An ideological analysis of the construction of masculinity in the South African superhero comic book, Kwezi
- Authors: Reyneke, Brendon George
- Date: 2020
- Subjects: Mkize, Loyiso, 1987- -- Kwezi , Superheroes -- South Africa , Comic books, strips, etc. -- South Africa , Graphic novels -- South Africa , Masculinity in literature , Violence in literature , Superheroes, Black
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/144533 , vital:38354
- Description: In 2014, South African artist and comic book illustrator, Loyiso Mkize created Kwezi, South Africa’s first superhero comic book. His comic features the titular Kwezi as a young, black man living alone on the outskirts of Gold City who discovers he has superpowers. Along with Kwezi, the comic is populated by predominantly black African characters – both good and bad. The creation of Kwezi is an important step in the development of comic books in South Africa as it draws from the cultural and physical landscape of the country and speaks to young black people without them having to look outside of the country for superheroes to identify with. Stuart Hall (Hall, 1997, pp. 272-274) asserts that attempts to reclaim the black subject in popular culture tend to go through two phases. In the first phase blackness is liberated from negative representations and is replaced with more positive depictions. Thereafter though, the black subject is produced inside contemporary “regimes of representation”. In this thesis, I will show how Mkize’s representation of Kwezi follows Stuart Hall’s description of the reclamation of black subjectivity. Using narrative theory, visual social semiotics and Thompson’s modes of operational ideology I will show how in his attempt to represent African blackness positively, Mkize overlooks normative genre representations of masculinity and produces a story of a South African that remains unliberated from patriarchy and hegemonic masculinity. Mkize reproduces many of the hegemonic discourses concerning the masculine body, the power difference between male and female characters and subscribes to the justified, violent actions of the masculine superhero. Typically, in superhero comics there is an erasure of the ordinary man in favour of an excessive and powerful one-dimensional masculine ideal (Brown, 1999, pp. 31-32) At the end of my analysis I will show that Kwezi is constructed in this way as a physically strong and muscular, violent and emotionless, self-made man who is in control and overcomes all obstacles.
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- Date Issued: 2020
An ideological analysis of the construction of the young female action hero as feminist hero in The Hunger Games film franchise
- Authors: Mathurine, Kim Elizabeth
- Date: 2020
- Subjects: Everdeen, Katniss (Fictitious character) , Women superheroes in motion pictures , Hunger Games films , Feminist film criticism , Feminism and motion pictures , Women in motion pictures
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/142900 , vital:38174
- Description: Young female action heroes have recently stepped into the limelight as commercial celebrations of Girl Power in Hollywood action-adventure films. Feminist films studies however have shown that these independent, tough female heroes claimed as feminist, are still constrained in various ways through stereotypical gender roles within the action-adventure genre. This thesis examines these claims through the ideological analysis of the young female action hero Katniss in The Hunger Games film franchise. Building on existing research on female action heroes, the research asks: ‘to what degree can the claim of Katniss as boundary-breaking, feminist hero be validated’? This question is addressed through a textual analysis of the four films of The Hunger Games film franchise, employing conventions of action-adventure genre, narrative analysis, mise-en-scène and cinematography to unmask the characterisation of the female hero. The discussion of the findings, utilising the themes of Love, Violence and Power, reveal both progressive and regressive elements present in the characterisation of Katniss. The findings indicate that while female action heroes can be celebrated for displaying progressive moments of liberated action, they remain constrained within dominant heteronormative gender roles in commercial Hollywood films, undergoing various acts of transformation and recuperation as a means of containing the threat of their transgressive behaviour.
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- Date Issued: 2020
Exploring socialities on Black Twitter: an ethnographic study of everyday concerns of South African users in 2018 and 2019
- Authors: Adebayo, Binwe
- Date: 2020
- Subjects: Twitter (Firm) , Social media South Africa , Social media and society South Africa , Black people and mass media South Africa , Language and the Internet South Africa , Mass media and culture South Africa , Race in mass media , Ethnicity in mass media , Mass media and minorities South Africa , Mass media Social aspects South Africa , Sex differences in mass media , Social media Political aspects South Africa , South Africa Social conditions , Finance In mass media , Intersectionality (Sociology) South Africa , Black Twitter
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/140575 , vital:37900
- Description: In this thesis, I examine the phenomenon of Black Twitter, as it exists in South Africa. Drawing on its socio-cultural and linguistic elements, I analyse the kinds of socialities which are constituted on the platform. In the study, I do this by focusing on the key issues which drive the space by evaluating the key everyday concerns as expressed by its users. As such, the overarching lens focuses on three elements: Firstly, the idea of socialities and the way in which they manifest in online spaces; a focus on the everyday as an important site for social inquiry; and lastly the issue of ‘blackness’, in terms of the way it is used and understood in the South African Black Twitter context. Historically, the Black Twitter space has been linked almost exclusively to its broad base of African American users, who are significant both in terms of their numbers, and their impact on online social culture. However, in this study I engage with the ways in which Black Twitter has been adopted, co-opted and used by young South Africans. As a bona fide ‘member’ of South African Black Twitter, my approach to the study was cyberethnographic. Drawing on my access to the space, my knowledge of many of its members and dynamics, I engaged in participant observation as my primary methodology. My discussion focuses on three areas of everyday concerns, namely: gender and sexuality; race and politics; finances and the economy. These three areas emerge both as prominent sites of discussion, but also give the best insight into the ways in which young South Africans are grappling with these issues. My analysis focuses on how everyday concerns are handled on the platform, and I focus on the deployment of solidarity, formal language, platform-based language and the invocation of blackness. I argue in my conclusion that while the structure of the broad Black Twitter space reflects a leaning towards a digital public sphere, that the process and construction of Black Twitter’s ideas and content are approached via an incomplete, fluid convivial approach.
