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Steynchrista.Pdf (4.505Mb) Die argivering van die Afrikaanse film (1916 – 2014) Student: Christa Steyn Studentenommer: 2007021500 ‘n Skripsie voorgelê om te voldoen aan die vereistes vir die graad, M.A. (Afrikaans en Nederlands) in die Fakulteit Geesteswetenskappe, Departement Afrikaans, Nederlands, Duits en Frans, Universiteit van die Vrystaat. Studieleier: Dr. A. van Jaarsveld Mede-studieleier: Prof. H.P. van Coller Julie 2015 M.A. AFRIKAANS EN NEDERLANDS Die argivering van die Afrikaanse film (1916-2014) Verklaring Ek verklaar dat die proefskrif wat hierby vir die graad M.A. (Afrikaans en Nederlands) aan die Universiteit van die Vrystaat, deur my ingedien word, my eie selfstandige werk is en nie voorheen deur my vir ‘n graad aan ‘n ander universiteit/fakulteit ingedien is nie. Ek doen voorts afstand van die outeursreg in die proefskrif ten gunste van die Universiteit van die Vrystaat ________________________ _________________________ Mej. C. Steyn Dr. A. Van Jaarsveld STUDENT STUDIELEIER ii M.A. AFRIKAANS EN NEDERLANDS Die argivering van die Afrikaanse film (1916-2014) Bedankings Graag bedank ek die volgende individue en instansies, sonder wie hierdie studie nie moontlik sou wees nie: My Hemelse Vader vir Sy krag en genade, sowel as die intellektuele vermoë en gawe om hierdie studie met groot sukses te kon voltooi My mentor en promotor, Dr. Anthea van Jaarsveld, wat my met soveel deernis, kennis, wysheid en insig gelei het en wat haar absolute passie vir die Afrikaanse film met ewe veel entoesiasme en energie oorgedra het Prof. Hennie van Coller, vir sy akademiese insette en leiding André van der Westhuizen, vir sy onvoorwaardelike ondersteuning en bemoediging My gesin, veral my kosbare ouers, Manus en Jeanette, vir hulle onbaatsugtige liefde en ondersteuning, selfs al het hulle soms nie ten volle begryp wat die studie behels nie My vriende, in besonder Anton en Annebelle Smit, Elonor Labuschagne, Valmé du Plessis, Elize van Wyk, Bernhard Louw en Pieter Coetzee M-Net Argief en my kollegas, meer spesifiek vir Ilse Assmann, Retha Buys en Isabella Wolf wat my met soveel begrip bygestaan het en wat altyd bereid was om te luister en raad te gee Ek bedank ook graag die volgende persone wat ‘n bydrae gelewer het: Marietjie Lambrecht, Karen Combrinck, Martin Botha en Leon van Nierop iii M.A. AFRIKAANS EN NEDERLANDS Die argivering van die Afrikaanse film (1916-2014) Inhoudsopgawe HOOFSTUK 1 Die algemene uitgangspunte van bewaring 1.1. Die konsep van bewaring 6 1.1.1. Verskillende visies oor bewaring 6 1.2. Uitdagings van bewaring met verwysing na die Suid-Afrikaanse geskiedenis – spesifiek die Afrikaner 9 HOOFSTUK 2 Die geskiedenis van die Afrikaanse rolprent binne ‘n Suid-Afrikaanse konteks 2.1. Inleiding 15 2.2. Sosio-politiese agtergrond: Geskiedenis van die Afrikaanse rolprentbedryf 17 2.2.1. Die tydperk tussen 1895 tot 1929 17 2.2.2. Die tydperk tussen 1930 tot 1949 18 2.2.3. Die tydperk tussen 1950 tot 1960 22 2.2.3.1. Die beheer van die staatsubsidieskema (1956-1984) 