Pub Date : 2018-12-17DOI: 10.18820/24150525/COMM.V23.10
Sibongile Sindane
Using the critical political economy of the media theory (CPEM), this article analyses press regulation in South Africa. The data was collected from statutory documents, which inform press regulation in the country, and was analysed using inductive thematic content analysis. Four themes emerged, namely from self-regulation to independent co-regulation, the communal approach, independent co-regulation, and citizenship. The findings indicate that press regulation in South Africa has adopted a communal approach, which implies that press regulation attempts to include the public. Although independent co-regulation is between the media and the public, and it is supposed to be independent from the government, this does not make it much different from the previous structureof self-regulation.
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Pub Date : 2018-12-17DOI: 10.18820/24150525/comm.v23.15
I. Glenn
Silent Hunter, a 1986 South Africa wildlife documentary directed by Duncan McLachlan and featuring John Varty and Elmon Mhlongo, caused controversy because of ways in which it broke the rules of blue-chip wildlife documentaries. The new possibilities it explored appealed to producers looking for new formats for wildlife television, in particular to Discovery Channel that had started in 1985 in the United States of America. This film was thus a major influence in the move from blue-chip to presenter- driven wildlife documentary. The film also rebelled against many of the restrictions of blue-chip documentaries. With reference to actor-network-theory, this article presents some thoughts on why Silent Hunter is worth considering not only as aesthetic but also as moral critique of wildlife film production.
{"title":"Silent Hunter and its influence on wildlife documentary","authors":"I. Glenn","doi":"10.18820/24150525/comm.v23.15","DOIUrl":"https://doi.org/10.18820/24150525/comm.v23.15","url":null,"abstract":"Silent Hunter, a 1986 South Africa wildlife documentary directed by Duncan McLachlan and featuring John Varty and Elmon Mhlongo, caused controversy because of ways in which it broke the rules of blue-chip wildlife documentaries. The new possibilities it explored appealed to producers looking for new formats for wildlife television, in particular to Discovery Channel that had started in 1985 in the United States of America. This film was thus a major influence in the move from blue-chip to presenter- driven wildlife documentary. The film also rebelled against many of the restrictions of blue-chip documentaries. With reference to actor-network-theory, this article presents some thoughts on why Silent Hunter is worth considering not only as aesthetic but also as moral critique of wildlife film production.","PeriodicalId":41956,"journal":{"name":"Communitas","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2018-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47896195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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