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She Crossed the Border in Search of a Better Life Her Name Is
A NEW FILM BY DARRELL JAMES ROODT International Film Festival Rotterdam 2008 World Premiere SHE CROSSED THE BORDER IN SEARCH OF A BETTER LIFE HER NAME IS... PRESS BOOK DV8 FILMS AND INTERNATIONAL ORGANIZATION FOR MIGRATION (IOM) PRESENT IN ASSOCIATION WITH HUBERT BALS FUND (INTERNATIONAL FILM FESTIVAL ROTTERDAM) NATIONAL FILM AND VIDEO FOUNDATION FONDS IMAGE AFRIQUE A NEW FILM BY DARRELL JAMES ROODT © Dv8 Films, IOM, DJ Roodt 2007 LENGTH 84 MINUTES LANGUAGE SHONA AND ENGLISH TECHNICAL SUBTITLES ENGLISH SPECIFICATIONS FORMAT DIGIBETA SOUND DIGITAL STEREO WORLD SALES Jeremy Nathan Moroba Nkawe Dv8 Films Dv8 Films PO Box 308, Parklands, 2121 PO Box 308, Parklands, 2121 Johannesburg, South Africa Johannesburg, South Africa Tel : +27 11 880 0191 Tel : +27 11 880 0191 Mobile : +27 83 454 8997 Mobile : +27 82 446 1931 Email : [email protected] Email : [email protected] www.dv8.co.za 1 WITH KUDZAI CHIMBAIRA FARAI VEREMU MILDRED CHIPURIRO ARNOLD TONGAI CHIRISA DAVID DUKAS JENNIFER STEYN AND ANDREW WORSDALE Sound and Music Design Warrick Sony Editor Kosta Kalarytis Executive Producers Michelle Wheatley, Moroba Nkawe Producers Nicola Simmonds, Jeremy Nathan Written, Directed & Photographed by Darrell James Roodt 2 LOGLINE A young 19 year old rural girl, named Zimbabwe worker but is repeatedly abused by her employer. by her patriotic father, is orphaned. Starving and She must commit a violent act to protect herself, with few choices, she leaves her village in search and escapes by handing herself over to the of a distant aunt. In the remote border town of authorities. She is repatriated back to Zimbabwe, Beitbridge, she is smuggled across the border into only to find that her brother has jumped the border South Africa, in search of any life at all. -
Themes in the Cinema of Darrell James Roodt
Themes in the Cinema of Darrell James Roodt By Martin P. Botha Spring 2011 Issue of KINEMA WOMEN ON THE MARGIN OF SOUTH AFRICAN SOCIETY: THEMES IN THE CIN- EMA OF DARRELL JAMES ROODT South African director Darrell James Roodt is one of the most dominant and prolific figures in the South African film industry (Armes 2008: 112), having made a total number of 25 feature films and three television series to date. Surprisingly few academics have devoted chapters in books or doctorate dissertations to his work (Blignaut & Botha 1992; Botha & Van Aswegen 1992; Murphy & Williams 2007; Treffry-Goatley 2010). Roodt’s oeuvre includes some of the milestones in South African cinema since 1980s, as well as genre films such as Dracula 3000 (2004), which received negative notices by critics (Murphy & Williams 2007).This article forms part of an ongoing investigation into the cinema of Roodt and is an attempt to explore some of the major themes in his oeuvre. Darrell Roodt was born in Johannesburg in 1962 and attended the King Edward School. He enrolled at the University of the Witwatersrand to study drama, but left after one week to make films. Early Roodt Roodt’s A Place of Weeping (1986), made at the age of 23, was produced and marketed internationally by Anant Singh, who became one of South Africa’s most prominent film producers. The film deals with racial conflict. A black farm worker is beaten to death by his employer after complaining about hispoor wages. The murder goes unreported since the other labourers fear for their future. -
The Cinema of Darrell James Roodt
The Cinema of Darrell James Roodt By Martin P. Botha Spring 2013 Issue of KINEMA THE JOURNEYS OF THE MARGINALISED: THE CINEMA OF DARRELL JAMES ROODT South African director Darrell James Roodt is one of the most dominant and prolific figures in the South African film industry (Armes 2008: 112), having made a total number of 34 feature films and several television series to date. Surprisingly, few academics have devoted chapters in books or doctorate dissertations to his work (Blignaut & Botha 1992; Botha & Van Aswegen 1992; Murphy & Williams 2007; Treffry-Goatley 2010). Roodt’s oeuvre includes some of the milestones in South African cinema since 1980s, as well as genre films such as Dracula 3000 (2004) which received negative notices by critics (Murphy & Williams 2007). This article forms part of an ongoing investigation into the cinema of Roodt and is a follow-up to an earlier attempt to explore some of the major themes in his oeuvre (Botha 2011). Darrell Roodt was born in Johannesburg in 1962 and attended the King Edward School. He enrolled at the University of the Witwatersrand to study drama, but left after one week to make films. Early Roodt and his gallery of characters at the margin of apartheid society Roodt’s A Place of Weeping (1986), made at the age of 23, was produced and marketed internationally by Anant Singh, who became one of South Africa’s most prominent film producers. The film deals with racial conflict. A black farm worker is beaten to death by his employer after complaining about his poor wages.The murder goes unreported since the other labourers fear for their future. -
