Resistance documentaries in post-apartheid South Africa: Dear Mandela (Kell and Nizza, 2012) and Miners Shot Down (Desai, 2014)

IF 0.2 0 FILM, RADIO, TELEVISION Journal of African Cinemas Pub Date : 2019-03-01 DOI:10.1386/jac_00004_1
Cara Moyer-Duncan
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引用次数: 1

Abstract

During apartheid, a documentary film movement emerged, capturing ordinary people taking on the oppressive government and the exploitative capitalist industry. People were shown at work and in their communities organizing strikes, protesting against repression, and being subjected to violence. This grassroots film movement, which has been described as a cinema of resistance, served as a tool to educate viewers, document violence and inequality, and mobilize support against the apartheid regime. Two decades after the end of apartheid, a similar set of resistance films has begun to emerge – with the difference that these films are holding the democratically elected government accountable. These documentaries give voice to the disenfranchised masses for whom the multiracial democracy has not brought substantial change. The African National Congress-led government has sanctioned actions echoing those that occurred under apartheid, including forced removals and the massacre of protestors.Two films, Dear Mandela (Kell and Nizza, 2012) and Miners Shot Down (Desai, 2014), capture this and are indicative of a new wave of resistance documentaries.
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后种族隔离时代南非的抵抗纪录片:《亲爱的曼德拉》(凯尔和尼扎,2012)和《矿工被击落》(德赛,2014)
在种族隔离期间,出现了一场纪录片运动,捕捉了普通人与压迫性政府和剥削性资本主义工业的较量。人们在工作和社区组织罢工,抗议镇压,并遭受暴力。这场被描述为抵抗电影的草根电影运动,是教育观众、记录暴力和不平等以及动员支持反对种族隔离政权的工具。种族隔离结束20年后,一套类似的抵抗电影开始出现——不同的是,这些电影要求民选政府承担责任。这些纪录片为被剥夺权利的群众发声,对他们来说,多种族民主并没有带来实质性的改变。非洲人国民大会领导的政府批准了与种族隔离时期发生的行动相呼应的行动,包括强迫迁移和屠杀抗议者。《亲爱的曼德拉》(Kell和Nizza,2012年)和《矿工被击落》(Desai,2014年)这两部电影捕捉到了这一点,预示着新一轮的抵抗纪录片浪潮。
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来源期刊
Journal of African Cinemas
Journal of African Cinemas FILM, RADIO, TELEVISION-
CiteScore
0.40
自引率
0.00%
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0
期刊介绍: 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. The aim is to create a forum for debate that will promote inter-disciplinarity between cinema and other visual and rhetorical forms of representation.
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