Restructuring the industry: South African cinema beyond Apartheid

Shepperson, Arnold; Tomaselli, Keyan G.

doi:10.1080/10137548.2002.9687742

Cited by 11 publications

(8 citation statements)

References 6 publications

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“…This policy was not conducive to broad-based audience development or the production of quality films, and the quality and reception of most South African cinema can at best be described as inconsistent (Shepperson and Tomaselli, 2002). After South Africa's first democratic elections in 1994, film was identified as an industry with significant economic potential.…”

Section: The South African Industry: a Producer Of Niche Services To mentioning

confidence: 99%

How Demand Sophistication (De‐)limits Economic Upgrading: Comparing the Film Industries of South Africa and Nigeria (Nollywood)

Barnard

Tuomi

2008

Industry and Innovation

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More sophisticated demand is typically seen as an enabler of economic upgrading. This study questions this linearity and extends demand theory through a case analysis of the film industry in two developing countries. When unsophisticated local demand results in well-matched supply-and demand-side elements, benefits do accrue. Low exposure to technically superior products in Nigeria allowed a fully fledged film value chain to develop, as consumers were willing to support lower quality output. Although the industry is too weak to seriously threaten incumbents from the developed world on the global stage, it has substantial impact in its home country. In contrast, if demand is far more sophisticated than supply, local industry will struggle to respond to broad-based demand signals and will achieve accelerated learning only in niche areas. South Africa has become a niche producer in the global film industry rather than film producer in its own right partly because the widespread demand for Hollywood-quality products could not be met by local supply capabilities.

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Section: The South African Industry: a Producer Of Niche Services To mentioning

confidence: 99%

How Demand Sophistication (De‐)limits Economic Upgrading: Comparing the Film Industries of South Africa and Nigeria (Nollywood)

Barnard

Tuomi

2008

Industry and Innovation

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“…Slegs ses jaar nadat Thomas Edison die kinetoskoop ontdek het, het dit in Suid-Afrika sy verskyning gemaak. Die Suid-Afrikaanse rolprent het in 1895 ontstaan toe die eerste kameraskoot geneem is van president Paul Kruger wat vanaf sy huis na sy koets gestap en vertrek het na die Raadsaal vir 'n vergadering (Van Nierop 2005, Louw 1998 (Shepperson & Tomaselli 2002, Le Roux & Fourie 1982.…”

Section: Die Tydperk Tussen 1895 En 1929unclassified

“…Laasgenoemde het 'n bedreiging ingehou vir die monopolie waaroor Twentieth Century Fox beskik het. Hulle het later bekend gestaan as Ster Film Imports en is gefinansier deur die versekeringsmaatskappy SANLAM (Botha 2012(Botha , 2007Shepperson & Tomaselli 2002). Die stigting van WIB was 'n prominente magsvertoon om die monopolie binne nasionale Afrikanergeledere te bevestig.…”

Section: Die Tydperk Tussen 1950 En 1960unclassified

“…Satbel het gedurende hierdie tydperk ongeveer 76% van Suid-Afrika se verspreidingsnetwerke beheer en die ander 24% was onder die beheer van UIP-Warner. SANLAM het teen die einde van 1969 die monopolie van die vervaardiging, verspreiding en vertoon van rolprente in Suid-Afrika besit (Tomaselli 2011;Botha 2007;Shepperson & Tomaselli 2002).…”

Section: Die Tydperk Tussen 1961 En 1970unclassified

“…Die monopolie het so ver gestrek as vervaardiging, verspreiding, kommersiële aktiwiteite, besit van ateljees, publisiteit, besprekings en omtrent elke ander denkbare aspek van die bedryf. Satbel het ongeveer 43% van vertoonlokale besit (Shepperson & Tomaselli 2002;Tomaselli 2011Tomaselli , 1988. Groot veranderinge vind egter in 1984 binne die plaaslike rolprentbedryf plaas toe die entrepreneur, Sol Kerzner, die produksie, verspreiding en rolprentfasiliteite van die uiters konserwatiewe Afrikanernasionalistiese Satbel, oorgekoop het.…”

Section: Die Tydperk Tussen 1971 En 1980unclassified

See 2 more Smart Citations

DIE AFRIKAANSE FILMGESKIEDENIS BINNE ‘N GROTER SUID-AFRIKAANSE KONTEKS IN HEROëNSKOU: EKSKLUSIWITEIT IN DIE WEG VAN INKLUSIWITEIT

Jaarsveld

2018

JCH

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Concurrent Whiteness: Science Fiction Film’s Close Encounters in Apartheid South Africa

Harris

2023

History and Speculative Fiction

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This chapter brings the theoretical term “concurrences” to bear on a reading of how US popular filmic depictions of whiteness flowed seamlessly into white South African life during the time of apartheid. I wager that we might productively use the term to consider the ways in which dominant signs and identities, in this case whiteness, might be sustained across different political and ideological terrains through the media of popular culture. Focusing on Steven Spielberg’s 1977 film, Close Encounters of the Third Kind, which premiered in South Africa in 1979, I investigate how science fiction film of this era became a site of white disassociation from apartheid’s realities and association with the global North. The chapter thereby raises a series of questions that challenge received understandings of South Africa’s cultural isolation during apartheid and prompt us to understand apartheid’s global dimensions and contexts.

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Restructuring the industry: South African cinema beyond Apartheid

Cited by 11 publications

References 6 publications

How Demand Sophistication (De‐)limits Economic Upgrading: Comparing the Film Industries of South Africa and Nigeria (Nollywood)

How Demand Sophistication (De‐)limits Economic Upgrading: Comparing the Film Industries of South Africa and Nigeria (Nollywood)

DIE AFRIKAANSE FILMGESKIEDENIS BINNE ‘N GROTER SUID-AFRIKAANSE KONTEKS IN HEROëNSKOU: EKSKLUSIWITEIT IN DIE WEG VAN INKLUSIWITEIT

Concurrent Whiteness: Science Fiction Film’s Close Encounters in Apartheid South Africa

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