Jacqueline Maingard
Biographic Data
| ID | 176501 |
|---|---|
| NAME | Jacqueline Maingard |
| GIVEN NAMES | Jacqueline |
| FAMILY NAME | Maingard |
| SIGNATURE | MAINGARD J |
| AFFILIATIONS | University of the Witwatersrand |
| ORCID | 0000-0003-4001-0409 |
| VERIFIED | Yes |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 45 |
| AUTHOR COUNT | 19 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1991 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 4 |
Drumming up Readers: Zonk! African People’s Pictorial and Films for African Audiences in South Africa in 1949 and the Early 1950s
The Cinematic Cowboy in Africa: Identities and the Western Genre
This article identifies instances in Africa in which the western genre and specifically the figure of the cowboy is appropriated and adapted to local circumstances. It opens with a brief excursion into the western’s influence on African cinema, focusing primarily on Bamako (2016). The article develops a brief discussion of the potentials and pitfalls of comparative research in relation to Africa and proposes that focusing on a specific genre such…
A Pan-African Perspective on Apartheid, Torture, and Resistance in Euzhan Palcy's A Dry White Season
This article starts from the premise that Euzhan Palcy's two films Rue cases ngres / Sugar Cane Alley (1983) and A Dry White Season (1989) share a set of thematic equivalences that represent postcolonial perspectives on Pan-African identities and experiences. In both instances the film's focus is on the experiences of black communities and the atrocities they have suffered at the hands of their enslavers or oppressors. Through a detailed textual …
Projecting Modernity: Sol Plaatje’s Touring Cinema Exhibition in 1920s South Africa
‘Lost Classics’ in Context: Film Production in South Africa 1920–1960
The dominance of American films in the South African market became an increasingly pertinent issue after the First World War, and into the 1920s. Public opinion rallied against 'Americanization' not only in South Africa but more broadly in the British dominions and colonies. The uses to which film was put for black audiences primarily served the combined interests of the ruling white government and capital, particularly in mining. The Transvaal C…
Cinemagoing in District Six, Cape Town, 1920s to 1960s: History, politics, memory
Drawing on recorded and transcribed life history interviews conducted during the 1980s and 2000s, this article discusses the cinemagoing experiences of District Six residents in Cape Town from the 1920s to the 1960s, before the South African apartheid government began, from 1966, to demolish District Six. Cinemagoing was the chief leisure-time activity in District Six in these years, and when recollections of cinemagoing in the interviews are ana…
African cinema and Bamako (2006): Notes on epistemology and film theory
This article analyses Abderrahmane Sissako's feature film Bamako (2006), set in the courtyard of the director's childhood in the city of Bamako itself, in which a trial against global financial institutions, specifically the World Bank and the International Monetary Fund, is enacted from the subjective viewpoints of Malians. In its provocation from the position of the ‘global south’, the film shifts epistemological perspectives towards an alignme…
South African National Cinema
South African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelationships between South African cinema and key points in South Africa’s history, showing how cinema figures in the making, entrenching and undoing of apartheid. This study spans the twentieth century and beyond through detailed analyses of selected films, …
Assignment Africa: Donald Swanson's Colonial Imaginary and Chisoko the African (1949)
African Jim (1949) and The Magic Garden (1951), both directed by Donald Swanson, have a unique place in the history of film in South Africa as amongst the first films to place black identity and experience at their centre. While there is considerable scholarship on the films, there has been little consideration of Donald Swanson's varied career and output. This article shows how he participated in a network of documentary and colonial filmmakers …
Screening Africa in colour: Abderrahmane Sissako's Bamako
When film technology expanded with the development of Technicolor in the 1930s, colour was appropriated to advance the colonial imaging and imagining of Africa already exoticized in early cinema. Zoltan Korda's imperial film The Four Feathers (1939), filmed in Technicolor and shot on location in Africa, is an example of this trend. Since the 1960s, African filmmakers from post-independent sub-Saharan countries, particularly Ousmane Sembene, Djibr…
South African cinema: Histories and futures
In 2006 the film Tsotsi (Gavin Hood, 2005) won an Academy Award for the best foreign film, the first Oscar for South African cinema, twelve years after the country's first democratic elections. In some ways this was no surprise, given that Tsotsi's production values positioned it in an international film market (over)determined by Hollywood. It does however raise questions about how South Africa is being represented to global audiences. Not only …
Cast in Celluloid: Imag(in)ing Identities in South African Cinema
Bokkies/moffies: Cinematic images of black sexual identity inZonk!(1950)
In the late 1940s and 1950s, there was a cluster of films made in South Africa that focused on the black experience. The first of these were Jim Comes to Joburg released in 1949 and Zonk! in 1950, both representing black identity in ways that mark a shift away from earlier fomulations of black people as savages or servile. Zonk! and the later film Song of Africa (1951) both made by African Film Productions are presented as musical revues within a…
Fruits of defiance: Narrating popular consciousness
