Lockdown an African Witchcraft Drama
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1 COPYRIGHT STATEMENT This Copy of the Thesis Has Been
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2012 Life Expansion: Toward an Artistic, Design-Based Theory of the Transhuman / Posthuman Vita-More, Natasha http://hdl.handle.net/10026.1/1182 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. 1 Life Expansion: Toward an Artistic, Design-Based Theory of the Transhuman / Posthuman by NATASHA VITA-MORE A thesis submitted to the University of Plymouth in partial fulfillment for the degree of DOCTOR OF PHILOSOPHY School of Art & Media Faculty of Arts April 2012 2 Natasha Vita-More Life Expansion: Toward an Artistic, Design-Based Theory of the Transhuman / Posthuman The thesis’ study of life expansion proposes a framework for artistic, design-based approaches concerned with prolonging human life and sustaining personal identity. To delineate the topic: life expansion means increasing the length of time a person is alive and diversifying the matter in which a person exists. -
Table of Contents
South African tabloid newspapers’ representation of black celebrities: A social constructionism perspective Emmanuel Mogoboya Matsebatlela Dissertation presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Journalism) at Stellenbosch University Supervisor: Josh Ogada September 2009 DECLARATION I, the undersigned, hereby declare that the work contained in this dissertation is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: Date: (Emmanuel Mogoboya Matsebatlela) Copyright © 2009 Stellenbosch University All rights reserved 1 ACKNOWLEDGEMENTS I would like to thank the following people: . My supervisor, Josh Ogada, for his expert and invaluable guidance throughout the course of my studies. Professor Alet Kruger for helping me with the translations. The University of South Africa for providing me unrestricted access to their library facilities. My parents, John and Paulina Matsebatlela, for their unwavering support and constant encouragement. My wife, Molebogeng, for her patience, motivation and support. 2 DEDICATION I would like to dedicate this study to my late Uncles, Rangwane M’phalaborwa ‘Mamodila Selemantwa’ Matsebatlela and Malome Thomas Mahlo. Though their life journeys have ended, they will forever remain etched in our memories. May their souls rest in peace. 3 ABSTRACT This study examines how positively or negatively as well as how subjectively or objectively the South African tabloid newspapers represent black celebrities. This examination was primarily conducted by using the content analysis research technique. The researcher selected a total of 85 newspapers spread across four different South African daily and weekend tabloid newspapers that were published during the period February to September 2008. -
South Africa: Afrikaans Film and the Imagined Boundaries of Afrikanerdom
A new laager for a “new” South Africa: Afrikaans film and the imagined boundaries of Afrikanerdom Adriaan Stefanus Steyn Thesis presented in fulfilment of the requirements for the degree of Master of Arts in Social Anthropology in the faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr Bernard Dubbeld Faculty of Arts and Social Sciences Department of Sociology and Social Anthropology December 2016 Stellenbosch University https://scholar.sun.ac.za By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. December 2016 Copyright © 2016 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract The Afrikaans film industry came into existence in 1916, with the commercial release of De Voortrekkers (Shaw), and, after 1948, flourished under the guardianship of the National Party. South Africa’s democratic transition, however, seemed to announce the death of the Afrikaans film. In 1998, the industry entered a nine-year slump during which not a single Afrikaans film was released on the commercial circuit. Yet, in 2007, the industry was revived and has been expanding rapidly ever since. This study is an attempt to explain the Afrikaans film industry’s recent success and also to consider some of its consequences. To do this, I situate the Afrikaans film industry within a larger – and equally flourishing – Afrikaans culture industry. -
A Channel Guide
