“生物镜下的黑帮”:南非印度电影院作为早期种族隔离时期的成长空间

IF 0.4 3区 历史学 Q1 HISTORY South African Historical Journal Pub Date : 2023-11-07 DOI:10.1080/02582473.2023.2259116
Damon Heatlie
{"title":"“生物镜下的黑帮”:南非印度电影院作为早期种族隔离时期的成长空间","authors":"Damon Heatlie","doi":"10.1080/02582473.2023.2259116","DOIUrl":null,"url":null,"abstract":"ABSTRACTFrom the 1940s to the 1960s, South African Indians encountered new cinema spaces opening in their ghettoes in Durban and Johannesburg. Cinemas afforded working-class people an experience of luxury, a sense of a public, and a taste of opportunity and glamour. As part of the negotiation of new diasporic and hybrid identities during early apartheid, cinema played a constitutive role in the reshaping of selves. A balancing act of ‘traditional’ (Indian) and ‘modern’ (Western/South African) cultural elements was required in this reconstruction. Old parts of self had to be at least partially forgotten and new parts assimilated to deal with new conditions. Cinematic identification and the self-fashioning of identity facilitated a reimagining of identity formation as an ‘assemblage’ – a playing out or testing of various new ‘roles’ and positions alongside old ones. One of these new roles was an aggressive Indian ‘gangster’ masculinity, informed by prevailing national conditions and transnational cinematic gangster tropes. Not only did gangsters learn ‘moves’ from the movies, they were also energised by and profited from the movie houses themselves.KEYWORDS: South African Indian cinemasidentityapartheidgangstersidentificationcosmopolitanism Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 D. Heatlie, ‘“They Stood Their Ground!”: Professional Gangsters in South African Indian Society, 1940–1970’ (PhD thesis, University of the Witwatersrand, Johannesburg, 2019).2 J. Desai, ‘Bollywood Abroad: South Asian Diasporic Cosmopolitanism and Indian Cinema’, in G. Rajan and S. Sharma, eds, New Cosmopolitanisms: South Asians in the US (Stanford: Stanford University Press, 2006), 116.3 Interview with M. S., 5 July 2016, audio recording conducted in Johannesburg.4 Interview with C. Mistry, 15 February 2016, audio recording conducted in Johannesburg.5 B. Freund, Insiders and Outsiders: The Indian Working Class of Durban, 1910–1990 (Pietermaritzburg: University of KwaZulu-Natal Press, 1995), 10.6 N. Coppen, ‘The Last Picture Show’, Neilcoppen.com (blog), 22 September 2008, https://neilcoppen.com/2008/09/22/the-last-picture-show/, accessed 5 December 2017.7 Ibid.8 V. Jagarnath, ‘Indian Cinema in Durban: Urban Segregation, Business and Visions of Identity from the 1950s to the 1970s’, Occasional Paper 22 (2014), 166, https://ojs.ruc.dk/index.php/ocpa/article/view/3808.9 F. Meer and E.S. Reddy, ‘Passive Resistance 1946 – A Selection of Documents. Part 4 Special Focus: Wrangling between Political Groups –1947’, South African History Online, 23 May 2011, http://www.sahistory.org.za/archive/passive-resistance-1946-selection-documents-compiled-es-reddy-fatima-meer, accessed 13 June 2018.10 Coppen, ‘The Last Picture Show’.11 A. Shepperson and K. Tomaselli, ‘South African Cinema Beyond Apartheid: Affirmative Action in Distribution and Storytelling’, Social Identities 6, 3 (2000), 327.12 Interview with Y. ‘Chommie’ Saloojee, 5 October 2015, audio recording conducted in Johannesburg.13 Jagarnath, ‘Indian Cinema in Durban’, 165.14 Mistry remembers in the 1950s ‘we used to see a lot of Hindi movies – only Hindi movies. Now and then we used to go for a movie of Hollywood.’ Interview with Mistry.15 Jagarnath, ‘Indian Cinema in Durban’, 167–170.16 Interview with K. Rajab, 21 November 2017, audio recording conducted in Johannesburg.17 Heatlie, ‘They Stood Their Ground!’, 13.18 Jagarnath, ‘Indian Cinema in Durban’. 