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- Date Issued: 2020
The meanings selected Rhodes University student-fans of hip-hop make of the gendered scenarios portrayed in designated South African commercial hip-hop music videos
- Authors: Mtengwa, Tamuka Phumelela Msawenkosi Misheck
- Date: 2020
- Subjects: Hip-hop -- South Africa , Misogyny -- South Africa -- Makhanda , Rap (Music) -- South Africa , Rap (Music) -- Social aspects -- South Africa , Hip-hop -- Influence , Violence in music , Women -- Violence against -- South Africa , Rape culture -- South Africa , Rap music fans-- South Africa -- Makhanda , Misogyny in music , #RapeCultureMustFall , #RUReferenceList
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/148305 , vital:38728
- Description: Hip-hop is frequently linked to misogyny and other forms of violence. This link, in many instances, is often presented outside of a critical understanding of complex underlying societal and gender dynamics. South Africa’s high rates of violence against women make it necessary to understand how hip-hop videos interact with society, as hip-hop, in its commercial form, has become a growing music genre in South Africa. Rhodes University, which has a notable student following of hip-hop, has experienced concerning levels of gender-based tensions as evidenced by the rise of the “fallist” movement’s #RapeCultureMustFall, #RUReferenceList and the suicide of Khensani Maseko, at the instigation of an alleged incident of rape, perpetrated by her boyfriend and fellow student. It is therefore of interest to investigate how a select group of Rhodes University student-fans of hip-hop make meaning out of selected South African commercial hip-hop music videos. The hip-hop music videos chosen for the study, hence Pitbull Terrier (Die Antwoord), Pearl Thusi (Emtee), Dlala ka yona (L’Tido), All eyes on me (AKA featuring Burna Boy, Da L.E.S and JR) and Ragga Ragga (Gemini Major featuring Casper Nyovest, Riky Rick and Nadia Nakai), were selected on the strength of their popularity and uniquely gendered scenarios. This study draws on qualitative research methods, thus qualitative thematic content analysis, focus group and in-depth interviews. The study establishes that despite gender being a contentious issue at Rhodes University, students make meaning out of the gendered portrayals based on their own experiences, socialisation, cultural values and level of submission to the discourse of hip-hop. This study seeks to understand how selected student-fans of hip-hop read the gendered portrayals of the music videos, based on their own experiences, socialisation, cultural values, and level of submission to the discourse of hip-hop.
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- Date Issued: 2020
Whose Wakanda is it anyway? A reception analysis of Black Panther among young black urban Africans
- Authors: Muzenda, Makomborero
- Date: 2020
- Subjects: Motion picture audiences , Youth, Black -- Africa -- Attitudes , Popular culture – Africa , Motion pictures -- Social aspects , Youth, Black -- Race identity -- Africa , Identity politics in motion pictures , Identity (Psychology) and mass media , Mass media and youth -- Africa , Mass media and culture -- Africa , Mass media -- Social aspects -- Africa , Postcolonialism and the arts , Representation (Philosophy) , Black Panther (Motion picture : 2018) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/144311 , vital:38330
- Description: As a writer and as an academic, I have long been interested in young black Africans. As a demographic group, we are heralded as the future of Africa and a vital resource, but not much is known about us, what we think, and how we make sense of things. As an African youth myself, I know that we are a diverse group with different backgrounds, perspectives and beliefs. I am interested in exploring our identities, how we express ourselves and how we make sense of ourselves, each other, the continent and the world. I want to learn more about how we see the world, and what we think of how media narratives and messages represent us. This research project is an extension of this personal curiosity. It focuses on Black Panther, a film that received particularly strong responses from young black Africans. I want to explore why this film in particular prompted such a strong reaction, and what the imagining of an uncolonised, technologically advanced African nation that Black Panther offers means for the young black Africans born after the official end of apartheid and colonisation.
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- Date Issued: 2020