24 2.2.4. Die tydperk tussen 1961 tot 1970 26 2.2.5. Die tydperk tussen 1971 tot 1980 28 2.2.6. Die tydperk tussen 1981 tot 1993 31 2.2.6.1. Hoofstroom-rolprentbedryf 31 2.2.6.2. Alternatiewe rolprente 32 2.2.6.3. Die televisiemedium 32 2.2.6.4. Toekennings 33 2.2.7. Die post-apartheid rolprentbedryf 34 2.2.7.1. Die totstandkoming van ‘n filmbeleid en –raad 34 2.2.7.2. Mededinging in die bedryf 36 2.2.7.3. Problematiek rondom die Afrikaanse rolprentbedryf en die argivering daarvan 36 2.3. Problematiek rondom die Afrikaanse rolprentbedryf en die argivering daarvan 36 2.3.1. Die ekslusiewe Afrikaanse filmverlede 37 iv M.A. AFRIKAANS EN NEDERLANDS Die argivering van die Afrikaanse film (1916-2014) 2.3.2. Tematiek 39 2.3.3. Verkapte argiveringsisteme 41 2.3.3.1. Vergelyking tussen argiewe se inventarisse/materiaal 43 2.3.3.1.1. Die Nasionale Argief 45 2.3.3.1.2. SABC 47 2.3.3.1.3. Nasionale Afrikaanse Letterkundige Museum en Navorsingsentrum (NALN) 54 2.3.3.1.4. M-Net 58 2.3.3.1.5. Filmverlede: Geskiedenis van die Suid-Afrikaanse speelfilm 64 2.3.3.1.6. Internet Movie Database (IMDb) 66 2.3.3.1.7. Die Ensiklopedie vir Suid-Afrikaanse Teater, Film, Media en Uitvoerings (ESAT) 68 2.3.3.1.8. Privaatversamelings 68 2.3.4. Beskikbaarheid van argiefmateriaal 69 2.3.4.1. Foutiewe indeksering 69 2.3.4.2. Gebrek aan beskikbare toerusting 72 2.3.4.3. Taalgebruik op DVD-omslae 72 2.3.4.4. Filmregte 73 HOOFSTUK 3 Die teoretiese benadering tot argivering 3.1. Agtergrond 78 3.2. Teoretiese benadering tot argivering 79 3.2.1. Inleiding 79 3.2.2. Aard en betekenis 81 3.2.3. Argiewe en instansies in Suid-Afrika 82 3.3. Kernaspekte betrokke by die argiveringsproses 87 3.3.1. Waardebepaling en aanskaf van argiefmateriaal 88 3.3.2. Beskrywing en rangskikking – katalogisering 89 3.3.3. Bewaring 92 3.3.4. Bestuur van materiaal 95 v M.A. AFRIKAANS EN NEDERLANDS Die argivering van die Afrikaanse film (1916-2014) 3.3.5. Beskikbaarheid en toeganklikheid vir die publiek 97 3.4. Elektroniese argivering (digitalisering) 99 3.5. Oudiovisuele argivering 104 3.5.1. Aard en betekenis 104 3.5.2. Komponente van ‘n oudiovisuele argief 106 3.5.2.1. Toerusting 106 3.5.2.2. Apparatuur en programmatuur (Harde- en sagteware) 107 3.5.2.3. Tegnologiese aspekte 107 3.5.2.4. Regte (verspreidings-, kopie- en besitregte) en etiek 108 3.5.3. Probleme en uitdagings 109 3.5.3.1. Opleiding van personeel 109 3.5.3.2. Katalogisering, inventarisering en indeksering 109 3.5.3.3. Bewaring en verskuiwing 110 3.5.4. Toeganklikheid 110 3.6. Etiese kwessies 111 HOOFSTUK 4 ‘n Oorsig van verskillende benaderings tot Europese filmargivering 4.1. Agtergrond 113 4.2. Nederland: RUG Filmarchief (Groningen) 114 4.2.1. Geskiedenis van die filmargief 114 4.2.2. Indeksering 115 4.2.3. Bewaring 115 4.2.3.1. Filmversameling 116 4.2.3.2. Filmtoerustingversameling 116 4.2.3.3. Tydskrif- en plakkaatversameling 117 4.2.4. Toeganklikheid vir die publiek 117 4.2.5. EYE Film Instituut 118 vi M.A. AFRIKAANS EN NEDERLANDS Die argivering van die Afrikaanse film (1916-2014) 4.3. Frankryk: Le Centre