Intelsat is the First MEDIA Choice In Africa Are you ready to provide top media services and deliver optimal video experience to your growing audiences? With 552 channels, including 50 in HD and approximately 192 free to air (FTA) channels, Intelsat 20 (IS-20), Africa’s leading direct-to- home (DTH) video neighborhood, can empower you to: Connect with Expand Stay agile with nearly 40 million your digital ever-evolving households broadcasting reach technologies From sub-Saharan Africa to Western Europe, millions of households have been enjoying the superior video distribution from the IS-20 Ku-band video neighborhood situated at 68.5°E orbital location. Intelsat 20 is the enabler for your TV future. Get on board today. IS-20 Channel Guide 2 CHANNEL ENC FR P CHANNEL ENC FR P 947 Irdeto 11170 H Bonang TV FTA 12562 H 1 Magic South Africa Irdeto 11514 H Boomerang EMEA Irdeto 11634 V 1 Magic South Africa Irdeto 11674 H Botswana TV FTA 12634 V 1485 Radio Today Irdeto 11474 H Botswana TV FTA 12657 V 1KZN TV FTA 11474 V Botswana TV Irdeto 11474 H 1KZN TV Irdeto 11594 H Bride TV FTA 12682 H Nagravi- Brother Fire TV FTA 12562 H 1KZN TV sion 11514 V Brother Fire TV FTA 12602 V 5 FM FTA 11514 V Builders Radio FTA 11514 V 5 FM Irdeto 11594 H BusinessDay TV Irdeto 11634 V ABN FTA 12562 H BVN Europa Irdeto 11010 H Access TV FTA 12634 V Canal CVV International FTA 12682 H Ackermans Stores FTA 11514 V Cape Town TV Irdeto 11634 V ACNN FTA 12562 H CapeTalk Irdeto 11474 H Africa Magic Epic Irdeto 11474 H Capricorn FM Irdeto 11170 H Africa Magic Family Irdeto -
Annual Report 2010 N T Ann Rrepo P
AnnualAnn RReReportpop rtt 2010 The Naspers Review of Governance and Financial Notice of Annual Group Operations Sustainability Statements General Meeting 2 Financial highlights 22 Review of operations 42 Governance 74 Consolidated 198 Notice of AGM 4 Group at a glance 24 Internet 51 Sustainability and company 205 Proxy form 6 Global footprInt 30 Pay television 66 Directorate annual financial 8 Chairman’s and 36 Print media 71 Administration and statements managing corporate information director’s report 72 Analysis of 16 Financial review shareholders and shareholders’ diary Entertainment at your fingertips Vision for subscribers To – wherever I am – have access to entertainment, trade opportunities, information and to my friends Naspers Annual Report 2010 1 The Naspers Review of Governance and Financial Notice of Annual Group Operations Sustainability Statements General Meeting Mission To develop in the leading group media and e-commerce platforms in emerging markets www.naspers.com 2 Naspers Annual Report 2010 The Naspers Review of Governance and Financial Notice of Annual Group Operations Sustainability Statements General Meeting kgFINANCIAL HIGHLIGHTS Revenue (R’bn) Ebitda (R’m) Ebitda margin (%) 28,0 6 496 23,2 26,7 6 026 22,6 09 10 09 10 09 10 Headline earnings Core HEPS Dividend per per share (rand) (rand) share (proposed) (rand) 8,84 14,26 2,35 8,27 11,79 2,07 09 10 09 10 09 10 2010 2009 R’m R’m Income statement and cash flow Revenue 27 998 26 690 Operational profit 5 447 4 940 Operating profit 4 041 3 783 Net profit attributable -
December Television Rates 2018 December 2018 2 December 2018 3
DECEMBER TELEVISION RATES 2018 DECEMBER 2018 2 DECEMBER 2018 3 SABC1 HIGHLIGHTS LADYSMITH BLACK GLOBAL CITIZEN 24TH SAMA MAMBAZO: LIVE AT CONCERT AWARDS 2018 MONTREUX (Music) (Reality) (Music) Sunday, 2nd December Sunday, 23rd Tuesday, 25th at 16:00 December at 21:00 December at 12:00 Ladysmith Black Mambazo is the most An international music concert in honour It was a big stage setting indeed for the 24 famous and successful South African of the late international icon Nelson edition of the South African Music Awards vocal group of all time. Founded and Rolihlahla Mandela. The festival will take (SAMA24) which took place at Sun City led by Joseph Shabalala in 1974. Their place on Sunday 02 December 2018 at earlier in 2018. The extravaganza needed collaboration with Paul Simon on his the FNB Stadium in Johannesburg and 3 stars to set it light; Somizi Mhlongo, classic Graceland album in the mid- boasts a star-studded lineup comprising the much-loved TV and radio personality eighties brought them to a worldwide international, continental and local joined by fellow radio star Dineo Ranaka audience. Ladysmith Black Mambazo has artists including Beyoncé & JAY-Z, Cassper and comedian Mpho Popps to steer this played at Montreux on three occasions Nyovest, D’banj, Ed Sheeran, Eddie Vedder, popular Mzansi’s premium annual music and this show is a combination from all Femi Kuti, Kasey Musgraves, Pharrell awards ceremony, recognising musical three performances. It features classic Williams & Chris Martin, Sho Madjozi, Tiwa excellence across all genres. The SAMAs tracks such as “Hello My Baby”, “King Of Savage, Usher, and Wizkid. -
Material Requirements & Deadlines
