Search

Includes abstract., Includes bibliographical references (leaves 217-239)., This thesis examines one aspect of cinema in South Africa, namely, the historical construction of a 'black film industry' and the development of a 'black' cinema viewing audience. It does so by focusing on films produced specifically for an African audience using a state subsidy. This subsidy was introduced in 1972 and was separate from the general or A-Scheme subsidy that was introduced in 1956 for the production of English- and Afrikaans-language or 'white' films. This thesis is a critical assessment of the actual film products that the B-Scheme produced. The films are analysed within the broader political, economic and social context of their production and exhibition. The films are used as historical sources for the way in which African identities were constructed. Through critical analyses of the selected films, the thesis examines the manner in which African people, culture, gender and family relations, as well as class and/or political aspirations were represented in film. Africans had very little opportunity or power to represent themselves and where this had been possible, it was within the ideological and political boundaries set by the apartheid government.

Accompanied by a DVD entitled: Cissie Gool.|Bibliography: leaves 58-63., This thesis, in both its written and filmed components explores the life of Cape politician and political activist Cissie Gool (1897-1963) against the backdrop oflocal, national and international politics as it impacted on her in both a direct and indirect way. Culled from oral and documentary sources, the historical Cissie is a representation based on memories, perceptions, biases and subjective agendas of not only the oral sources, but also the historian.