national du cinéma et de l’image animeé – CNC (Parys) 118 4.3.1. Geskiedenis van die CNC 119 4.3.2. Vrywillige skenking van films en materiaal 120 4.3.3. Inventaris, katalogisering en indeksering 120 4.3.4. Bewaring 121 4.3.5. Restourasie 122 4.4. Duitsland: Deutsches Filminstitut – DIF (Berlyn) 123 4.4.1. Geskiedenis 123 4.4.2. filmportal.de 125 4.4.3. Indeksering en katalogisering 126 4.4.4. Bewaring 126 4.4.5. Restourasie 127 4.4.6. Toeganklikheid/beskikbaarheid vir die publiek 127 4.4.7. Versamelings en erflatings 128 4.5. Pole: Filmoteka Narodowa (Warskou) 128 4.5.1. Geskiedenis en agtergrond 128 4.5.2. Indeksering 129 4.5.3. Bewaring 129 4.5.4. Restourasie en behandeling 131 4.5.5. Toeganklikheid vir die publiek 131 4.6. België: Cinematek – The Royal Belgium Film Archive (Brussels) 132 4.6.1. Geskiedenis en agtergrond 132 4.6.2. Indeksering 134 4.6.3. Bewaring 134 4.6.4. Toeganklikheid vir die publiek 135 HOOFSTUK 5 Die voorgestelde argiveringsmodel vir film in Suid-Afrika 5.1. Inleiding 136 5.2. Voorgestelde model in die totstandkoming van ‘n argief 137 vii M.A. AFRIKAANS EN NEDERLANDS Die argivering van die Afrikaanse film (1916-2014) 5.2.1. Fasiliteite van die argief 137 5.2.2. Kernaspekte wat verreken moet word by die totstandkoming van ‘n Afrikaanse filmargief 139 5.2.2.1. Omvang van die versameling 139 5.2.2.2. Motivering vir die totstandkoming van die argief 143 5.2.2.3. Konteks waarbinne die argief opgerig word 144 5.2.2.4. Teikenmark 144 5.2.2.5. Inhoud en materiaal van die argief 145 5.2.2.6. Waarde en verpligtinge van die argief 147 5.2.2.7. Beleid 147 5.2.2.8. Hulpbronne 148 5.2.2.9. Bewaring en restourasie 149 5.2.3. Voor en nadele van die voorgestelde model 149 HOOFSTUK 6 Inventaris van die Afrikaanse speelfilm sedert 1916 tot 2014 6.1. Inleiding 152 6.2. Die inventaris van die Afrikaanse speelfilm sedert 1916 tot 2013 153 Bibliografie 201 viii M.A AFRIKAANS EN NEDERLANDS Die argivering van die Afrikaanse film (1916-2014) HOOFSTUK 1 Algemene uitgangspunte van bewaring in Suid-Afrika 1.1. Die konsep van bewaring 1.1.1. Verskillende visies oor bewaring As vertrekpunt vir hierdie studie is dit nodig om eerstens ‘n paar vrae te beantwoord met betrekking tot die konsep van bewaring. Hoekom is dit so belangrik vir die mensdom om iets van die verlede te behou en te beskerm en watter pogings wend die mens aan om sy erfenis te bewaar? Aangesien die bronne ter sprake by die bestudering van die konsepte van bewaring en argivering in die breë in Engels beskikbaar is, word daar telkens nuwe terme geskep wat in Afrikaans gebruik kan word. Chris Caple (2000:12) is van mening dat die mens die wêreld om hom leer ken teen die agtergrond van ‘n bekende verwysingsveld uit sy eie verlede. Elke nuwe, onbekende konsep, artefak of idee waarmee hy gekonfronteer word, verwerk en verklaar hy op grond van sy kennis van sy bestaande verlede en sy onmiddellike hede en daarom kan geen mens in der waarheid bestaan sonder ‘n individuele, persoonlike, herkenbare verlede nie.
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