- A-Z Publications
- Critical Arts : A Journal of South-North Cultural and Media Studies
- Previous Issues
- Volume 16, Issue 1, 2002
Critical Arts : A Journal of South-North Cultural and Media Studies - Volume 16, Issue 1, 2002
Volume 16, Issue 1, 2002
For sale - peace of mind : (Neo-) Colonial discourse and the commodification of Third World poverty in World Vision's 'telethons'Author David JefferessSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 1 –21 (2002)More Less
World Vision Canada's television fundraising appeals construct Canadian sponsor identity in relation to a 'needy' 'Third World' other. These programmes utilise structures of identification reminiscent of earlier forms of colonial discourse and are dependent upon discourses of consumercapital. World Vision's presentation of the act of sponsorship as a lifechanging act of self-fulfillment deludes the viewer or sponsor of the complex relations which perpetuate poverty, and in which Canadians are implicated. World Vision's marketing discourse constructs world poverty outside history and sells the possibility of instant gratification through the act of sponsorship as a form of consumption.
Author Peter LimbSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 23 –40 (2002)More Less
Solomon Tshekisho Plaatje is widely regarded by scholars as a British Empire enthusiast and a moderate leader of the African National Congress (ANC) who, if valiant in his espousal of black rights, then nevertheless was staunchly opposed to radical and working class forces. Yet he criticised, if often in an ironic style, the very Empire and Establishment he allegedly upheld, and he remained throughout his life deeply concerned about the harsh conditions of African workers and the plight of African women, including working women. Today his position as an icon of the new South Africa is well established. However, a better understanding of his complex attitudes to nation, class, and gender is required to fully appreciate this image. In this paper, I primarily examine his attitudes to African workers. To a lesser extent, I survey his use of irony, his attitudes to Empire and women, and his place today in South African studies. I argue that recent insights of literary scholars, together with a close analysis of historical records and especially his journalism, and a re-envisaging of his life project, all point to 'another' Plaatje. This necessitates significant modifications to the portrait so ably crafted by his biographer Brian Willan some twenty years ago. This new way of looking at Plaatje is important in interpreting the ideological and historical underpinnings of the current political hegemony of the ANC.
Author Arnold SheppersonSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 43 –45 (2002)More Less
Extracted from text ... Volume 16 - Number 1 - 2002 43 Under Fire Introduction Arnold Shepperson? As a means to engage the rapid escalation of violent conflicts in the Middle East, West, Central and some areas of Southern Africa, and ongoing civil wars and human rights abuses in a variety of other regions across the world, we present the first articles in a new section of Critical Arts: 'Under Fire'. In keeping with the journal's interpretation of cultural studies as a form of praxis, of experience, and of strategic intervention, this section invites short theorised autobiographies and dramatic narratives of what it ..
Author Lena JayyusiSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 47 –52 (2002)More Less
Extracted from text ... Volume 16 - Number 1 - 2002 47 Letters from the Palestinian Ghetto 8-13th March 2002 Lena Jayyusi? 1 The principle of non-simultaneity. It is wonderful to hear children laugh down the stairs of our building. After months in which all sounds were banished from the place, save for the imagined and remembered sounds of shelling from the green-dressed army camp across the valley, the sense of normalcy creeps back, albeit only in doses. But children's laughter in the here-and-now inhabits one dimension; normalcy, the taken for granted and yet plannable course of quotidian life, inhabits the point at which ..
Author Catherine BuckleSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 53 –55 (2002)More Less
Extracted from text ... Volume 16 - Number 1 - 2002 53 A man called Wind Catherine Buckle? 1 May 2002 Dear Family and Friends, Last Saturday morning a war veteran named Wind, accompanied by a bunch of young men, arrived on my farm in the morning. He gave my tenants and their young children two days to get off the farm and out of the house as he says it now belongs to him. Wind then went over the road and issued a verbal eviction order to my neighbours and then to the family living in their cottage. These eviction orders were ..
Author Asmara BerakiSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 57 –60 (2002)More Less
Extracted from text ... Volume 16 - Number 1 - 2002 57 Azanian Filmmaking: Creating an African Present Asmara Beraki? "In this world through which I travel I am endlessly creating myself." - Frantz Fanon (1965) Perhaps it is because I am young. I fear my own naivet?. My eyes are too big and I talk too much. Am too open with my ideas and my stories. At this point in my life, I am a traveller. And every new person I meet and new place I visit opens up new patterns of my future. New narratives I must act out. New selves ..
Author Louise BethlehemSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 61 –66 (2002)More Less
Extracted from text ... Volume 16 - Number 1 - 2002 61 Two Vignettes and a Body Louise Bethlehem? Zionism transported me. In 1985, I left Johannesburg to take up residence in a city on the periphery of Tel Aviv. I expected, in time, to rewrite the rupture of longing as the rapture of belonging: for I had been transported, carried away by strong emotion. But with time, I learnt to see my displacement as colluding in an old apartheid narrative instead: to each ethnicity, its tribal homeland. In recent times, more aware of rupture than ever, I have sought to invoke the ..
Author Bhekimpilo SibandaSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 67 –69 (2002)More Less
Extracted from text ... Volume 16 - Number 1 - 2002 67 Book Review Out of America: A black man confronts Africa. Keith B. Richburg New York: Basic books, 1997 reprinted 1998, pp266. Thriving on chaos and pain: why Africa? A re-appraisal Bhekimpilo Sibanda? Keith Richburg's Out of America: A black man confronts Africa is a very powerful and unique book which raises key questions on both individual and collective identity, particularly on the meaning of being black; is it equivalent to being African? What determines one's Africanness? Richburg seems to argue that being black is not enough to be accepted as an ..
Author David KerrSource: Critical Arts : A Journal of South-North Cultural and Media Studies 16, pp 71 –74 (2002)More Less
Extracted from text ... Volume 16 - Number 1 - 2002 71 Book Review Images of Yesteryear: Filmmaking in Central Africa. Louis Nell Harare, Zimbabwe: Harper Collins (Zimbabwe) Ltd., 1988. David Kerr? The title of Luis Nell's memoir, Images of Yesteryear, is very appropriate. Almost the entire book comprises a series of anecdotes recollected with visual clarity, about the author's involvement in Central African filmmaking from the early 1940s to the late 1960s. The slightly archaic "yesteryear" accurately captures the tone of whimsical nostalgia, which dominates the book. Nell focuses almost exclusively on his colonial filmmaking years. Although he has a few anecdotes ..