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A Theoretical Exploration of the Construction of Counter Myth: a Case Study of Post Apartheid South African Film

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A Theoretical Exploration of the Construction of Counter Myth: a Case Study of Post Apartheid South African Film A THEORETICAL EXPLORATION OF THE CONSTRUCTION OF COUNTER MYTH: A CASE STUDY OF POST APARTHEID SOUTH AFRICAN FILM by JULIE BARBARA JANE REID submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject of COMMUNICATION SCIENCE at the UNIVERSITY OF SOUTH AFRICA PROMOTER: PROF PIETER J FOURIE JUNE 2011 “The myth is as good as Africa. To the people, myth is stronger than love. It is stronger than hate. It gives them reason to do what they would never do” Geel Piet, in The Power of One (1992). Student number: 41808363 I declare that A THEORETICAL EXPLORATION OF THE CONSTRUCTION OF COUNTER MYTH: A CASE STUDY OF POST APARTHEID SOUTH AFRICAN FILM is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. 07 June 2011 JBJ Reid Date i SUMMARY Title: A THEORETICAL EXPLORATION OF THE CONSTRUCTION OF COUNTER MYTH: A CASE STUDY OF POST APARTHEID SOUTH AFRICAN FILM By: JBJ Reid Degree: Doctor of Literature and Philosophy Subject: Communication Science Promoter: Prof PJ Fourie Summary: The primary aim of the study is to make a contribution to the discipline of myth theory, or mythology, within the academic field of enquiry of media studies. To this end, the first part of the study comprises a literature review of relevant myth theory, during which the quantitative disparity on myth theory, between myth literature describing dominant myth and that dealing with counter myth, is highlighted. In order to address the comparatively smaller amount of theory concerned with counter myth, the study proceeds to theorise the semiotic technical functions of counter myth, the socio-political functions of counter myth and examines the social values and dangers of counter myth in society. Furthermore, counter myth is considered with regard to media framing, the relationship between counter myth and political myth is addressed, and the characteristics and criteria of counter myth are outlined. In keeping with the main purpose of the study, which is to provide a new contribution to myth theory, the theoretical problematics of the definition and classification of both myth and counter myth is confronted, and mechanisms for contending with these theoretical difficulties are suggested. A theoretical framework for the analysis of myth and counter myth on film is developed, which is based on the theorisation of counter myth performed in the literature study. In the second part of the study this theoretical framework is applied to a sample of purposefully selected post apartheid South African history films as a case study. ii The primary purpose of this case study is to serve as a demonstration of how the theoretical framework for the analysis of myth and counter myth can be put to use in the critical analysis of media texts, in this study applied to film (as a mediated text). The secondary purpose of the case study is to examine a selection of post apartheid South African counter myths, which explicitly work to remythologise the collective social identity construction of the white South African, in the post 1994 socio-political environment. In this way, the study demonstrates how myth and counter myth may facilitate identity (re)construction during and after a period of societal upheaval or transformation. KEY TERMS myth, counter myth, mythologisation, political myth, myth-as-narrative, myth-as-object, South African history film, identity, whiteness, post apartheid South African myth and counter myth iii ACKNOWLEDGMENTS I would like to express my most sincere gratitude to my promoter, Prof Pieter J Fourie, for his expert guidance, his generosity in sharing his knowledge and continued patience. It has been a remarkable privilege to perform this study under his tutelage. Further, I thank the University of South Africa for the financial assistance provided for me to complete this study. I also extend my thanks to my colleagues at the Department of Communication Science at the University of South Africa, for making it possible for me to spend time away from work, in order to conduct my studies. In particular, my thanks are extended to Prof Danie F Du Plessis, Dr Viola C Milton, and Hannelie Marx. My appreciation is offered to the two anonymous reviewers who provided much valued comment on a portion of the study. A special word of thanks is extended to Beschara Karam, for her constant encouragement and valuable insights. I thank especially Reynard van der Veen, without whom, it would not have been possible for me to complete this study, and to whom this study is dedicated. iv TABLE OF CONTENTS List of figures and tables vii Chapter 1: Introduction 1 1.1 