2.1 Methodology
This research paper
is based on a qualitative research method. “Qualitative research is concerned with understanding
the processes and the social and cultural contexts which shape various
behavioural patterns” (Wagner, et al: 126). The use of a qualitative research
method was chosen after consulting available research and the required need of
the nature the analysis of each of the films that would be conducted. “Insights
through structured in-depth data analysis that is mainly interpretative,
subjective, impressionistic and diagnostic” (Wagner, et al: 126) was of primary
influence when choosing the qualitative methodology.
At first a
content analysis followed by a comparative analysis of the three films will establish
the research. The content analysis will explore of the formula behind the
development of black characters by analysing the content of the three films. Furthermore,
the content analysis will identify political, social and economic shifts in
South Africa that have provided the inspiration for the characterisation of
black characters. The use of a comparative
analysis will compare each of them in line with the research topic in order to
spot any similarities or differences that may exist across three samples. The study
of the protagonist and supporting characters will identify the representation
of black characters in each of the films.
Data collection methods and techniques vary according to the
requirements of the research project. This project incorporates a
multi-method research technique to investigate and analyse data. The multi-method research techniques utilised will
comprise of a set of qualitative methods only.
Before choosing the data collection method a random sample was drawn
from a list of South African films produced in the last eight years. Once the
three films were chosen, investigator triangulation was considered in order to
assist the understanding, assessing, and analysis of each of the texts. Using Gangsters Paradise: Jerusalema (Ziman & Matatu 2008) to
illustrate the use of investigator triangulation, an exercise was conducted as
follows; at the conceptualisation stage of the project, research was conducted
to understand what material currently exists about this film that could answer
the research topic. Second, space triangulation accessed the existence of
“cross-cultural techniques” (Wagner, et al: 162). After which a need to fill in
the gap of existing research became evident. Throughout the entire
triangulation process precedence was given to ensuring that the data available
for use was valid and reliable.
2.2 Literature Review
From oppression to democracy, South Africa’s
history forms a significant part of the inspiration from which the media draws
from. However a difference is spotted in the characterisation of South
Africans, particularly black South Africans and how the roles they portray a
changing society. South African films were narratives that expressed latest
developments and current state of the country on the big screen. For instance
the politically fuelled events of the Soweto Riots during apartheid were
depicted in the film Sarafina!
(Roodt, Singh & Thompson 1992). More
recently feature film
Mandela: Long Walk to Freedom (Chadwick
& Singh 2013) based on the struggle of Nelson
Mandela was
released prior his death.
Jacqueline Maingard in her book, Trends in
South African Documentary Film and Video: questions of identity and
subjectivity supports the theory of the South African film industry constantly
replicating on the big screen, past political events of significance. Considering
the development of the South African film scene, Maingard (1995:658) believes
that the growth of South Africa has followed a unique path and has used this to
define its films around several variables such as “aesthetics and style, content, censorship,
the states of emergency, funding and distribution, audiences, equipment and
technical resources, edu-cation and training, networking, the film and
broadcasting industry, and access to screening and broadcasting outlets both locally
and internationally” (Maingard 1995: 658). These variables have contributed to
the creation of characters and stories that film-makers share which have
impacted on the roles designed for black characters and the impression these
roles leave on society.
Maingard (1995) acknowledges the short
hand representations of characters as the constructs that
audiences are familiar with and have accepted, she has however ignored the
social development of black South Africans in real-life and the effect of
capitalism to create a classless society in which families of all races are
able to prosper. This is what new stories tell, from films about crime and
violence to story lines about family drama and romance, no longer are
characters cast according to a particular role based on their race, but rather
the relatability of characters to their audience.
In agreement to the mention of Third Cinema
earlier in this post, Maingard’s (1995) view of film in South Africa and the
themes and representations generated are in her opinion are showcased
though a ‘third world lens'. “In the field of cinema one of the theories (and cultural practises)
that has emerged ….is Third Cinema...Third Cinema 'recognises in (the
anti-imperialist) struggle the most gigantic cultural, scientific, and artistic
manifestation of our time ... the decolonisation of culture'. For them, Third
Cinema was a militant, didactic cinema that opposed the cinema of Hollywood.
Third Cinema was represented as a cinema that should forge a new aesthetic, a
new cinematic language which would promote the cause of socialism by
representing the experiences of colonialism and its more contemporary forms” (Maingard 1995: 661).
As much as the ideal casting of characters
should not be affected by race, film is influenced by this as characters are
often written and cast according to pre-determined roles based on character
stereotypes that exist in the industry. For example white equals superior and
black equals inferior in their roles. This is illustrated by Kershan Pancham
(2012: 1) who in a critical discourse about Hollywood, blockbuster film Avatar
(Cameron 2009), writes about the white messiah who is revered in film and
although Pancham’s discourse is based on an American film can be applied to all
film industries as a defining element for a character representation.
The white versus black effect, perpetuates
the representation of the trope of film casting and characterisation however at
the same time a shift is occurring with the release of new titles as seen in The Jakes Are Missing (Figjam
& Isaac 2015) for example.
Here, an affluent family, residing in the suburbs is represented by black
characters and not the traditional white casting.