167–170.19 D. K. Sharda, ‘India’s Fabulous Film Industry’, Drum, June 1955, 46.20 ‘Key Sites: Cinemas,’ South African History Online, https://www.sahistory.org.za/article/key-sites, accessed 23 November 2017.21 S. Chakravarty, National Identity in Indian Popular Cinema, 1947–1987 (Austin: University of Texas Press, 2011).22 P. Chowdhry, Colonial India and the Making of Empire Cinema: Image, Ideology and Identity (Manchester: Manchester University Press, 2000).23 Heatlie, ‘They Stood Their Ground!’, 15–20.24 Sharda, ‘India’s Fabulous Film Industry’, 46.25 Ibid., 47.26 Ibid.27 Interview with Mistry conducted in Johannesburg.28 Interview with M. Rajab, 31 January 2018, audio recording conducted in Johannesburg.29 Interview with Saloojee conducted in Johannesburg.30 L. Mulvey, ‘Visual Pleasure and Narrative Cinema’, in C. Penley, ed., Feminism and Film Theory (New York: Routledge, 2013), 803–816.31 L. Mulvey, ‘Afterthoughts on “Visual Pleasure and Narrative Cinema” Inspired by Duel in the Sun’, in C. Penley, ed., Feminism and Film Theory (New York: Routledge, 2013), 69.32 Mulvey, ‘Visual Pleasure and Narrative Cinema’, 59.33 Ibid., 60.34 Ibid., 63.35 K. Tomaselli and A. Shepperson, ‘Mirror Communities and Straw Individualisms: Essentialism, Cinema and Semiotic Analysis’, Journal of African Cinemas 3, 1 (2011), 13.36 b. hooks, ‘The Oppositional Gaze: Black Female Spectators’, in J. Belton, ed., Movies and Mass Culture (New Brunswick: Rutgers University Press, 1996), 249–258.37 Ibid., 254.38 J. Martin and K. Govender, ‘“Indenturing the Body”: Traditional Masculine Role Norms, Body Image Discrepancy, and Muscularity in a Sample of South African Indian Boys’, Culture, Society and Masculinities, 5, 1 (2013), 24.39 A. Appadurai, ‘Cosmopolitanism from Below: Some Ethical Lessons from the Slumbs of Mumbai’, Johannesburg Workshop in Theory and Criticism: Salon 4 (2011), https://web.archive.org/web/20160414163946/http://jwtc.org.za/volume_4/arjun_appadurai.htm, accessed 17 September 2023.40 H. Bhabha, ‘Of Mimicry and Man: The Ambivalence of Colonial Discourse’, October 28 (1984), 125–133.41 Appadurai, ‘Cosmopolitanism from Below’.42 Sharda, ‘India’s Fabulous Film Industry’, 46.43 ‘Inside India’s Hollywood’, Drum, May 1959, 26.44 Ibid.45 I was lucky enough to meet the late Sam ‘Mr Lucky’ Naidoo through his friend and writer, Aziz Hassim, over a decade ago. He was still involved in some way with the cinema industry and we edited some of his archive film footage into the documentary film I produced, Legends of the Casbah, in 2012.46 ‘Mr Lucky’, Drum, February 1964, 18.47 Ibid., 17.48 G. R. Naidoo, ‘The Fabulous Rajabs’, Drum, January 1962, 14–17.49 Ibid., 14.50 Ibid., 17.51 ‘It’s Mamoo’s Empire Now’, Drum, December 1973, 12.52 G. R. Naidoo, ‘The Millionaire Touch’, Drum, February 1962, 67.53 Jagarnath, ‘Indian Cinema in Durban’, 168.54 Ibid., 169.55 Coppen, ‘The Last Picture Show’, n.p.56 Jagarnath, ‘Indian Cinema in Durban’, 168–169.57 L. Lau and A. Mendes, eds, Re-Orientalism and South Asian Identity Politics (London: Routledge, 2012), 3.58 Heatlie, ‘They Stood Their Ground!’, 120–137.59 A. Hassim, The Lotus People (Johannesburg: Real African Publishers, 2002).60 Ibid., 179.61 Hassim, The Lotus People, 179–180.62 Interview with Rajab conducted in Johannesburg.63 Hassim, The Lotus People, 201.64 Interview with J. P., 2015, audio recording conducted in Johannesburg.65 Ibid, 16 Oct 2015.66 Interview with Rajab conducted in Johannesburg.67 Ibid.68 Ibid.69 M., ‘The Gruesome Inside Secrets of the Globe Gang’, Drum, April 1954, 46.70 ‘Gang War Crisis!’, Drum, November 1952, 17.71 Interview with E. P., 30 Mar 2017, audio recording conducted in Johannesburg.72 J. Mayet, ‘It Was the Party That Went with a Swing … ’, Drum, September 1964, 39.73 ‘The Power of Old Man Y’, Drum, June 1971, 21.74 ‘The Battle of Bullet Corner – Old