Human Trafficking as motif in fictional reflexive documentary filmmaking: a performance-based research study
| dc.contributor.advisor | Cloete, D. C. | |
| dc.contributor.advisor | Vorster, C. J. | |
| dc.contributor.author | Strydom, Hester | |
| dc.date.accessioned | 2022-02-24T12:11:09Z | |
| dc.date.available | 2022-02-24T12:11:09Z | |
| dc.date.issued | 2021-01 | |
| dc.description.abstract | Human trafficking, especially amongst women and girls, is not a new phenomenon. The trafficking industry has transformed into a global, demand-driven industry with a demand for slavery and commercial sex, with the primary driving force being poverty, with a direct link to the exploitation of people with a lack of education and employment opportunities (Jinnah 2013). Currently, a growing movement, whether in the form of printed or social media, is exposing human trafficking as a real concern. Proper reporting has helped change the general public’s perspective to realising that trafficking is real and impacts people’s lives daily in nearly every region of the world. A documentary film is also often defined as a slice of life piece of art, with the option of being narrative based (Dirks 2017). The modern documentary genre makes use of set interviews with narration, planned cinematography, re-enactments, fictional storytelling inspired by factual events and an immense effort at post-production with regards to editing, graphic-effects, music and sound design. Ultimately this leads to directors having more control over what is shot and finally showcased (Hibbard 2015). Under the documentary genre of filmmaking, Bill Nichols1 establishes six modes in which individuals may create their documentary, setting conventions that these films may implement leaving specific expectations with the viewers. The study made use of a reflexive mode2 of documentary filmmaking. The primary outcome of this study is the production of a reflexive documentary inspired by the narrative of Grizelda Grootboom, a survivor of human trafficking in South Africa, with the aim of creating human trafficking awareness. The formal properties that is incorporated in the production is compiled using a Practice-based Research approach developed by Richard Blyth3.The practical outcome takes the form of a short film, inspired by actual events, namely by the life of Grizelda Grootboom, a human trafficking survivor, as it is told in her autobiography,EXIT!. Due to the leniency given by the reflexive mode of documentary filmmaking, the film’s synopsis is inspired by the autobiography, although not factually accurate to the novel,nthroughout the film. Etsoa!’s narrative is based on the life of fictional human trafficking survivor, Nthabiseng Matsuma, currently in a rehabilitation facility, writing an autobiography. The filmmaker aimed to stay true to the theoretical knowledge obtained in preceding chapters of this study, ensuring that the three major problems and the three stages of human trafficking are addressed. | en_ZA |
| dc.identifier.uri | http://hdl.handle.net/11660/11461 | |
| dc.language.iso | en | en_ZA |
| dc.publisher | University of the Free State | en_ZA |
| dc.rights.holder | University of the Free State | en_ZA |
| dc.subject | Dissertation (M.A. (Drama and Theatre Arts))--University of the Free State, 2021 | en_ZA |
| dc.subject | Human trafficking | en_ZA |
| dc.subject | Reflexive documentary | en_ZA |
| dc.subject | Filmmaking | en_ZA |
| dc.subject | Performance-based research | en_ZA |
| dc.subject | Practice-based research | en_ZA |
| dc.subject | Slavery | en_ZA |
| dc.subject | Inspired by actual events | en_ZA |
| dc.subject | Film production | en_ZA |
| dc.subject | Cinematography | en_ZA |
| dc.subject | Editing | en_ZA |
| dc.subject | Exit | en_ZA |
| dc.subject | Grizelda Grootboom | en_ZA |
| dc.title | Human Trafficking as motif in fictional reflexive documentary filmmaking: a performance-based research study | en_ZA |
| dc.type | Dissertation | en_ZA |