attending. Please see the MINI-INPUT programme.

The Mini-INPUT JHB is also kindly supported by the Goethe Institut.

CALL FOR NOMINATIONS

Nominations for The South African Communications Association (SACOMM) Executive Committee are now accepted.

As per §10 of the SACOMM Constitution, it is time to Call for Nominations for Executive Committee Members for the different Streams of SACOMM. “Interest Group Conveners” (or the Executive Committee) are, with the Presidium, responsible for the daily running of SACOMM.

The SACOMM Objectives are to:

  • encourage contact and co-operation among Communication Departments in the various tertiary education institutions offering Communication Studies;
  • provide a forum to promote communication research, collaboration, and debate among communication practitioners, communication industry professionals, academics, and students;
  • promote networking and academic debate; and
  • facilitate professional communication practice in Southern Africa.

To that effect, Executive Committee members should be academics active in the interest stream or academic field they are nominated for, who are willing to uphold the SACOMM objectives throughout their term (two years) – between the conferences.

Nominations are welcomed for the Position of:

  1. Deputy President
  2. Media Studies and Journalism
  3. Screen Studies
  4. Corporate Communication
  5. Communication Studies
  6. Communication Education and Curriculum Development
  7. Communications Advocacy and Activism
  8. Emerging Scholars Stream

At the Annual General Meeting during SACOMM 2019 in Cape Town, all SACOMM members will have a chance to vote for the nominees, should there be more than one nomination for a position. 

Nominations for the Executive Committee should reach the Office of the Presidium by 29.07.2019.

Please note:

  1. The nomination process is anonymous.
  2. Nominations and self-nominations are welcome.
  3. Those who nominate another individual must first confirm that the individual is available to stand, before they make said nomination.
  4. Please follow the link below to submit a nomination: https://docs.google.com/forms/d/e/1FAIpQLSdSbcjZD9Tjg9F8uUIEow9M_OT3sm6AxT7Ic7td0aO7BXkU0w/viewform?usp=sf_link


Further Information:

SACOMM Constitution

Interest Streams and Executive Committee


Lecture: Jonathan Haynes

AFDA invites SACOMM members the a lecture by the visiting Fulbright Senior Scholar, Jonathan Haynes.

His area of specialisation is Nollywood. He would like to engage with us on more up to date perspectives on Nollywood – as he is currently the Fulbright Senior Scholar, Departments of English and Creative Arts at the University of Lagos, Nigeria.

He has expressed the wish to not engage in a traditional class – but instead, to debate and discuss the issues that might arise from your experiences and ideas around Nollywood. An Academic Q&A round about Nollywood.

We look forward to welcome him and of course are interested in the debates. Please RSVP your attendance to Simone@afda.co.za – by Tuesday, 12.03.19.

Who: Jonathan Hayes – Visiting Senior Fulbright Scholar – https://jonhaynes.net

What: Contemporary Perspectives on Nollywood

When: Friday, 15 March 2019 – 09:00 –12:30

Where: AFDA JHB Campus – 41 Frost Avenue, 2092 Auckland Park

How: RSVP – Simone Singh, Course Administrative Assistant, Postgraduate Studies – simone@afda.co.za – by Tuesday, 12 March 2019.

ARTS AND CULTURE TO HOST THE 2019 SOUTH AFRICAN FILM SUMMIT, JOHANNESBURG

 MEDIA STATEMENT

Government through National Department of Arts and Culture will host the South African Film Summit from 04 – 05 February 2019 at Skyrink Studios, in Johannesburg Gauteng. The Summit will be held under the theme: “Transformation and innovation in the South African Film/Audio-Visual Industry and the 4th Industrial Revolution. Are we geared for change?”


Industry experts and policy makers within the audio-visual industry will deliberate on key resolutions as guiding efforts towards the development of the local film industry in alignment with emerging trends and global developments.

The South African Film Summit seeks to:

  • Assess the extent to which the current or emerging legislation and policies either enhance or hinder the transformation and development of the film and television industry in South Africa.
  • Evaluate the extent to which the South African Film Industry is catching up or aligning itself with emerging trends and global developments, premised by Pan-Africanism.
  • Create a platform for knowledge sharing through case studies and benchmarking with similar countries in the developing world.
  • Evaluating the successes and challenges of national and regional film industries with particular reference to funding and resources of the sector.

The South African Film Industry refers to the broader audio-visual media industry which includes film, television and digital media as defined in the Revised White Paper, 2017. The film industry is one of the oldest in the world having initiated in 1896. Despite such a long history, the South African film industry’s place within the local economy and globally is a contested one. This is in terms of its contribution in both social and economic value. 

As such, whether the industry is in its infancy or not remains a contentious matter. This is considering the low film production volumes, unsustainable business models and a largely freelance workforce because South Africa is not short on policies and strategies to support the industry.

“Policy coordination and coherence is important to ensure there are no unnecessary bottlenecks, contradictions and gaps that will negatively impact on the business environment while simultaneously encouraging investment, particularly from the private sector”, states Minister Nathi Mthethwa.

About 300 experts and policy makers from key organizations, Government and industry institutions such as: the South African Broadcasting Corporation National Film and Video Foundation; South African Screen Federation; South African Guild of Actors, South African Arts & Culture Youth Forum and Independent Black Filmmakers Collective as well as other local and international key stakeholders will take part in the summit.

“Addressing South Africa’s positioning in the film sector, not only in the continent but also globally, is an important one if the country is to compete in the creative economy”, concludes the Minister.

Media enquiries: Petunia Lessing

Cell: 066 301 4645 / email: petunial@dac.gov.za

For more information, please contact Asanda Magaqa: Cell: 072 327 6807 / email: asandam@dac.gov.za or Zimasa Velaphi, Cell: 072 172 8925 / email: zimasav@dac.gov.za

Issued by GCIS on behalf of the Department of Arts and Culture

24 January 2019