South African Cinema in Exile
Bibliographic Data
| ID | 2178334 |
|---|---|
| Authors | Lindiwe Dovey (0000-0001-6129-2236) |
| Year | 2005 |
| Volume | 41 |
| Issue | 2 |
| Pages | 189-199 |
| Publication date | 2005-11-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Postcolonial Writing (JOURNAL) |
| Journal identifiers | ISSN: 1744-9855 • E-ISSN: 1744-9863 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/17449850500252375 |
| OpenAlex | W1983391225 |
| Language | EN |
| Citations received | 3 |
| References cited | 2 |
In this overview article, I attempt to characterize a South African cinema of exile through a number of lenses. I begin by situating my study within general studies of cinema and exile before focusing on Hamid Naficy’s distinction between exilic and diasporic films and the notion of the “interstitial”. I use Naficy’s theories, as well as the words of South African filmmakers themselves, as a framework against which to measure South African exilic cinema (which I argue is constituted by films made both outside and within the country), showing that this cinema displays diasporic rather than exilic features. In tracing a South African cinema of exile from Come Back, Africa (1959), through Jemima and Johnny (1966) and A World Apart (1988), through to post‐apartheid exilic films, I argue that these films erode an insider/outsider dichotomy primarily through their alternative form, a subversive combination of documentary and fiction
Aesthetics · Art · Epistemology · Insider · Literature · Movie theater · African history and culture studies · Cinema and Media Studies · South African History and Culture · History · Philosophy
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,15 |
| Citation span | 2006 - 2020 (15) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 3 |