FICHA TÉCNICA Amanecer De Un Sueño Película TÍTULO ORIGINAL: Yesterday DIRECTOR
FICHA TÉCNICA Amanecer de un sueño Película TÍTULO ORIGINAL: Yesterday DIRECTOR: Darrell James Roodt. MIchael Brierley. MÚSICA: Madale Kunene. EDICIÓN: Avril Beukes. PRODUCTOR: Sudhir Pragiee, Anant Singh, Sanjeev Singh, Helena Spring. DISTRIBUIDORA: Filmhouse. PAÍS: Sudáfrica AÑO: 2004 DURACIÓN: 96 min. CLASIFICACIÓN: B. REPARTO: Leleti Khumalo (Yesterday), Kenneth Khambula (marido de Yesterday), Harriet Lenabe (maestro), Camila Walker (médico), Lihle Mvelase (Beauty) PREMIOS: 2006: Emmy: Nominada a mejor telefilm. 2004: Nominada al Oscar: Mejor Película Extranjera. 2004: Premio EIUC en el Festival de Venecia. SINOPSIS: Yesterday, la protagonista vive en una remota aldea del territorio Zulú en Sudáfrica. Su vida no es fácil ya que hay poco dinero, escasas facilidades modernas y su marido está lejos trabajando en una mina de oro. Sin embargo, ella posee un espíritu alegre y disfruta de su hija Beauty de siete años de edad. El precario equilibrio de la vida de Yesterday se ve súbitamente amenazado cuando le diagnostican SIDA y debe emprender un largo viaje para confrontar su enfermedad. Su principal motivación proviene de su hija, que en menos de un año comenzará a ir a la escuela y este hecho será el motor principal de un sueño. 1 Federación Internacional de Mujeres Universitarias Federación Mexicana de Universitarias Universidad Nacional Autónoma de México Museo de la Mujer Bolivia 17 Centro Histórico, Ciudad de México. Cine-Club de género, 16 de mayo de 2017. Amanecer de un sueño Mtra. Delia Selene de Dios Vallejo♣♥ La historia es una -
The Representation and Mediation of National Identity in the Production of Post-Apartheid, South African Cinema
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town The Representation and Mediation of National Identity in the Production of Post-apartheid, South African Cinema by Astrid Treffry-Goatley Thesis Presented for the Degree of DOCTOR OF PHILOSOPHY in Film and Media Studies UniversityUNIVERSITY of OF CAPECape TOWN Town April 2010 Supervisor: Associate Professor Martin Botha Abstract In 1994, South Africa was emancipated from apartheid, and in 1996, a new democratic Constitution was released. This charter envisioned a progressive society and placed emphasis on equality, multiculturalism, reconciliation and freedom. The state targeted the cultural industries, including cinema, to carry this new vision to the nation. The problem, however, was that the production, exhibition and distribution infrastructure inherited from apartheid was not only dominated by Hollywood, but also exclusively catered for the white sector of the nation. This monopolised, racially skewed structure continues to pose an obstacle to the dissemination of progressive identities and the sustainability of local cinema. Through an analysis of relevant film policy, industry structure and specific cinematic texts, this study aims to trace the intersection between the dynamics of national identity representation and South Africa‟s political and economicTown position as a developing nation in the global marketplace. -
CANADIAN DISTRIBUTOR Avi Federgreen Indiecan Entertainment Inc
CANADIAN DISTRIBUTOR Avi Federgreen Indiecan Entertainment Inc. [email protected] 416 898 3456 www.indiecanent.com Valhalla Productions and Phoenix Films Presents A Film by Darrell Roodt The Lullaby (formerly Siembamba) Starring: Genre: Horror Duration: 87 Minutes Reine Swart Language: English Deànré Reiners Rated: 16 (PG) Thandi Puren Brandon Auret Dorothy-ann Gould Plot Returning to her hometown, Eden Rock, and friend, Adam Hess (20), who makes no secret of overwhelmed by the birth of her first child, Chloe the fact that he thinks her leaving town was a big van Heerden (19) tries to come to terms with mistake. motherhood. Her mother, Ruby (35), is a little overbearing but cares deeply. She worries that Chloe The thoughts grow worse and more violent. won’t talk about the baby’s father. Chloe starts to hear voices and the humming of a childhood lullaby. She sees flashes of a strange entity The incessant crying of the baby and the growing around her child. Convinced that the entity is real, sense of guilt and paranoia sends Chloe into a dark Chloe does everything in her power to protect her depression. With a heightened urge to protect her son. Her decline reaches fever pitch, and everybody son, Chloe sees danger in every situation. Distraught seems to be moving against her. she pays a visit to family psychologist Dr. Timothy Reed (40s) who diagnoses her intrusive thoughts and The world around Chloe implodes and it becomes feelings of anxiousness to a case of the Baby Blues. clear that she and her child are in imminent danger. -
Applying Propp's Folktale Morphology to Entertainment-Education Films Divya Sreenivas
