Writing an abridged research proposal- Part two

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.