000			03571cam a2200397 a 4500
001			14915143
005			20170822175019.0
008			070703s2007 enka bq 001 0 eng
010			_a 2007027626
020			_a0415216796 (hbk. : alk. paper)
020			_a041521680X (pbk. : alk. paper)
020			_a9780415216791 (hbk. : alk. paper)
020			_a9780415216807 (pbk. : alk. paper)
035			_a(OCoLC)ocn154678000
040			_aDLC _beng _cBSU _dBSU _dYDXCP _dBWKUK _dBWK _dVVC _dUUS _dBTCTA _dOCLNG _dHEBIS _dOCLCQ _dA7U _dDLC
043			_af-sa---
050	0	0	_aPN1993.5.S6 _bM35 2007
082	0	0	_a791.43 MAI _222
100	1		_aMaingard, Jacqueline. _916817
245	1	0	_aSouth African national cinema / _cJacqueline Maingard.
260			_aLondon ; _aNew York : _bRoutledge, _c2007.
300			_axii, 220 p. : _bill. ; _c25 cm.
490	1		_aNational cinemas
504			_aIncludes bibliographical references (p. 190-199) and index.
504			_aFilmography: p. 200-205.
505	0		_aColonizing 'nation': De Voortrekkers (1916) -- Fictions of nation: The symbol of sacrifice (1918), Sarie marais (1931) and Moedertjie (1931) -- Monuments to nation: They built a nation (1938) and 'n Nasie Hou Koers (1940) -- Black audiences 1920s-1950s: film culture and modernity -- All that jazz: representing black identities in Zonk! (1950) and Song of Africa (1951) -- Cry, Africa: social realism in Cry, the beloved country (1951) and Come back, Africa (1959) -- Apartheid cinema: race, language and ethnicity in state subsidy films -- Chimes of freedom: cinema against apartheid -- Screening nation: new South African cinema/s beyond apartheid.
520	1		_a"South African National Cinema examines how cinema in South Africa represents national identities, particularly with regard to race. This significant and unique contribution establishes interrelat ionships between South African cinema and key points in South Africa's history, showing how cinema figures in the making, entrenching and undoing of apartheid. This study spans the twentieth century and beyond." "Jacqueline Maingard discusses how cinema reproduced and constructed a white national identity, taking readers through cinema's role in building white Afrikaner nationalism in the 1930s and 1940s. She then moves to examine film culture and modernity in the development of black audiences from the 1920s to the 1950s, especially in a group of films that includes Jim Comes to Joburg (1949) and Come Back, Africa (1959). Jacqueline Maingard also considers the effects of the apartheid state's film subsidy system in the 1960s and 1970s and focuses on cinema against apartheid in the 1980s. She reflects upon shifting national cinema policies following the first democratic election in 1994 and how it became possible for the first time to imagine an inclusive national film culture." "Illustrated throughout with excellent visual examples, this cinema history will be of value to film scholars and historians, as well as to practitioners in South Africa today."--BOOK JACKET.
650		0	_aMotion pictures _zSouth Africa _xHistory. _916818
658			_aArt
830		0	_aNational cinemas series. _916819
856	4	2	_3Publisher description _uhttp://catdir.loc.gov/catdir/enhancements/fy0731/2007027626-d.html
856	4	1	_3Table of contents only _uhttp://catdir.loc.gov/catdir/toc/ecip0722/2007027626.html
906			_a7 _bcbc _corignew _d1 _eecip _f20 _gy-gencatlg
942			_2ddc _cBK
999			_c7897 _d7897