Man Y: Part III’, Drum, August 1971, 59.75 ‘Gangat’s Bid for Power – The Life of a Gangster Part II’, Drum, April 1964, 55.76 Interview with E. P conducted in Johannesburg.77 Interview with M. ‘Mac’ Carim, 6 Dec 2017, audio recording conducted in Johannesburg.78 M. Carim, Coolie, Come Out and Fight! (Johannesburg: Porcupine Press, 2013).79 N. Tolsi, ‘When Movies Still Had Magic’, Mail and Guardian Online, 26 July 2009, https://mg.co.za/article/2009-07-26-when-movies-still-had-magic/, accessed 29 July 2017.80 Old Man Kajee, ‘My Life in the Underworld: III’, Drum, August 1953, 15.81 Interview with M. S.82 J. Schadeberg, ed., The Fifties People of South Africa (Johannesburg: Bailey’s African Photo Archives, 1987), 208.83 Interview with Saloojee conducted in Johannesburg.84 Ibid.85 D. Hancroft, ‘Crimson League: A Name That Spells Terror to Thousands’, Drum, January 1953, 15.86 ‘Goolam Gangat – The Life of a Gangster’, Drum, March 1964, 24.Additional informationNotes on contributorsDamon HeatlieDamon Heatlie is a Senior Lecturer at Wits Film and Television at the University of the Witwatersrand (Wits). He has also taught at the Universities of Cape Town, the Western Cape, and Transkei. He has guest lectured at Arcada University (Helsinki) and Valand Academy (University of Gothenburg). He has an MA in Literary Studies (cum laude) from the University of Cape Town, an MBA from the Wits Business School, and completed a PhD undertaken at Wits and the University of East Anglia. His doctoral thesis comprised a feature film screenplay and research on South African Indian gangsters during early apartheid.","PeriodicalId":45116,"journal":{"name":"South African Historical Journal","volume":"276 1","pages":"0"},"PeriodicalIF":0.4000,"publicationDate":"2023-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"‘Gangsters by the Bioscope’: South African Indian Cinemas as Spaces of Becoming during Early Apartheid\",\"authors\":\"Damon Heatlie\",\"doi\":\"10.1080/02582473.2023.2259116\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACTFrom the 1940s to the 1960s, South African Indians encountered new cinema spaces opening in their ghettoes in Durban and Johannesburg. Cinemas afforded working-class people an experience of luxury, a sense of a public, and a taste of opportunity and glamour. As part of the negotiation of new diasporic and hybrid identities during early apartheid, cinema played a constitutive role in the reshaping of selves. A balancing act of ‘traditional’ (Indian) and ‘modern’ (Western/South African) cultural elements was required in this reconstruction. Old parts of self had to be at least partially forgotten and new parts assimilated to deal with new conditions. Cinematic identification and the self-fashioning of identity facilitated a reimagining of identity formation as an ‘assemblage’ – a playing out or testing of various new ‘roles’ and positions alongside old ones. One of these new roles was an aggressive Indian ‘gangster’ masculinity, informed by prevailing national conditions and transnational cinematic gangster tropes. Not only did gangsters learn ‘moves’ from the movies, they were also energised by and profited from the movie houses themselves.KEYWORDS: South African Indian cinemasidentityapartheidgangstersidentificationcosmopolitanism Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 D. Heatlie, ‘“They Stood Their Ground!”: Professional Gangsters in South African Indian Society, 1940–1970’ (PhD thesis, University of the Witwatersrand, Johannesburg, 2019).2 J. Desai, ‘Bollywood Abroad: South Asian Diasporic Cosmopolitanism and Indian Cinema’, in G. Rajan and S. Sharma, eds, New Cosmopolitanisms: South Asians in the US (Stanford: Stanford University Press, 2006), 116.3 Interview with M. S., 5 July 2016, audio recording conducted