Fruits ofDefiance is a South African documentary film made in 1989 by two film-makers Brian Tilley and Oliver Schmitz at time of Defiance Campaign that began in August of that year. The Defiance Campaign was launched by Mass Democratic Movement (MDM) in face of government's elections for its tricameral parliament, which sought to trade off 'coloured' and Indian support for a semblance of power in National Party government. A massive boycott of el…
Transforming television broadcasting in a democratic South Africa
Journal Article Transforming television broadcasting in a democratic South Africa Get access Jacqueline Maingard Jacqueline Maingard Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 38, Issue 3, Autumn 1997, Pages 260–270, https://doi.org/10.1093/screen/38.3.260 Published: 01 October 1997
Imag(in)ing the South African Nation: Representations of Identity in the Rugby World Cup 1995
Trends in South African documentary film and video: Questions of Identity and Subjectivity
This paper focuses on the development of an anti‐apartheid documentary film and video ‘movement’ in the period spanning the late 1970s to the early 1990s. It discusses the growth of independent film‐making as well as a number of organisational developments, which formed the basis of this ‘movement’. The paper broadly describes some of the trends that have emerged and places these within a theoretical framework that identifies and examines questio…
New South African cinema: Mapantsula and Sarafina
Education for a Third Cinema in South Africa. Reflections on a Community Video Education Project in Alexandra, Johannesburg
(1991). EDUCATION FOR A THIRD CINEMA IN SOUTH AFRICA. REFLECTIONS ON A COMMUNITY VIDEO EDUCATION PROJECT IN ALEXANDRA, JOHANNESBURG. South African Theatre Journal: Vol. 5, South African Film, pp. 35-45
Imag(in)ing the South African Nation: Representations of Identity in the Rugby World Cup 1995
South African National Cinema
South African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelationships between South African cinema and key points in South Africa’s history, showing how cinema figures in the making, entrenching and undoing of apartheid. This study spans the twentieth century and beyond through detailed analyses of selected films, …
Transforming television broadcasting in a democratic South Africa
Journal Article Transforming television broadcasting in a democratic South Africa Get access Jacqueline Maingard Jacqueline Maingard Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 38, Issue 3, Autumn 1997, Pages 260–270, https://doi.org/10.1093/screen/38.3.260 Published: 01 October 1997
New South African cinema: Mapantsula and Sarafina
Screening Africa in colour: Abderrahmane Sissako's Bamako
When film technology expanded with the development of Technicolor in the 1930s, colour was appropriated to advance the colonial imaging and imagining of Africa already exoticized in early cinema. Zoltan Korda's imperial film The Four Feathers (1939), filmed in Technicolor and shot on location in Africa, is an example of this trend. Since the 1960s, African filmmakers from post-independent sub-Saharan countries, particularly Ousmane Sembene, Djibr…
Trends in South African documentary film and video: Questions of Identity and Subjectivity
This paper focuses on the development of an anti‐apartheid documentary film and video ‘movement’ in the period spanning the late 1970s to the early 1990s. It discusses the growth of independent film‐making as well as a number of organisational developments, which formed the basis of this ‘movement’. The paper broadly describes some of the trends that have emerged and places these within a theoretical framework that identifies and examines questio…
Cinemagoing in District Six, Cape Town, 1920s to 1960s: History, politics, memory
Drawing on recorded and transcribed life history interviews conducted during the 1980s and 2000s, this article discusses the cinemagoing experiences of District Six residents in Cape Town from the 1920s to the 1960s, before the South African apartheid government began, from 1966, to demolish District Six. Cinemagoing was the chief leisure-time activity in District Six in these years, and when recollections of cinemagoing in the interviews are ana…
Bokkies/moffies: Cinematic images of black sexual identity inZonk!(1950)
In the late 1940s and 1950s, there was a cluster of films made in South Africa that focused on the black experience. The first of these were Jim Comes to Joburg released in 1949 and Zonk! in 1950, both representing black identity in ways that mark a shift away from earlier fomulations of black people as savages or servile. Zonk! and the later film Song of Africa (1951) both made by African Film Productions are presented as musical revues within a…
Education for a Third Cinema in South Africa. Reflections on a Community Video Education Project in Alexandra, Johannesburg
(1991). EDUCATION FOR A THIRD CINEMA IN SOUTH AFRICA. REFLECTIONS ON A COMMUNITY VIDEO EDUCATION PROJECT IN ALEXANDRA, JOHANNESBURG. South African Theatre Journal: Vol. 5, South African Film, pp. 35-45
New South African cinema: Mapantsula and Sarafina
Trends in South African documentary film and video: Questions of Identity and Subjectivity
This paper focuses on the development of an anti‐apartheid documentary film and video ‘movement’ in the period spanning the late 1970s to the early 1990s. It discusses the growth of independent film‐making as well as a number of organisational developments, which formed the basis of this ‘movement’. The paper broadly describes some of the trends that have emerged and places these within a theoretical framework that identifies and examines questio…
Fruits of defiance: Narrating popular consciousness
Fruits ofDefiance is a South African documentary film made in 1989 by two film-makers Brian Tilley and Oliver Schmitz at time of Defiance Campaign that began in August of that year. The Defiance Campaign was launched by Mass Democratic Movement (MDM) in face of government's elections for its tricameral parliament, which sought to trade off 'coloured' and Indian support for a semblance of power in National Party government. A massive boycott of el…
