A marriage made in heaven: the functioning of patriarchy and nostalgia in<i>Boer soek ’n vrou</i>

Steenkamp, Hilke

doi:10.1080/02500167.2016.1216459

Cited by 3 publications

(2 citation statements)

References 20 publications

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“…Responding, the independent Afrikaans film industry boomed, and niche Afrikaans channels emerged on other platforms—for instance kykNet on DSTV. Hilke Steenkamp (2016) considers the appropriation of patriarchy and nostalgia in Afrikaans programming as part of a business strategy where the insecurities of the Afrikaner (specifically Afrikaner men) are utilised for commercial purposes. She specifically criticises this by way of discussing the reality show Boer Soek ’n Vrou ( Farmer wants a Wife , kykNet, 2008-).…”

Section: Stocktaking (2002-)mentioning

confidence: 99%

Broadcasting change: An aerial overview of South African television debates in an age of constant transition

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2023

Critical Studies in Television: The International Journal of Te

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This aerial review concentrates on the development of the South African television industry as chronicled and analysed by scholarship. Academic reflections on the evolution of television are categorised into three main periods: First, the advent of South African television, second, the transitional period, and third, a period of stocktaking. The overview aims to provide readers with key academic discussions during these periods and the historical context within which they took shape. Looking at issues ranging from censorship, nation-building, restructuring and globalisation, to event television, edutainment programming and community TV, the South African television environment is shown to be in constant transition.

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Section: Stocktaking (2002-)mentioning

confidence: 99%

Broadcasting change: An aerial overview of South African television debates in an age of constant transition

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2023

Critical Studies in Television: The International Journal of Te

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“…3. For recent incarnations of the pastoral farm, see Boer soek 'n vrou (Boer soek 'n vrou 2008present), Treurgrond (2015), or one of the many Afrikaans spoken romantic comedies aimed at affluent white audiences (Steenkamp 2016;Steyn 2016Steyn , 2019. In many of these present day pastorals, black labourers remain a "shadowy presence flitting across the stage now and then to hold a horse or serve a meal" (Coetzee 1988, 5).…”

Section: Notesmentioning

confidence: 99%

The ruins of the rural idyll: reconfiguring the image of the farm in Homeland and Five Fingers for Marseilles

Stuit

2020

Social Dynamics

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The symbolic importance of the image of the farm in South African cultural imaginaries can hardly be overestimated, even today. Historically placed at the nexus of the dualism between commercial agricultural areas and the communal areas of the Bantustans, farms are still deeply marked by the processes of colonisation and dispossession that made them possible. The material and symbolic infrastructures associated with the farm continue to sort access to the rural as idyllic and turn the farm into what Stoler has termed "imperial debris." In this article, I will analyse how Karin Brynard's novel Homeland and Michael Matthews' film Five Fingers for Marseilles stage images of ruined farms that nudge audiences away from the "love and ownership of the farm" as one of the privileged scenes of South African rurality. How do these two texts use the farm to draw attention to the disastrous tracks rural idylls, in their (neo)liberal, capitalistic and (neo)colonial guises, have left in the contemporary moment? What kind of rural futures, livelihoods and landscapes can be gauged from the farm in ruin?

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Romanticising the “Boer”: Narratives of White Victimhood in South African Popular Culture

Knoetze

2020

Journal of Literary Studies

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A marriage made in heaven: the functioning of patriarchy and nostalgia inBoer soek ’n vrou

Cited by 3 publications

References 20 publications

Broadcasting change: An aerial overview of South African television debates in an age of constant transition

Broadcasting change: An aerial overview of South African television debates in an age of constant transition

The ruins of the rural idyll: reconfiguring the image of the farm in Homeland and Five Fingers for Marseilles

Romanticising the “Boer”: Narratives of White Victimhood in South African Popular Culture

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