Material Requirements & Deadlines Logs open 6-weeks prior to Broadcast – Deadline for material/schedule changes: * 7 business-days prior to broadcast….TO ENSURE AN ERROR FREE BROADCAST * A great deals happens prior to 72-hour LOCKDOWN & Transmission! LOGS & BREAKS CHECKED 7 3 BUSINESS DAYS BUSINESS DAYS 72-HOURS LOCKDOWN MATERIAL ACCEPTANCE 72 48 24 TX HOURS HOURS HOURS DStv Commercial Channel Play-Outs Aspect Ratio GENERAL ENTERTAINMENT DOCUMENTARY & NEWS MUSIC YOUTH 4:3 GENERAL ENTERTAINMENT LIFESTYLE DOCUMENTARY & NEWS SPORT MUSIC YOUTH 16 x 9 SD GENERAL ENTERTAINMENT SPORT HD Dualcast on HD & 16:9SD kykNET & kie, Mzansi Magic, Mzansi Wethu, Mzansi Bioskop, M-Net Movies Zone 4:3 WSS and can accept 16:9 SD - & naturally HD, material Channel’s are subject to change / move – the above is correct as provided by our Channel’s at the time of release Production House / Creative Agency: Work-Flow Material Digital Delivery Adstream HD Brendon Richie [email protected] +27 82 990 3126 Media Move 16:9 SD Neels Bester [email protected] +27 082 384 7098 On-Air Play-Out: HD Copy Only 4:3 (HD, 16:9 SD and 4:3 Channel’s) On-Air Play-Out: 16:9 SD Copy HD (16:9 SD & 4:3 Channel’s ) Full Screen (title-safe preferable) 16:9 SD Full Screen OR (title-safe preferable) On-Air Play-Out: 4:3 Copy (4:3 Channel’s Only) QC Audio levels, 16:9 SD 4:3 4:3 Audio & video Letterboxed Letterboxed 4:3 Down Rendered quality, Full Screen Encoding Play-Out Material Specs, Delivery & Timelines No more tapes or different ad formats for different channels….SEND JUST ONE HD COPY Clients can elect to continue to send 4:3 material if they do not want the copy ‘letterboxed’ on-air. -
2017 Multichoice Annual Results
Annual results announcement Summary of the annual results of the MultiChoice group for the year ended 31 March 2017 MultiChoice South Africa Holdings Proprietary Limited (Registration number 2006/015293/07) (MultiChoice or the group) REPORT OF THE INDEPENDENT AUDITOR Revenue R’bn RevenueCore headlineR’bn earnings R’bnCore headline earnings R’bn The annual financial statements have been audited by the company’s auditor, PricewaterhouseCoopers Inc., whose unqualified audit 40,5 40,5 reports on the annual financial statements and annual results announcement are available for inspection at the registered office of 35,7 35,7 6,9 7,0 6,9 7,0 the company and on the company’s website. The auditor’s report does not necessarily cover all the information in this annual results announcement. Shareholders are advised that to obtain a complete understanding of the nature of the auditor’s work they should obtain a copy of that report, together with the annual financial statements, from the registered office of the company or the company’s website. 13% 13% On behalf of the board Nolo Letele Executive chair and acting chief executive Randburg 23 June 2017 Consolidated statements of profit or loss Year ended Year ended 31 March 31 March 2016 2017 2016 2016 2017 2017 2016 2017 2017 2016 R’m R’m The group produced satisfactory financial results despite tough conditions in the South African economy, driven by lower commodity prices, drought, political uncertainty, continued currency weakness and shifts in the competitive landscape. Consolidated revenues Revenue 40 544 35 704 increased by 14% for the review period. -
SD PVR Remote Control Manual
PVR Remote Control Manual Version 1.4 (Dec 2005) e&oe Table Of Contents 1 .Welcome ..................................................................................................................................... 3 2. Taking Care of your Remote Control ........................................................................................... 3 2.1 CLEANING .............................................................................................................................. 3 2.2 BATTERIES .............................................................................................................................3 3. Basic Navigation ..........................................................................................................................4 4. What’s New? ............................................................................................................................... 5 4.1 SHIFT .................................................................................................................................... 5 4.2 THE DIAL ............................................................................................................................... 6 4.3 BLINKING LIGHTS .................................................................................................................... 7 4.4 TIMEOUTS .............................................................................................................................. 8 5. Advanced Functionality .............................................................................................................. -
A Study of Selected Reality Television Franchises in South Africa And