Transforming television broadcasting in a democratic South Africa
Journal Article Transforming television broadcasting in a democratic South Africa Get access Jacqueline Maingard Jacqueline Maingard Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 38, Issue 3, Autumn 1997, Pages 260–270, https://doi.org/10.1093/screen/38.3.260 Published: 01 October 1997
Imag(in)ing the South African Nation: Representations of Identity in the Rugby World Cup 1995
Bokkies/moffies: Cinematic images of black sexual identity inZonk!(1950)
In the late 1940s and 1950s, there was a cluster of films made in South Africa that focused on the black experience. The first of these were Jim Comes to Joburg released in 1949 and Zonk! in 1950, both representing black identity in ways that mark a shift away from earlier fomulations of black people as savages or servile. Zonk! and the later film Song of Africa (1951) both made by African Film Productions are presented as musical revues within a…
Cast in Celluloid: Imag(in)ing Identities in South African Cinema
South African cinema: Histories and futures
In 2006 the film Tsotsi (Gavin Hood, 2005) won an Academy Award for the best foreign film, the first Oscar for South African cinema, twelve years after the country's first democratic elections. In some ways this was no surprise, given that Tsotsi's production values positioned it in an international film market (over)determined by Hollywood. It does however raise questions about how South Africa is being represented to global audiences. Not only …
Screening Africa in colour: Abderrahmane Sissako's Bamako
When film technology expanded with the development of Technicolor in the 1930s, colour was appropriated to advance the colonial imaging and imagining of Africa already exoticized in early cinema. Zoltan Korda's imperial film The Four Feathers (1939), filmed in Technicolor and shot on location in Africa, is an example of this trend. Since the 1960s, African filmmakers from post-independent sub-Saharan countries, particularly Ousmane Sembene, Djibr…
African cinema and Bamako (2006): Notes on epistemology and film theory
This article analyses Abderrahmane Sissako's feature film Bamako (2006), set in the courtyard of the director's childhood in the city of Bamako itself, in which a trial against global financial institutions, specifically the World Bank and the International Monetary Fund, is enacted from the subjective viewpoints of Malians. In its provocation from the position of the ‘global south’, the film shifts epistemological perspectives towards an alignme…
South African National Cinema
South African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelationships between South African cinema and key points in South Africa’s history, showing how cinema figures in the making, entrenching and undoing of apartheid. This study spans the twentieth century and beyond through detailed analyses of selected films, …
Assignment Africa: Donald Swanson's Colonial Imaginary and Chisoko the African (1949)
African Jim (1949) and The Magic Garden (1951), both directed by Donald Swanson, have a unique place in the history of film in South Africa as amongst the first films to place black identity and experience at their centre. While there is considerable scholarship on the films, there has been little consideration of Donald Swanson's varied career and output. This article shows how he participated in a network of documentary and colonial filmmakers …
‘Lost Classics’ in Context: Film Production in South Africa 1920–1960
The dominance of American films in the South African market became an increasingly pertinent issue after the First World War, and into the 1920s. Public opinion rallied against 'Americanization' not only in South Africa but more broadly in the British dominions and colonies. The uses to which film was put for black audiences primarily served the combined interests of the ruling white government and capital, particularly in mining. The Transvaal C…
Cinemagoing in District Six, Cape Town, 1920s to 1960s: History, politics, memory
Drawing on recorded and transcribed life history interviews conducted during the 1980s and 2000s, this article discusses the cinemagoing experiences of District Six residents in Cape Town from the 1920s to the 1960s, before the South African apartheid government began, from 1966, to demolish District Six. Cinemagoing was the chief leisure-time activity in District Six in these years, and when recollections of cinemagoing in the interviews are ana…
Projecting Modernity: Sol Plaatje’s Touring Cinema Exhibition in 1920s South Africa
A Pan-African Perspective on Apartheid, Torture, and Resistance in Euzhan Palcy's A Dry White Season
This article starts from the premise that Euzhan Palcy's two films Rue cases ngres / Sugar Cane Alley (1983) and A Dry White Season (1989) share a set of thematic equivalences that represent postcolonial perspectives on Pan-African identities and experiences. In both instances the film's focus is on the experiences of black communities and the atrocities they have suffered at the hands of their enslavers or oppressors. Through a detailed textual …
Drumming up Readers: Zonk! African People’s Pictorial and Films for African Audiences in South Africa in 1949 and the Early 1950s
The Cinematic Cowboy in Africa: Identities and the Western Genre
This article identifies instances in Africa in which the western genre and specifically the figure of the cowboy is appropriated and adapted to local circumstances. It opens with a brief excursion into the western’s influence on African cinema, focusing primarily on Bamako (2016). The article develops a brief discussion of the potentials and pitfalls of comparative research in relation to Africa and proposes that focusing on a specific genre such…
African history and culture studies (15 works) · Sociology (15 works) · Art (13 works) · South African History and Culture (13 works) · History (11 works) · Movie theater (11 works) · Political science (11 works) · Art history (8 works) · Law (8 works) · Media studies (8 works)