Background, aims and a demarcation of the field of study 1 1.2 Methodology and theoretical approach 9 1.3 The literature study 10 1.4 The case study 14 1.5 Summary of the chapters of the study 17 Chapter 2: Myth theory I: counter myth 23 2.1 Counter myth: a theoretical framework 24 2.2 The semiotic structure of counter myth 33 2.3 Counter myth and media framing 44 2.4 Counter myth and the first level signifier 47 2.5 The functions of myth and counter myth 55 2.6 Counter myth and political myth 64 2.7 Counter myth and discourse 70 Chapter 3: Myth theory II: political myth and counter myth 78 3.1 Political myths and national identity 78 3.2 Myth and postcolonial collective identity 82 3.3 Shaping perceptions, beliefs and social action 84 3.4 Examples of counter myth 87 3.5 Stereotyping 103 Chapter 4: Myth theory III: myth-as-narrative and myth-as-object 107 4.1 Myth and narrative 108 4.1.1 The theoretical problematics of myth-as-narrative 110 4.1.2 Barthes and the myth-as-object 121 4.1.3 Defining myth 126 4.1.3.1 Problems of the classification and the definition 126 of myth 4.2 Myth-as-object and film 130 4.3 Social semiotics and myth 138 4.3.1 Myth genre 139 4.3.2 Iconography and myth genre 145 4.3.3 Creating a semiotic myth inventory 150 v Chapter 5: A theoretical framework for the analysis of myth and 158 counter myth in film 5.1 Myth identity: naming and placing the myth 162 5.2 Medium(s) of myth representation (form) 163 5.3 Myth type (form and function): dominant myth and counter myth 164 5.4 Myth format (form): myth-as-narrative and myth-as-object 168 5.5 Myth genre and myth sub-genre (content) 170 5.6 Mythic iconography (content) 171 Chapter 6: History film: the (re)construction of white collective identities 173 in post apartheid South African films by myth and counter myth 6.1 History film and national cinema: a new South African film 174 genre and a site for counter myth 6.2 The mythologisation of race: whiteness in post apartheid film 186 6.3 Applying the theoretical model: counter myth analysis on post-apartheid 191 South African new history film. The myth of the good white and bad white perpetrator 6.3.1 Myth identity: naming and placing the myth 194 6.3.2 Medium of myth representation 198 6.3.3 Myth type: dominant myth and counter myth 205 6.3.4 Myth format: myth-as-narrative and myth-as-object 212 and mythic iconography 6.3.4.1 Bad whites and good whites on film 213 6.3.4.2 The collective mythologisation of bad whites 270 6.3.4.3 The bad white turns good white 291 6.3.4.4 The new white 307 6.3.5 Myth genre and myth sub-genre 322 6.4 Counter myth and the re-mythologisation of whiteness: the 326 myth of reconciliation Chapter 7: Conclusion 338 7.1 Conclusions, contribution and implications of the study 338 7.1.1 Conclusions and contributions of chapters two, three, 339 four and five 7.1.2 Conclusions of chapter six: what was learnt about white 348 identity construction on post apartheid South African new history film? 7.2 Proposals for further research 358 APPENDIX A: Filmography of South African post apartheid new history 364 films described in the study SOURCES CONSULTED 367 vi LIST OF FIGURES AND TABLES Table 2.1: Table of characteristic differences between myth and counter myth 43 Table 4.1 Example of tabular generic myth classification: social identity myths 144 Table 5.1 A theoretical framework for the analysis of myth and counter myth 161 Table 6.1: Summary of the application of the model for counter myth 193 analysis developed in chapter five and practically performed in chapter six: counter myth analysis on post-apartheid South African new history film. Table 6.2: Film inventory of the myth of the good white perpetrator 200 and the bad white perpetrator in post apartheid South African national new history film (compiled in chronological order) Table 6.3: Myth genre inventory of racial mythologies of whiteness 323 on a selection of post apartheid South African new history national films Figure 2.1: Adaptation of Barthes’ (1972:115) diagram of the structure 38 of myth, which now includes the insertion of counter myth Figure 2.2: Fiske’s (1982:88) visualisation of Barthes’ second order meaning: 49 Barthe’s two orders of signification. In the second order, the sign system of the first is inserted into the value system of culture. Figure 2.3 Adaptation of Fiske’s (1982:88) visualisation of Barthes’ second 51 order meaning, but including the insertion of counter myth Figure 2.4: Adaptation of Barthes’ (1972:115) diagram of the structure of myth, 53 including the insertion of counter myth and demonstrating the catalyst of ideology Figure 3.4.1: Screen capture shot of the Community Video Education Trust 95 website Figure 3.4.2: Screen capture shot of the Watkykjy.co.za website 97 Figure 3.4.3: Two screen capture shots from the website of the Zef rap rock 98 Afrikaans
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