in Johannesburg.4 Interview with C. Mistry, 15 February 2016, audio recording conducted in Johannesburg.5 B. Freund, Insiders and Outsiders: The Indian Working Class of Durban, 1910–1990 (Pietermaritzburg: University of KwaZulu-Natal Press, 1995), 10.6 N. Coppen, ‘The Last Picture Show’, Neilcoppen.com (blog), 22 September 2008, https://neilcoppen.com/2008/09/22/the-last-picture-show/, accessed 5 December 2017.7 Ibid.8 V. Jagarnath, ‘Indian Cinema in Durban: Urban Segregation, Business and Visions of Identity from the 1950s to the 1970s’, Occasional Paper 22 (2014), 166, https://ojs.ruc.dk/index.php/ocpa/article/view/3808.9 F. Meer and E.S. Reddy, ‘Passive Resistance 1946 – A Selection of Documents. Part 4 Special Focus: Wrangling between Political Groups –1947’, South African History Online, 23 May 2011, http://www.sahistory.org.za/archive/passive-resistance-1946-selection-documents-compiled-es-reddy-fatima-meer, accessed 13 June 2018.10 Coppen, ‘The Last Picture Show’.11 A. Shepperson and K. Tomaselli, ‘South African Cinema Beyond Apartheid: Affirmative Action in Distribution and Storytelling’, Social Identities 6, 3 (2000), 327.12 Interview with Y. ‘Chommie’ Saloojee, 5 October 2015, audio recording conducted in Johannesburg.13 Jagarnath, ‘Indian Cinema in Durban’, 165.14 Mistry remembers in the 1950s ‘we used to see a lot of Hindi movies – only Hindi movies. Now and then we used to go for a movie of Hollywood.’ Interview with Mistry.15 Jagarnath, ‘Indian Cinema in Durban’, 167–170.16 Interview with K. Rajab, 21 November 2017, audio recording conducted in Johannesburg.17 Heatlie, ‘They Stood Their Ground!’, 13.18 Jagarnath, ‘Indian Cinema in Durban’. 167–170.19 D. K. Sharda, ‘India’s Fabulous Film Industry’, Drum, June 1955, 46.20 ‘Key Sites: Cinemas,’ South African History Online, https://www.sahistory.org.za/article/key-sites, accessed 23 November 2017.21 S. Chakravarty, National Identity in Indian Popular Cinema, 1947–1987 (Austin: University of Texas Press, 2011).22 P. Chowdhry, Colonial India and the Making of Empire Cinema: Image, Ideology and Identity (Manchester: Manchester University Press, 2000).23 Heatlie, ‘They Stood Their Ground!’, 15–20.24 Sharda, ‘India’s Fabulous Film Industry’, 46.25 Ibid., 47.26 Ibid.27 Interview with Mistry conducted in Johannesburg.28 Interview with M. Rajab, 31 January 2018, audio recording conducted in Johannesburg.29 Interview with Saloojee conducted in Johannesburg.30 L. Mulvey, ‘Visual Pleasure and Narrative Cinema’, in C. Penley, ed., Feminism and Film Theory (New York: Routledge, 2013), 803–816.31 L. Mulvey, ‘Afterthoughts on “Visual Pleasure and Narrative Cinema” Inspired by Duel in the Sun’, in C. Penley, ed., Feminism and Film Theory (New York: Routledge, 2013), 69.32 Mulvey, ‘Visual Pleasure and Narrative Cinema’, 59.33 Ibid., 60.34 Ibid., 63.35 K. Tomaselli and A. Shepperson, ‘Mirror Communities and Straw Individualisms: Essentialism, Cinema and Semiotic Analysis’, Journal of African Cinemas 3, 1 (2011), 13.36 b. hooks, ‘The Oppositional Gaze: Black Female Spectators’, in J. Belton, ed., Movies and Mass Culture (New Brunswick: Rutgers University Press, 1996), 249–258.37 Ibid., 254.38 J. Martin and K. Govender, ‘“Indenturing the Body”: Traditional Masculine Role Norms, Body Image Discrepancy, and Muscularity in a Sample of South African Indian Boys’, Culture, Society and Masculinities, 5, 1 (2013), 24.39 A. Appadurai, ‘Cosmopolitanism from Below: Some Ethical Lessons from the Slumbs of Mumbai’, Johannesburg Workshop in Theory and Criticism: Salon 4 (2011), https://web.archive.org/web/20160414163946/http://jwtc.org.za/volume_4/arjun_appadurai.htm, accessed 17 September 2023.40 H. Bhabha, ‘Of Mimicry and Man: The Ambivalence of Colonial Discourse’, October 28 (1984), 125–133.41 Appadurai, ‘Cosmopolitanism