Browsing by Author "Maasdorp, Liani"
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- ItemCutting real : self-reflexive editing devices in a selection of contemporary South African documentary films(Stellenbosch : Stellenbosch University, 2012-03) Maasdorp, Liani; Hees, Edwin; Dullaart, Gerda; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: Since John Grierson first coined the term “documentary film” in the 1920s, there has been a debate about the objectivity or subjectivity of the filmmaker. Some theoreticians believe that a documentary filmmaker may not interact subjectively with her subject. Contemporary perspectives lean towards acknowledging the subjectivity of the filmmaker, and accept that subjectivity is intrinsic to the making of a documentary film. Some would even argue that it is precisely the subjectivity of the filmmaker – the meeting of an individual, subjective perspective with the pro-filmic world – that makes a particular film unique. Brecht believed that the structure of a theatre piece could be used to counter the audience's uncritical emotional engagement and identification with the content of the work. This Verfremdungseffekt enables the audience to engage intellectually with the work. The audience does not get lost in the content of the piece, but rather views it from a critical distance. Brecht believed that this distantiation does not exclude entertainment, but that the audience would be able to enjoy the production while viewing it from a critical, intellectual distance. The self-reflexive mode of representation is identified by Nichols as one of the primary ways for a filmmaker to engage with her subject. Self-reflexivity entails the inclusion of cues within the film reminding the viewer that it is, indeed, a film. The motivation for this is to make the audience aware of the constructed nature of the film, thereby acknowledging the subjectivity of the filmmaker. The most overt form of self-reflexivity in documentary films is the inclusion of the director in the film. The focus of this study is, however, more specifically on how editing devices can be used to foreground the construction of a film. Structural analysis of a selection of recent South African documentary films is undertaken as part of this study. The result of this in-depth analysis is a list of twenty-eight conspicuous, selfreflexive editing devices used in these films. To test the effect of self-reflexive editing devices, I purposely incorporated them into the construction of a documentary series, Booza TV, of which I was one of the editors. The goal of Booza TV is to change viewers' perceptions of alcohol and alcohol abuse. Both quantitative and qualitative research results pointed to the ability of the series to achieve this goal. The perception change, however, is not the focus of this study. Instead, findings specifically related to the viewer's experience of the editing of the production are analysed. These findings show that viewers do notice self-reflexive devices, that the devices can contribute to their enjoyment of the production and that self-reflexive devices are able to communicate subtext to the audience. The conclusion is drawn from the research conducted in this study that the potential of a documentary film to change viewers' perceptions is as dependent on the way the film has been constructed as it is on the content of the film.
- ItemShorts : the potential role of the short film in the development of the South African film and television industries(Stellenbosch : Stellenbosch University, 2000-03) Maasdorp, Liani; Hauptfleisch, Temple; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: The study starts with a general analysis of the South African film industry and finds that lack of funding, the shortage of dedicated, industry-accredited training, the political climate of the past, censorship, the subsidy system, local distribution problems, and the success of Hollywood films have all played a part in bringing about a veritable dearth in local film production in South Africa. While the local film industry may not be able to repair itself fully in the short term, I do believe the energy and talent is there to start making a concerted effort to actively stimulate the production of a wide variety of local films to kick-start the healing process. I believe short films (shorts) have the potential to play an important role in this process, and the bulk of the study explores this idea by looking at the nature, form, and potential of shorts as well as the processes involved in their production. I fmd that the short film is the ideal medium for experimentation and development, and can serve as a valuable teaching tool in film and television training. As importantly, the short is one of the best mediums of empowerment for disadvantaged filmmakers, due to the relatively small size of its budget. Shorts have the ability to playa part in stimulating the growth of the local film and television industries, and in redressing socio-political imbalances of the past in a country where film was previously used as a tool of propaganda and oppression. It seems clear from the examples of other small film industries internationally that the encouragement, through innovative funding initiatives and international co-productions, of vibrant, authentic local short and feature film production can play an important role in strengthening the local film industry. It can be beneficial to stimulate the production of shorts in particular, as this will enable new and experienced filmmakers alike to experiment and develop ideas and techniques, thereby also developing the industry as a whole. Among the specific suggestions made in the thesis are the implementation of a quota system governing the screening of local productions, the stimulation of film literacy through establishing film festivals and a short film website, the stimulation of short film production through public and private funding and co-productions, and the advancement of film training. In addition, local broadcasters could be encouraged to participate more in funding feature and short film production in order to stimulate the development of a healthy, viable film industry in South African. South Africans can gain a lot from a healthy film industry - an increased number of employment opportunities, improved training institutions, an increase in tourist activity, and a medium that can serve as a form of expression and a forum for discussion. We still have a long way to go before these projected gains become an everyday reality, but it seems that shorts can, and must, play an invaluable part in taking local talent and the South African film industry as a whole to a level of performance where it will be able to exploit these opportunities to the full.