COM 2017 Volume 22

Permanent URI for this collection

http://hdl.handle.net/11660/7420

Browse

Browsing COM 2017 Volume 22 by Title

Now showing 1 - 2 of 2
  • Thumbnail Image
    ItemOpen Access
    Obama and liberal Afro-pessimism
    (Department of Communication Science, University of the Free State, 2017) Glenn, Ian
    This article disputes academic accounts of Afro-pessimism, which see it as a product of ideological or discursive bias in the viewer, or as a crude generalisation across very different countries and cultures by examining the context for and major themes of Afro-pessimism after 1994. In particular, it shows that modern Afro-pessimism is largely a product of liberal concerns and liberal media. It demonstrates the salience of these themes by showing how they permeate and influence former US President Barack Obama’s African outlook by a close reference to his speech to the Ghanaian parliament in 2009 and suggests that they may provide the context for the views of current US President Donald Trump.
  • Thumbnail Image
    ItemOpen Access
    Ubuntu and the cinematic dramaturgy of Elelwani
    (Department of Communication Science, University of the Free State, 2017) Rodny-Gumede, Ylva
    In this article the author shows how the dramaturgy of Elelwani (wa-Luruli 2012) challenges theories around narration and audience interaction as articulated in the analysis of North American and European films, instead presenting a cinematic dramaturgy uniquely African. This is done by drawing upon two distinct, and often juxtaposed, modes of narration ‒ the classical linear cause and effect narration as exemplified by many Hollywood productions, and art-cinema narration based on symbolism and artistic expression (Bordwell 1985; 2005). In particular, the article draws on Israel’s (1991) philosophical distinctions between the Anglo-Saxon narrative with links to a Cartesian dualism between body and mind, and the epic-lyrical narrative linked to Hegel. It is argued that the dramaturgy of Elelwani not only overcomes the Cartesian dualism by giving the individual an active role in the knowledge creating process in the Hegelian tradition, but also draws on, as well as moves away from, a multi-layered epic-lyricism steeped in a European worldview of the self, and instead presents a novel, and uniquely African, dramaturgy steeped in a relational ethic and conceptualisation of self, linked to the Southern African philosophy of ubuntu.