from Below’.42 Sharda, ‘India’s Fabulous Film Industry’, 46.43 ‘Inside India’s Hollywood’, Drum, May 1959, 26.44 Ibid.45 I was lucky enough to meet the late Sam ‘Mr Lucky’ Naidoo through his friend and writer, Aziz Hassim, over a decade ago. He was still involved in some way with the cinema industry and we edited some of his archive film footage into the documentary film I produced, Legends of the Casbah, in 2012.46 ‘Mr Lucky’, Drum, February 1964, 18.47 Ibid., 17.48 G. R. Naidoo, ‘The Fabulous Rajabs’, Drum, January 1962, 14–17.49 Ibid., 14.50 Ibid., 17.51 ‘It’s Mamoo’s Empire Now’, Drum, December 1973, 12.52 G. R. Naidoo, ‘The Millionaire Touch’, Drum, February 1962, 67.53 Jagarnath, ‘Indian Cinema in Durban’, 168.54 Ibid., 169.55 Coppen, ‘The Last Picture Show’, n.p.56 Jagarnath, ‘Indian Cinema in Durban’, 168–169.57 L. Lau and A. Mendes, eds, Re-Orientalism and South Asian Identity Politics (London: Routledge, 2012), 3.58 Heatlie, ‘They Stood Their Ground!’, 120–137.59 A. Hassim, The Lotus People (Johannesburg: Real African Publishers, 2002).60 Ibid., 179.61 Hassim, The Lotus People, 179–180.62 Interview with Rajab conducted in Johannesburg.63 Hassim, The Lotus People, 201.64 Interview with J. P., 2015, audio recording conducted in Johannesburg.65 Ibid, 16 Oct 2015.66 Interview with Rajab conducted in Johannesburg.67 Ibid.68 Ibid.69 M., ‘The Gruesome Inside Secrets of the Globe Gang’, Drum, April 1954, 46.70 ‘Gang War Crisis!’, Drum, November 1952, 17.71 Interview with E. P., 30 Mar 2017, audio recording conducted in Johannesburg.72 J. Mayet, ‘It Was the Party That Went with a Swing … ’, Drum, September 1964, 39.73 ‘The Power of Old Man Y’, Drum, June 1971, 21.74 ‘The Battle of Bullet Corner – Old Man Y: Part III’, Drum, August 1971, 59.75 ‘Gangat’s Bid for Power – The Life of a Gangster Part II’, Drum, April 1964, 55.76 Interview with E. P conducted in Johannesburg.77 Interview with M. ‘Mac’ Carim, 6 Dec 2017, audio recording conducted in Johannesburg.78 M. Carim, Coolie, Come Out and Fight! (Johannesburg: Porcupine Press, 2013).79 N. Tolsi, ‘When Movies Still Had Magic’, Mail and Guardian Online, 26 July 2009, https://mg.co.za/article/2009-07-26-when-movies-still-had-magic/, accessed 29 July 2017.80 Old Man Kajee, ‘My Life in the Underworld: III’, Drum, August 1953, 15.81 Interview with M. S.82 J. Schadeberg, ed., The Fifties People of South Africa (Johannesburg: Bailey’s African Photo Archives, 1987), 208.83 Interview with Saloojee conducted in Johannesburg.84 Ibid.85 D. Hancroft, ‘Crimson League: A Name That Spells Terror to Thousands’, Drum, January 1953, 15.86 ‘Goolam Gangat – The Life of a Gangster’, Drum, March 1964, 24.Additional informationNotes on contributorsDamon HeatlieDamon Heatlie is a Senior Lecturer at Wits Film and Television at the University of the Witwatersrand (Wits). He has also taught at the Universities of Cape Town, the Western Cape, and Transkei. He has guest lectured at Arcada University (Helsinki) and Valand Academy (University of Gothenburg). He has an MA in Literary Studies (cum laude) from the University of Cape Town, an MBA from the Wits Business School, and completed a PhD undertaken at Wits and the University of East Anglia. 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引用次数: 0

摘要

