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When Granny Went on the Internet: the Screenplay and the Search for Content and Tone in South African Screenwriting

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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. 2 DECLARATIONS I, Carolyn Burnett, declare that 1. The research reported in this thesis, except where otherwise indicated, is my original work. 2. This thesis has not been submitted for any degree or examination at any other university. 3. This thesis does not contain text, data, pictures, graphs or other information obtained from another person or source, unless specifically acknowledged as being so obtained. 4. This thesis does not contain any other person’s writing, unless specifically acknowledged. Where such written sources have been used then they have always been acknowledged through the use of in-text quotation marks or indented paragraphs with accompanying in-text references and in the bibliography. 5. This thesis does not contain text, graphics or tables copied and pasted from the Internet, unless specifically acknowledged through in-text references and in the bibliography. Student Name: ______________________________ Signature:________________________________ Date: ______________ As the supervisor, I acknowledge that this research dissertation/thesis is ready for examination. Name: _____________________________________ Signature:________________________________ Date: _____________ 3 ACKNOWLEDGMENTS This research was made possible with the assistance of the National Research Foundation Thuthuka Grant, for which I am most grateful. My sincere thanks to: my supervisor Professor Anton van der Hoven for your support and valuable input; the department of Video Technology at Durban University of Technology for allowing me time off for studies; Craig Freimond for allowing me to interview you about your life and work and for your invaluable contribution as script consultant; my interview subjects, Andile Buwa, Peter Matthews, Howard Thomas, Mark Hewson and Vuyo Lima for your time; my husband Pete and children Scott and Samuel for your on-going support; my dearest mother, who provided the inspiration for the screenplay. 4 CONTENTS PAGE Abstract…………………………………………………………… 2 Declarations………………………………………………………… 3 Acknowledgments…………………………………………………… 4 Contents……………………………………………………………… 5 Glossary…………………………………………………………… 7 CHAPTER 1: INTRODUCTION Introduction………………………………………………………… 9 CHAPTER 2: SOUTH AFRICAN FILMMAKING: CONTEXT, CONTENT AND TONE 2. Introduction………………………………………………………. 13 2.1 Background………………………………………………………. 13 2.2 The South African Film………………………………………….. 15 2.2.1 Micro-budget filmmaking……………………………………….. 21 2.3 Conclusion…………………………………………………………. 29 CHAPTER 3: ANALYSIS OF JOZI: CONTENT, TONE AND STRUCTURE 3.1 Introduction………………………………………………………….. 31 3.2 Storyline……………………………………………………………. 32 3.3 Tone…………………………………………………………………….. 32 3.4 Content…………………………………………………………………. 42 3.4.1 Setting…………………………………………………………………… 42 3.4.2 Characters………………………………………………………………. 51 3.4.3 Thematics……………………………………………………………….. 56 3.5 Structure………………………………………………………………… 68 3.5.1 Act 1 (page 1 – 29 or 34) (scene 1 – 86 or 89)…………………….. 70 3.5.2 Act 2 (page 29 or 34 – 89) (scene 87 or 90 – 168)………………… 72 3.5.3 Act 3 (page 89 – 115) (scene 169 – 211)…………………………… 73 3.5.4 The ending……………………………………………………………… 74 3.6 Conclusion and implications for my screenwriting…………………….. 77 5 CHAPTER 4: WHEN GRANNY WENT ON THE INTERNET: CONTENT, TONE, STRUCTURE AND PROCESS 4.1 Introduction……………………………………………………………. 80 4.2 Storyline……………………………………………………………….. 80 4.3 Tone…………………………………………………………………… 81 4.4 Content……………………………………………………………….. 88 4.4.1 Character…………………………………………………………….. 101 4.5 Structure……………………………………………………………… 115 4.6 Process……………………………………………………………….. 126 4.7 Conclusion……………………………………………………………. 140 CHAPTER 5: CONCLUSION 5 Conclusion…………………………………………………………. 143 CHAPTER 6: ORIGINAL SCREENPLAY: WHEN GRANNY WENT ON THE INTERNET6. When Granny Went on the Internet………………………………… 148 BIBLIOGRAPHY.................................................................................... 242 APPENDICES 1. Craig Freimond Biography……………………………………………… 256 2. Jozi: The Beats………………………………………………………….. 270 3. Synopsis: When Granny Went on the Internet………… 274 4. Character Biographies: 282 3.1 Sylvia Human AKA Granny…………………………………… 282 3.2 James Human AKA Grandad……………………………….. 283 3.3 Aaron Human (older son)…………………………………… 284 3.4 Josh (younger son)………………………………………….. 285 3.5 Max (Grandchild, Aaron’s adopted son)………………….. 285 3.6 Sindisiwe…………………………………………………….. 286 3.7 Jack (Sindisiwe’s ‘uncle’)…………………………………… 286 6 Glossary BBC British Broadcasting Corporation Beat Each moment in a screenplay that adds to and clarifies plot or character CB Carolyn Burnett Celtx Software for formatting a screenplay (available free online) CF Craig Freimond Content The elements in a screenplay which include subject matter, character, plot and action. Content is not the same as plot alone. DAC Department of Arts and Culture DFM Durban Film Mart DFO Durban Film Office DIFF Durban International Film Festival DOC Department of Communication Down beat A beat that is tonally serious DSTV Digital Satellite Television (available in Africa) DUT Durban University of Technology EDU Economic Development Unit etv Free-to-air television channel in South Africa Filp tone Inversion of tone by moving rapidly from the established tone in a scene to its opposite. IDC Industrial Development Corporation Imdb Internet movie database (available online) IFTF Institute For The Future Hartiwood Afrikaans feature films shot in the vicinity of Hartibeesport Dam HSRC Human Sciences Research Council MNet A subscription television broadcaster (available in Africa) NASA National Aeronautics and Space Administration NFVF National Film and Video Foundation Nollywood Nigerian film industry NRF National Research Foundation Plus one A term used by Craig Freimond to describe the level of comedy in a screenplay, with plus one being subtle humour where the 7 characters are still rooted in reality and plus five being exaggerated, slap-stick or physical comedy, with more departures from reality SABC South African Broadcasting Corporation Tone The mood created and feeling conveyed in the screenplay through the manipulation of factors such as content, subject matter, character, dialogue, action, themes, juxtaposition and inversion, as well as the use of language and expression in the scene descriptions and stage directions. In a film the factors can include casting, performance, art direction, cinematography, editing, music and sound design. Up beat A beat that is tonally optimistic or light WGSA Writers’ Guild of South Africa UKZN University of Kwa-Zulu Natal 8 Chapter 1 Introduction This practice-based Ph.D includes two related parts: a feature-length, original screenplay entitled When Granny Went on the Internet, and a theoretical component which reflects on the process of screenwriting in order to arrive at a better understanding of how content is sourced and tone is manipulated to create meaning. I have also contextualized my work in order to locate it within the South African setting in which I am creating and researching. In a practice-based PhD such as this there is seldom one clearly defined goal for the research. The aims can be multiple and they create a moving target, which shifts and evolves as the research unfolds, as has been the case with my own work. My primary goal was to write a comic screenplay about how an old woman uses new media. In the process of creating the screenplay my central concerns were to create engaging, multi-layered content and to manipulate tone in an attempt to articulate meaning and social relevance. However, a multitude of other questions arose as I went about the research and creative process and this thesis is an attempt to link and make sense of the multi- factorial environment in which my work is situated, whilst still addressing my central questions about content and tone in the screenplay. The content of my screenplay draws on my interest in new media which stems from my long standing work as
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