Alexia Smit

Biographic Data

ID3684553
NAMEAlexia Smit
GIVEN NAMESAlexia
FAMILY NAMESmit
SIGNATURESMIT A
AFFILIATIONSUniversity of Cape Town
ORCID0000-0001-6524-2842
VERIFIEDYes
TOTAL WORKS10
TOTAL CITATIONS9
AUTHOR COUNT10
EDITOR COUNT0
FIRST PUBLICATION YEAR2013
LATEST PUBLICATION YEAR2026
H-INDEX1

  • Adoption and perceptions of generative AI among South African academics

    Open AccessAlette Schoon, Alexia Smit et al.ARTICLETeaching in Higher Education2026

    This article analyses how South African academics use and perceive the usage of GenAI in Higher Education in South Africa. In the context of a highly unequal, multi-lingual society, there is a dire need to enable epistemological access for all students. Could artificial intelligence with its transformative potential offer solutions or alternatively compound the problem? The article is based on a thematic analysis of interviews with 16 academics f…

  • Cast away” at Home: Exoticising the Local on Survivor South Africa Immunity Island

    Open AccessAlexia SmitARTICLECommunicatio2025References: 3

  • Nommer 37: Power and the gaze in South African cinema

    Tina-Louise Smith, Alexia SmitARTICLEJournal of African Cinemas2023

    A wealth of scholarship exists around looking relations in cinema, but there is a paucity of research into looking relations in South African cinema. With this article we show that the examination of looking relations in South African cinema offers valuable insights and suggest that similar analyses of other South African films can only be fruitful. Through a close textual analysis of Nosipho Dumisa’s Nommer 37 (2018), we interrogate the nature o…

  • Consuming the rich white “Bitch” on The Real Housewives of Johannesburg

    Alexia SmitARTICLEConsumption Markets & Culture2022

    As the first African format of the Real Housewives franchise, The Real Housewives of Johannesburg features a majority black cast and unfolds in an African city. However, it positions a white woman, Christall Kay, in the key structural role of villainess. This article examines what pleasures are offered to viewers who are invited to consume Christall’s particularly controversial brand of entitled white villainy. As Christall is a primary source of…

  • Television and Black Twitter in South Africa: Our Perfect Wedding

    Open AccessAlexia Smit, Tanja BoschARTICLEMedia Culture & Society2020Cited by: 7References: 3

    This article examines Twitter use by audiences of the popular South African television show, Our Perfect Wedding. We argue that the show’s Twitter feed provides an extension of South Africa’s ‘Black Twitter’ facilitating a space for recognition and group identity for Black South African television viewers. Such a space is significant since Black audiences have been neglected in the short history of South African television broadcasting. On Our Pe…

  • The pleasures of cooking and transnational postfeminist media: Siba’s Table

    Alexia SmitARTICLEFeminist Media Studies2018References: 3

    “I’m Siba and I love to cook, for my family, my friends ... and me! This is all about what I put on my table”These are the opening words of Siba’s Table, a globally syndicated cooking show, hosted by

  • Forgiving and forgetting: South African reality television, fatherhood and nation

    Open AccessAlexia SmitARTICLEEuropean Journal of Cultural…2016References: 4

    This article examines the presentation of mediated reconciliation on the South African reality television show Forgive and Forget (e.tv, 2007–2012). The show features a representation of Black South African masculinity that is located in the domestic realm and associated with care and emotion. This differs from the prominent figuring of Black masculinity in terms of the gangster trope in South African media. The national discourse on reconciliati…

  • On the Spectator Side of the Screen”: Considering Space, Gender, and Visual Pleasure in Television

    Alexia SmitARTICLEFeminist Media Studies2015Cited by: 1References: 4

    As a moving image medium, television shares with cinema the capacity to incorporate into its very structure the way the woman's body is to be seen (Laura Mulvey 1975, 25). However, in my own work I

  • Care, Shame, and Intimacy: Reconsidering the Pleasures of Plastic Surgery Reality Television

    Alexia SmitARTICLECamera Obscura Feminism Culture…2014Cited by: 1

    Critical accounts of plastic surgery television tend to explain women viewers' engagement with it either through comparisons to pornography and in terms of visual pleasure or by figuring the viewer as a docile, disciplined subject who reproduces the values espoused by the format. This article offers an alternative account of the pleasures of plastic surgery television series by paying attention to the feelings of care, shame, and intimacy that ar…

  • Visual Effects and Visceral Affect: Tele-Affectivity' and the Intensified Intimacy of Contemporary Television

    Open AccessAlexia SmitARTICLECritical Studies in Television…2013

    This article considers television special effects which reveal the human body in visceral, affecting detail. Building on John Caldwell's work on 'televisuality,' this paper uses the term 'tele-affectivity' to describe the self-conscious foregrounding of the body as site of affect in three television dramas Grey's Anatomy, House and Fringe