从20世纪40年代到60年代,南非的印度人在德班和约翰内斯堡的贫民窟里遇到了新的电影空间。电影院为工人阶级提供了一种奢华的体验,一种公众的感觉,一种机会和魅力的品味。作为早期种族隔离时期新散居和混合身份谈判的一部分,电影在重塑自我方面发挥了建设性作用。在这次重建中需要“传统”(印度)和“现代”(西方/南非)文化元素的平衡。自我的旧部分必须至少部分地被遗忘,而新的部分必须被吸收以应对新的条件。电影认同和身份的自我塑造促进了身份形成的重新想象,作为一种“组合”——在旧的“角色”和位置旁边发挥或测试各种新的“角色”和位置。其中一个新角色是一个好斗的印度“黑帮”男子气概,受当前国情和跨国电影黑帮修辞的影响。黑帮不仅从电影中学习“招式”,他们自己也从电影中获得了活力并从中获利。关键词:南非印度电影身份种族隔离黑帮身份世界主义披露声明作者未报告潜在利益冲突。D.希斯利:“他们坚持自己的立场!《南非印度社会的职业黑帮,1940-1970》(博士论文,威特沃特斯兰德大学,约翰内斯堡,2019年)J. Desai,“宝莱坞海外:南亚侨民世界主义和印度电影”,在G. Rajan和S. Sharma,编辑,新世界主义:南亚人在美国(斯坦福:斯坦福大学出版社,2006),116.3采访m.s., 2016年7月5日,在约翰内斯堡进行录音。4采访C. Mistry, 2016年2月15日,在约翰内斯堡进行录音。5 B. Freund,内部人和局外人:德班的印度工人阶级,1910-1990 (Pietermaritzburg:夸祖鲁-纳塔尔大学出版社,1995年),10.6 N. Coppen,“最后的图片展示”,Neilcoppen.com(博客),2008年9月22日,https://neilcoppen.com/2008/09/22/the-last-picture-show/, 2017年12月5日访问。Jagarnath,“德班的印度电影:从1950年代到1970年代的城市隔离,商业和身份的愿景”,《偶尔论文》22 (2014),166,https://ojs.ruc.dk/index.php/ocpa/article/view/3808.9 F。Meer和E.S. Reddy,《1946年消极抵抗——文件选集》。第4部分:特别关注:政治团体之间的争吵-1947”,南非历史在线,2011年5月23日,http://www.sahistory.org.za/archive/passive-resistance-1946-selection-documents-compiled-es-reddy-fatima-meer, 2018年6月13日访问一个。Shepperson和K. Tomaselli,“超越种族隔离的南非电影:发行和讲故事中的平权行动”,社会身份6,3(2000),327.12对Y. ' Chommie ' Saloojee的采访,2015年10月5日,在约翰内斯堡进行的录音。13 Jagarnath,“德班的印度电影”,165.14 Mistry记得在20世纪50年代“我们曾经看过很多印度电影-只有印度电影。”我们过去常常去看好莱坞电影。采访Mistry.15 Jagarnath,“德班的印度电影”,167-170.16对K. Rajab的采访,2017年11月21日,在约翰内斯堡进行的录音。, 13.18 jagarath,“德班的印度电影”。D. K. Sharda,“印度神话般的电影工业”,Drum, 1955年6月,46.20“关键地点:电影院”,南非历史在线,https://www.sahistory.org.za/article/key-sites, 2017年11月23日访问P.乔杜里,《殖民印度与帝国电影的形成:形象、意识形态和身份》(曼彻斯特:曼彻斯特大学出版社,2000年),第23页希斯利:“他们坚守阵地!”, 15-20.24 Sharda,“印度神话般的电影工业”,46.25同上,47.26同上,27在约翰内斯堡对Mistry进行的采访。28对M. Rajab的采访,2018年1月31日,在约翰内斯堡进行的录音。29在约翰内斯堡对Saloojee的采访。30 L. Mulvey,“视觉愉悦和叙事电影”,在C. Penley编辑,女权主义和电影理论(纽约):L. Mulvey,“对“视觉愉悦与叙事电影”的反思”,灵感来自于《阳光下的决斗》,载于C. Penley主编,《女权主义与电影理论》(纽约:Routledge出版社,2013),69.32 Mulvey,“视觉愉悦与叙事电影”,59.33同上,60.34同上,63.35 K。Tomaselli和A. Shepperson,“镜像社区和秸秆个人主义:本质主义,电影和符号学分析”,《非洲电影杂志》,2011年第31期,13.36 b. hooks,“对立的凝视:黑人女性观众”,见J. Belton主编,《电影和大众文化》(New Brunswick: Rutgers University Press, 1996), 249-258.37同上,254.38 J。
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‘Gangsters by the Bioscope’: South African Indian Cinemas as Spaces of Becoming during Early Apartheid
ABSTRACTFrom the 1940s to the 1960s, South African Indians encountered new cinema spaces opening in their ghettoes in Durban and Johannesburg. Cinemas afforded working-class people an experience of luxury, a sense of a public, and a taste of opportunity and glamour. As part of the negotiation of new diasporic and hybrid identities during early apartheid, cinema played a constitutive role in the reshaping of selves. A balancing act of ‘traditional’ (Indian) and ‘modern’ (Western/South African) cultural elements was required in this reconstruction. Old parts of self had to be at least partially forgotten and new parts assimilated to deal with new conditions. Cinematic identification and the self-fashioning of identity facilitated a reimagining of identity formation as an ‘assemblage’ – a playing out or testing of various new ‘roles’ and positions alongside old ones. One of these new roles was an aggressive Indian ‘gangster’ masculinity, informed by prevailing national conditions and transnational cinematic gangster tropes. Not only did gangsters learn ‘moves’ from the movies, they were also energised by and profited from the movie houses themselves.KEYWORDS: South African Indian cinemasidentityapartheidgangstersidentificationcosmopolitanism Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 D. Heatlie, ‘“They Stood Their Ground!”: Professional Gangsters in South African Indian Society, 1940–1970’ (PhD thesis, University of the Witwatersrand, Johannesburg, 2019).2 J. Desai, ‘Bollywood Abroad: South Asian Diasporic Cosmopolitanism and Indian Cinema’, in G. Rajan and S. Sharma, eds, New Cosmopolitanisms: South Asians in the US (Stanford: Stanford University Press, 2006), 116.3 Interview with M. S., 5 July 2016, audio recording conducted in Johannesburg.4 Interview with C. Mistry, 15 February 2016, audio recording conducted in Johannesburg.5 B. Freund, Insiders and Outsiders: The Indian Working Class of Durban, 1910–1990 (Pietermaritzburg: University of KwaZulu-Natal Press, 1995), 