GLOCALISATION WITHIN THE MEDIA LANDSCAPE: A Study of Selected Reality Television Franchises in South Africa and Transnational Broadcaster MultiChoice BY Rhoda Titilopemi Inioluwa ABIOLU Student number 214580202 Ethical clearance number HSS/1760/015M A dissertation submitted in fulfillment of the requirements for the degree of Master of Social Sciences in the Centre for Communication, Media and Society (CCMS), College of Humanities, School of Applied Human Science, University of KwaZulu-Natal. Supervised by: Professor Ruth Teer-Tomaselli UNESCO Chair of Communications FEBRUARY, 2017. DECLARATION I, Rhoda Titilopemi Inioluwa ABIOLU (214580202) declare that this research is my original work and has not been previously submitted in part or whole for any degree or examination at any other university. Citations, references and writings from other sources used in the course of this work have been acknowledged. Student’s signature………………………………… Date…………………………………. Supervisor’s signature……………………………… Date………………………………… ii ACKNOWLEDGEMENTS To my Father, my Saviour, my Friend and my God, Jesus Christ; the Source of all good things, the Author and Finisher of my faith who helped me and gave me the courage and strength to do this work, ESEUN OLUWAAMI. I thank my supervisor Professor Ruth Teer-Tomaselli, who stirred up the interest in this field through the MGW module. I thank you for all your guidance through this work and for all you did. How you always make time for me is deeply cherished. You are a source of encouragement. Thank you Prof. The financial assistance of the National Research Foundation (NRF) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the NRF. -
Self-Reported Fandom in Offline and Online Spaces: the Television Viewing Behaviours and Fandom Characteristics of Selected Young Women in Johannesburg
COPYRIGHT AND CITATION CONSIDERATIONS FOR THIS THESIS/ DISSERTATION o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. o NonCommercial — You may not use the material for commercial purposes. o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. How to cite this thesis Surname, Initial(s). (2012). Title of the thesis or dissertation (Doctoral Thesis / Master’s Dissertation). Johannesburg: University of Johannesburg. Available from: http://hdl.handle.net/102000/0002 (Accessed: 22 August 2017). Self-reported Fandom in Offline and Online Spaces: The Television Viewing Behaviours and Fandom Characteristics of selected Young Women in Johannesburg by Aimee Rebecca Viljoen 201404354 Submitted in Fulfilment of the Requirements for the Degree of Masters in Audiovisual Communication in the Department of Journalism, Film and Television in the Faculty of Humanities at the University of Johannesburg Supervisor: Dr Nadia Van Der Merwe Co-Supervisor: Dr Phyllis Dannhauser Date: 31 October 2019 ABSTRACT This dissertation aims to fill a gap in research on the television viewing practices and subsequent fandom behaviour of selected, female, South African television viewers. In a society where online interaction in a variety of participatory groups, like fandoms, have become an international norm, South Africa is still struggling to get its citizens connected to the online sphere. This is in part due to a lack of internet infrastructure as well as grossly high data costs compared to other developing countries. -
Robe for Idols SA 2017 | 1
Robe for Idols SA 2017 | 1 The twelfth season of Idols South Africa wrapped up with a stunning finale at Carnival City Big Top Arena in Johannesburg, broadcast live on the Mzansi Magic network with a highly vocal audience of 3,500 packing into the venue … and lighting designer Joshua Cutts of Visual Frontier choosing nearly 200 Robe fixtures to be at the core of his rig. As always the challenge was to make this final season look better and different than before, and with over 80 million votes cast across Series 12, a lot of eyes are on it and production values have been honed accordingly to reflect the intense public interest and impress fans. A skilled and imaginative creative team once again united to produce amazing results. Technical production – lighting, sound, video, set and rigging – was delivered by Dream Sets for producers SIC Entertainment and the series, which also included nine elimination rounds recorded Robe for Idols SA 2017 | 2 on the Drama Stage at the State Theatre in Pretoria, was directed by Gavin Wratten. The popularity of this and other singing / talent contests in South Africa, highlights how a diversity of music, song and lyrical based entertainment is integral to the culture and heartbeat of the country. Throughout the 2016 Idols final series, there was a big emphasis on lighting supported by video – rather than the other way around – and this continued at Carnival City, with a framed half-circle of LED screen upstage and the rest of the set architecture and lighting positions following this curvature.