Racial stereotypes are in society are reinforced
through the media, but they are also challenged by emerging film-makers. For
instance in Gangsters Paradise Jerusalema (Ziman &Matatu 2008) the protagonist black character Lucky Kunene portrays
a stereotypical, struggling black South African who resorts to crime and
corruption to make a living for himself and his family. Intertwined into this,
is a motif that was not expressed by films made in the past. Lucky has a desire
to pursue higher education; he has hopes and dreams to live an honest life,
from a young age. This is a stark contrast to the typical portrayal of black
South Africans in film such as uneducated and non-aspiring. Unable to fulfil
his dreams however, Lucky is forced to quit school, this speaks to the current
economic state of the country and even in the 2000’s how all South Africans are
struggling to access education.
Gangsters Paradise Jerusalema (Ziman &Matatu 2008) breaks ground
in introducing to the audience a mixed-race relationship between Lucky and his
white girlfriend Leah Friedlander. This was new level of exposure to South
African audiences at the time, but a fresh approach to the development of the
country’s rainbow nation. The accommodation of a mixed race relationship that
is allowed to exist in post-apartheid South Africa, is met with strong
opposition of a ‘free’ country as detective Blakkie Swart, a blatantly racist white
policeman who easily expresses his hatred of the ‘new’ South Africa. Between Lucky
and the detective, their characters represent lawfulness versus lawlessness, apartheid
versus post-apartheid, black versus white and power versus inability in present
day South Africa.
2.3 Research Assumptions
By the end of this
study I hope to uncover the development of the characterisation of black South
Africans in South African films. Furthermore, I hope to identify and discuss
any affect and impact that the characterisation of black people in South
African films has on society. Accompanying this will be the identification and
understanding of the influence that apartheid and the political history of South
Africa possess and how their roles contribute to casting or typecasting of
black South Africans in South African films within a particular construct.
2.4 Findings and Discussion
I believe that my
research will uncover the characterisation process undertaken by film-makers
when writing roles set for black actors. Additionally I believe that this
project will speak about the social impact that film has off-screen and the way
in which characterisations of black people on the big screen is reflected in
society today. This paper will also discuss the evolution of the South African
film industry and the changes it has undergone since apartheid, to the types of
stories told in contemporary South Africa. Lastly this paper will acknowledge
the influence of politics on the South African film industry, not just in the
stories it tells, but who are the people telling those stories, portraying those
characters and representing South Africa as we have come to know it.
The literature review
of this research paper will support the findings. As this is a qualitative
based research project it is vital that the literature review covers all
aspects of the research subject covering both favourable and opposing opinions
and literature. A vital aspect to this project will be the elaboration of the
discussion on the Third Cinema, mentioned earlier and how its alternative style
and form has contributed to the South African film industry and the characterisation
of black characters in South African films, particularly during the
post-apartheid era.
2.5 Conclusions
The findings of this
report have shown that there is a trace between the society and the influence
of the characterisations of black South Africans in South African films. The
three sample films chosen at random were the first pieces of evidence that
illustrated the social and economic differences that currently exists between
black people. Following this was the critical immersion into the films, their
inspiration and the background of the writers whom have shared the need for
their stories to be told. The three films are vastly different in their
offering and each of the protagonists completely contrasts each other, this
mimics the LSM difference that exists amongst black South Africans. Furthermore,
the films also illustrate the changing times of black South Africans and the
hardships and growth they have experienced since apartheid. From the violent, yet
well educated background of Lucky, to the suburban life of the Jakes, a family
rediscovering themselves in the new South Africa and finally the bond between
township families and the extent to which a brother will go to protect his
sister, regardless of race or money.
This study is the
beginning of a paper that can lead into more in depth research overtime and
with it is the longevity of its appeal as the South African film industry
grows.
2.6 Limitations
Limitations experienced included limited access to archives, time
restraints and limited literature available on the films being studied. This is
largely due to the fact that these were not necessarily box office hits and
their reviews were little in availability. There were also limits to using qualitative
methods because traditional methods of research can become restrictive.
Availability of funding to inject into the research was also a limitation.
Interviews on the respective South African directors and producers were also
limited. Lastly the lack of access to libraries posed as a limitation, as
living abroad limits the material that I was able to access.
LIST OF
SOURCES CONSULTED
Chadwick, J (dir) & Singh, A (prod). 2013. Mandela:
Long Walk to
Freedom.
[Film]. Videovision Entertainment.
Figjam (dir) &
Isaac, B (prod). 2015. The Jakes Are
Missing. [Film]. Figjam Entertainment.
Maingard, J. 1995. Trends in South African Documentary
Film and
Video:questions of identity and subjectivity. Journal
of Southern African
Studies 21.4:657-667.
Pancham, K. 2012. Making
space in the The Blue World for
“epistemologies of insight”: a
critical discourse analysis of James
Cameron's Avatar. Cape Town: [sn].
Nkosi, E (dir). 2015.
The Two Of Us. [Film]. Monarchy
Group.
Roodt, D (dir), Singh, A (prod) & Thompson, D (prod).
1992. Sarafina!.
[Film].
British Broadcasting Corporation.
University of South Africa. Department of Communication
Science. 2016. Media Research: Tutorial Letter 101/0/2016 for COM4802. Kwa Zulu
Natal.
University of South Africa. Department of Communication
Science. 2016. Honours Studies: Tutorial Letter 301/0/2016 for CMNHONE.Kwa Zulu
Natal.
Wagner,
C, Kawulich, B & Garner, M. 2012. Doing
Social Research: A global context. Berkshire, South African Edition: McGraw
- Hill Higher Education.
Ziman, R (dir) &
Matatu, T (prod). 2008. Gangster's Paradise: Jerusalema. [Film]. Muti
Films.