10.6 N. Coppen, ‘The Last Picture Show’, Neilcoppen.com (blog), 22 September 2008, https://neilcoppen.com/2008/09/22/the-last-picture-show/, accessed 5 December 2017.7 Ibid.8 V. Jagarnath, ‘Indian Cinema in Durban: Urban Segregation, Business and Visions of Identity from the 1950s to the 1970s’, Occasional Paper 22 (2014), 166, https://ojs.ruc.dk/index.php/ocpa/article/view/3808.9 F. Meer and E.S. Reddy, ‘Passive Resistance 1946 – A Selection of Documents. Part 4 Special Focus: Wrangling between Political Groups –1947’, South African History Online, 23 May 2011, http://www.sahistory.org.za/archive/passive-resistance-1946-selection-documents-compiled-es-reddy-fatima-meer, accessed 13 June 2018.10 Coppen, ‘The Last Picture Show’.11 A. Shepperson and K. Tomaselli, ‘South African Cinema Beyond Apartheid: Affirmative Action in Distribution and Storytelling’, Social Identities 6, 3 (2000), 327.12 Interview with Y. ‘Chommie’ Saloojee, 5 October 2015, audio recording conducted in Johannesburg.13 Jagarnath, ‘Indian Cinema in Durban’, 165.14 Mistry remembers in the 1950s ‘we used to see a lot of Hindi movies – only Hindi movies. Now and then we used to go for a movie of Hollywood.’ Interview with Mistry.15 Jagarnath, ‘Indian Cinema in Durban’, 167–170.16 Interview with K. Rajab, 21 November 2017, audio recording conducted in Johannesburg.17 Heatlie, ‘They Stood Their Ground!’, 13.18 Jagarnath, ‘Indian Cinema in Durban’. 167–170.19 D. K. Sharda, ‘India’s Fabulous Film Industry’, Drum, June 1955, 46.20 ‘Key Sites: Cinemas,’ South African History Online, https://www.sahistory.org.za/article/key-sites, accessed 23 November 2017.21 S. Chakravarty, National Identity in Indian Popular Cinema, 1947–1987 (Austin: University of Texas Press, 2011).22 P. Chowdhry, Colonial India and the Making of Empire Cinema: Image, Ideology and Identity (Manchester: Manchester University Press, 2000).23 Heatlie, ‘They Stood Their Ground!’, 15–20.24 Sharda, ‘India’s Fabulous Film Industry’, 46.25 Ibid., 47.26 Ibid.27 Interview with Mistry conducted in Johannesburg.28 Interview with M. Rajab, 31 January 2018, audio recording conducted in Johannesburg.29 Interview with Saloojee conducted in Johannesburg.30 L. Mulvey, ‘Visual Pleasure and Narrative Cinema’, in C. Penley, ed., Feminism and Film Theory (New York: Routledge, 2013), 803–816.31 L. Mulvey, ‘Afterthoughts on “Visual Pleasure and Narrative Cinema” Inspired by Duel in the Sun’, in C. Penley, ed., Feminism and Film Theory (New York: Routledge, 2013), 69.32 Mulvey, ‘Visual Pleasure and Narrative Cinema’, 59.33 Ibid., 60.34 Ibid., 63.35 K. Tomaselli and A. Shepperson, ‘Mirror Communities and Straw Individualisms: Essentialism, Cinema and Semiotic Analysis’, Journal of African Cinemas 3, 1 (2011), 13.36 b. hooks, ‘The Oppositional Gaze: Black Female Spectators’, in J. Belton, ed., Movies and Mass Culture (New Brunswick: Rutgers University Press, 1996), 249–258.37 Ibid., 254.38 J. Martin and K. Govender, ‘“Indenturing the Body”: Traditional Masculine Role Norms, Body Image Discrepancy, and Muscularity in a Sample of South African Indian Boys’, Culture, Society and Masculinities, 5, 1 (2013), 24.39 A. Appadurai, ‘Cosmopolitanism from Below: Some Ethical Lessons from the Slumbs of Mumbai’, Johannesburg Workshop in Theory and Criticism: Salon 4 (2011), https://web.archive.org/web/20160414163946/http://jwtc.org.za/volume_4/arjun_appadurai.htm, accessed 17 September 2023.40 H. Bhabha, ‘Of Mimicry and Man: The Ambivalence of Colonial Discourse’, October 28 (1984), 125–133.41 Appadurai, ‘Cosmopolitanism from Below’.42 Sharda, ‘India’s Fabulous Film Industry’, 46.43 ‘Inside India’s Hollywood’, Drum, May 1959, 26.44 Ibid.45 I was lucky enough to meet the late Sam ‘Mr Lucky’ Naidoo through his friend and writer, Aziz Hassim, over a decade