
Contents
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A Film Practice in Transition: South African Documentary Before and After 1990 A Film Practice in Transition: South African Documentary Before and After 1990
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Lone Filmmaking: A Strategy Borne Out of Financial Frustration Lone Filmmaking: A Strategy Borne Out of Financial Frustration
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Explorations of Identity: Artistic Expression and the Democratisation of Filmmaking in South Africa Explorations of Identity: Artistic Expression and the Democratisation of Filmmaking in South Africa
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Conclusion: A Sustainable Strategy for Independent Documentary Filmmaking Or A Lonely Road to Nowhere? Conclusion: A Sustainable Strategy for Independent Documentary Filmmaking Or A Lonely Road to Nowhere?
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Notes Notes
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Bibliography Bibliography
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Filmography Filmography
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14 Fukushima and the Shifting Conventions of Documentary: From Broadcast to Social Media Netizenship
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9 From the Ashes: The Fall of Apartheid and the Rise of the Lone Documentary Filmmaker in South Africa
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Published:July 2015
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Abstract
This chapter explores how South African documentary practice has evolved since the 1990s, leading to the emergence of film practices based on a single individual. It considers films such as The Mothers' House (dir. Verster, 2006), Surfing Soweto (dir. Blecher, 2010), Dawn of a New Day (dir. Grunenwald, 2011), Imam and I (dir. Shamis, 2011), Saying Goodbye (dir. Mostert, 2012), and Incarcerated Knowledge (dir. Valley, 2013). Although these are not the only films pertaining to this filmmaking model, they reflect how more individualised and personal film documentary practices are intrinsically linked to the character of independent documentary filmmaking in South Africa today, as they contribute new critical views on the contested issue of post-apartheid national identity.
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