University of New Mexico UNM Digital Repository Communication ETDs Electronic Theses and Dissertations 12-1-2010 Structure of Narratives: Applying Propp's folktale morphology to entertainment-education films Divya Sreenivas Follow this and additional works at: https://digitalrepository.unm.edu/cj_etds Recommended Citation Sreenivas, Divya. "Structure of Narratives: Applying Propp's folktale morphology to entertainment-education films." (2010). https://digitalrepository.unm.edu/cj_etds/19 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Communication ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Structure of Narratives: Applying Propp’s folktale morphology to entertainment-education films BY Divya Sreenivas B.A., English, University of Madras, 1996 M. A., Journalism, University of Missouri, 2003 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Communication The University of New Mexico Albuquerque, New Mexico Autumn, 2010 ACKNOWLEDGMENTS I heartily acknowledge Dr. Richard J. Schaefer, my advisor and dissertation chair, for encouraging me through the months writing and rewriting these chapters. His intellectual guidance will remain with me always. I thank committee member, Dr. Ilia Rodriguez, for editing and offering input on the chapters. I thank committee members, Prof. Miguel Gandert and Dr. Bruce Noll, for their valuable recommendations pertaining to this study. I would also like to thank Dr. Jan Schuetz, Dr. John Oetzel, and Dr. Corinne Shefner-Rogers for teaching me and guiding me through my comprehensive exams. I thank Dr. -
When Granny Went on the Internet: the Screenplay and the Search for Content and Tone in South African Screenwriting
When Granny Went on the Internet: The Screenplay and the Search for Content and Tone in South African Screenwriting by Carolyn Burnett Submitted in fulfillment of the requirements for the degree PhD in Media and Digital Arts in the Graduate Programme in the College of Humanities, University of KwaZulu-Natal, Pietermaritzburg, South Africa. August, 2014 ABSTRACT The development of content and the creation of tone in a screenplay is a challenging task for the screenwriter. This thesis explores, through the writing of an original screenplay, how content is sourced and tone is manipulated in a comic story. The context of screenwriting in South Africa is established and an account is given of the emerging micro-budget filmmaking movement along with a discussion of issues relating to the broadband streaming of films in South Africa. Such factors, along with declining or stagnating cinema attendance, affect how films will be viewed and distributed in South Africa. A major case study was conducted on the South African film Jozi (2010) by director-screenwriter Craig Freimond. The influences, screenwriting process, sources of content and creation of tone in his film are examined through in- depth interviews and structural, thematic and tonal analysis of his work. An original feature-length screenplay, When Granny Went on the Internet (2013), was written. An account is offered of how the content was derived and tone was manipulated. A reflective report of the screenwriting process offers insight into the development of the multi-layered, tonally complex comic screenplay and suggests that a new form of South African comedy may be emerging. -
Responses to the Film
Heroines, Victims and Survivors: Female Minors as Active Agents in Films about African Colonial and Postcolonial Conflicts. by Norita Mdege Town Thesis Presented forCape the Degree of DOCTOR OF PHILOSOPHY in Film Studies in the Centre for Filmof and Media Studies UNIVERSITY OF CAPE TOWN September 2017 Supervisor:University Associate Professor Martin Botha The copyright of this thesis vests in the author. No quotation from it or information derivedTown from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes Capeonly. of Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University Abstract This thesis analyses the representations of girls as active agents in fictional films about African colonial and postcolonial conflicts. Representations of these girls are located within local and global contexts, and viewed through an intersectional lens that sees girls as trebly marginalised as “female,” “child soldiers” and “African.” A cultural approach that combines textual and contextual analyses is used to draw links between the case study films and the societies within which they are produced and consumed. The thesis notes the shift that occurs between the representations of girls in anti-colonial struggles and postcolonial wars as a demonstration of ideological underpinnings that link these representations to their socio- political contexts. For films about African anti-colonial conflicts, the author looks at Sarafina! (Darrell Roodt, 1992) and Flame (Ingrid Sinclair, 1996). Representations in the optimistic Sarafina! are used to mark a trajectory that leads to the representations in Flame, which is characterised by postcolonial disillusionment. -
Production Notes