ago. He was still involved in some way with the cinema industry and we edited some of his archive film footage into the documentary film I produced, Legends of the Casbah, in 2012.46 ‘Mr Lucky’, Drum, February 1964, 18.47 Ibid., 17.48 G. R. Naidoo, ‘The Fabulous Rajabs’, Drum, January 1962, 14–17.49 Ibid., 14.50 Ibid., 17.51 ‘It’s Mamoo’s Empire Now’, Drum, December 1973, 12.52 G. R. Naidoo, ‘The Millionaire Touch’, Drum, February 1962, 67.53 Jagarnath, ‘Indian Cinema in Durban’, 168.54 Ibid., 169.55 Coppen, ‘The Last Picture Show’, n.p.56 Jagarnath, ‘Indian Cinema in Durban’, 168–169.57 L. Lau and A. Mendes, eds, Re-Orientalism and South Asian Identity Politics (London: Routledge, 2012), 3.58 Heatlie, ‘They Stood Their Ground!’, 120–137.59 A. Hassim, The Lotus People (Johannesburg: Real African Publishers, 2002).60 Ibid., 179.61 Hassim, The Lotus People, 179–180.62 Interview with Rajab conducted in Johannesburg.63 Hassim, The Lotus People, 201.64 Interview with J. P., 2015, audio recording conducted in Johannesburg.65 Ibid, 16 Oct 2015.66 Interview with Rajab conducted in Johannesburg.67 Ibid.68 Ibid.69 M., ‘The Gruesome Inside Secrets of the Globe Gang’, Drum, April 1954, 46.70 ‘Gang War Crisis!’, Drum, November 1952, 17.71 Interview with E. P., 30 Mar 2017, audio recording conducted in Johannesburg.72 J. Mayet, ‘It Was the Party That Went with a Swing … ’, Drum, September 1964, 39.73 ‘The Power of Old Man Y’, Drum, June 1971, 21.74 ‘The Battle of Bullet Corner – Old Man Y: Part III’, Drum, August 1971, 59.75 ‘Gangat’s Bid for Power – The Life of a Gangster Part II’, Drum, April 1964, 55.76 Interview with E. P conducted in Johannesburg.77 Interview with M. ‘Mac’ Carim, 6 Dec 2017, audio recording conducted in Johannesburg.78 M. Carim, Coolie, Come Out and Fight! (Johannesburg: Porcupine Press, 2013).79 N. Tolsi, ‘When Movies Still Had Magic’, Mail and Guardian Online, 26 July 2009, https://mg.co.za/article/2009-07-26-when-movies-still-had-magic/, accessed 29 July 2017.80 Old Man Kajee, ‘My Life in the Underworld: III’, Drum, August 1953, 15.81 Interview with M. S.82 J. Schadeberg, ed., The Fifties People of South Africa (Johannesburg: Bailey’s African Photo Archives, 1987), 208.83 Interview with Saloojee conducted in Johannesburg.84 Ibid.85 D. Hancroft, ‘Crimson League: A Name That Spells Terror to Thousands’, Drum, January 1953, 15.86 ‘Goolam Gangat – The Life of a Gangster’, Drum, March 1964, 24.Additional informationNotes on contributorsDamon HeatlieDamon Heatlie is a Senior Lecturer at Wits Film and Television at the University of the Witwatersrand (Wits). He has also taught at the Universities of Cape Town, the Western Cape, and Transkei. He has guest lectured at Arcada University (Helsinki) and Valand Academy (University of Gothenburg). He has an MA in Literary Studies (cum laude) from the University of Cape Town, an MBA from the Wits Business School, and completed a PhD undertaken at Wits and the University of East Anglia. His doctoral thesis comprised a feature film screenplay and research on South African Indian gangsters during early apartheid.
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来源期刊
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期刊介绍: Over the past 40 years, the South African Historical Journal has become renowned and internationally regarded as a premier history journal published in South Africa, promoting significant historical scholarship on the country as well as the southern African region. The journal, which is linked to the Southern African Historical Society, has provided a high-quality medium for original thinking about South African history and has thus shaped - and continues to contribute towards defining - the historiography of the region.
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