Production Notes Department of Trade and Industry M-Net And Dual Films In association with The KwaZulu-Natal Film Commission and National Film and Video Foundation And Afrika Productions Trust Funded By the National Lotteries Commission Present A Committed Artists Production In association with Indigenous Film An Mbongeni Ngema Film ASINAMALI Danica De La Rey Boitumelo Shisana Luzuko Nqeto Tertius MeintJes Sbu Ngema Gerard Rudolf Dikeledi LeteBele Sibusiso Kotelo BhekithemBa Zwane Moses Mahlangu Congo Hadebe Kere Nyawo And Mbongeni Ngema as “Comrade” Written, Produced and Directed By MBONGENI NGEMA Executive Producer DAVID DISON Producers CHRISTIANNE BENNETTO DARRELL ROODT Associate Producers HELEN KUUN THANDEKILE MQADI AFRIKA NGEMA BRIONY HORWITZ MWELI MZIZI HARRY HOFMEYR TARIKU BOGALE Director of Photography DINO BENEDETTI Production Designer SAMANTHA LOTTER DELL Costume Designer ANDREW PHIRI Make Up and Hair Designer ANGELINE BOSHOFF Choreographers NOMPUMELELO GUMEDE NGEMA DAVID MATAMELA VUSI MAJOLA Synopsis One of South Africa’s greatest classic theatre productions, Asinamali has been immortalised in film. The story follows Comrade Washington (Mbongeni Ngema) who returns to South Africa in 1986 to create a prison theatre project. Washington believes in the power of music and theatre to transform the lives of people: the political activists, the criminals and offenders who find themselves incarcerated He guides the inmates, silenced by the brutal prison authorities, as well as their sadistic, ruthless warden Sergeant Mgwaqaza (Boitumelo Chuck Shisana) to act and sing out the stories of their lives. The tale has its roots in the height of the rent boycotts of the 1980s. In Durban’s oldest township of Lamontville, a community leader called Msizi Dube rose up and launched a campaign under the slogan ‘Asinamali’ (we have no money). -
The Dove Foundation Grand Rapids, Michigan January 1999
PROFITABILITY STUDY of MPAA RATED MOVIES released during 1988 - 1997 Commissioned by The Dove Foundation Grand Rapids, Michigan January 1999 “Applause Applause! - there is this happy news that virtue is, if all too rarely, rewarded.” - Steve Allen - entertainer “This fascinating study proves that the real edge in Hollywood goes to competently crafted family entertainment.” - Michael Medved - film critic, radio talk show host “This study should encourage the production of more films intended for, and presumably suitable for the family.” - Robert Peters - President, Morality in Media “If Hollywood paid closer attention to its pocketbook, it might work to do more to lift up instead of drag down the culture it does so much to influence.” - Fr. Robert Sirico - President, Acton Institute for the Study of Religion and Liberty “The production of morally responsible G and PG-rated films should result in greater profitability for the industry while reducing the moral pollution of our culture.” - John Evans - President, Preview Family Movie Review The Dove Foundation - 245 State Street SE STE 104 - Grand Rapids MI 49503 (616) 454-5021 - Email: [email protected] - Web: http://www.dove.org Complete report can be downloaded at http://www.dove.org/reports TABLE OF CONTENTS DOVE FOUNDATION PRESS RELEASE Preface Dick Rolfe, CEO i COMMENTARIES Steve Allen iii Michael Medved iv Fr. Robert Sirico v Robert Peters v John Evans vi Studio Cover Letter viii SEIDMAN REPORT Page Executive Summary 1 Results 2 Conclusions 3 GRAPHS Figure Quantity of films produced -
An Investigation Into Nationalism and National Allegory Within South African Post-Apartheid Film
An Investigation Into Nationalism and National Allegory within South African Post-Apartheid Film Christo Oberholzer 0004742E Wits School of Arts A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts in Dramatic Art Johannesburg, 2006 Abstract The aim of this research paper is to investigate the allegorical and national qualities present within South African post-apartheid cinema. Through the production of a satirical short film, an analysis of key texts by Frederic Jameson and Aijaz Ahmad, as well as a comparative breakdown of French and Australian national cinema, these topics will be explored and unpacked. The South African film environment establishes itself as one dominated by internationally produced films and one that utilises indigenous cultural aspects in order to compete against this dominance. This study identifies the specific techniques employed by South African filmmakers and highlights the successes and pitfalls of doing so. By examining the film careers of Darrell Roodt and producer Anant Singh, this paper identifies South African cinema as one with a focus on international goals, aspirations and audiences, while it neglects its own local audience and development. This research then proposes ways in which to resolve this problem by drawing on examples from other national cinemas. ii Declaration I declare that this dissertation is my own unaided work. It is submitted for the degree of Master of Arts in Dramatic Art in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university.