“Tell your story until your past stops tearing your present apart” (Mashile, 2016). In these impo... more “Tell your story until your past stops tearing your present apart” (Mashile, 2016). In these important words uttered by renowned poet, Lebogang Mashile , I welcome you to my paper. The topic of engagement is about coloniality, with a focus on the various ways which coloniality shows up in reality. I have divided my paper into four sub-categories which critically engage coloniality. First, I will define coloniality in conjunction with differentiating it from colonialism or colonisation. Then, I will discuss coloniality of power by using the film Namibia Genocide and the Second Reich (Olusoga, 2004) as an example. Then I will discuss coloniality of being by using the film Once Were Warriors (Tamahori, 1994) an example. I will follow with a discussion on the coloniality of knowledge using the documentary Afrikaaps (Valley, 2010) as an example, before ending my paper with a succinct conclusion.
Gaye Tuchman’s 1979 essay “Women’s Depictions by the Mass Media” makes two general claims. The fi... more Gaye Tuchman’s 1979 essay “Women’s Depictions by the Mass Media” makes two general claims. The first claim is that the representation of women in mass media symbolically annihilates them. This means that the mass media portrays women in a way which excludes the diverse identities and experiences women behold (both onscreen and off-screen). Tuchman’s second suggests that the under-representation of women- rather, the symbolic annihilation of women- is a directly reflects the demography of women that occupy positions within mass media. This paper engages Beyoncé’s muso-documentary, LEMONADE, by using Tuchman’s first claim to adequately engage how the disparities in representations of women in mass media are relevant today. More specifically, this paper pays particular attention to how LEMONADE interacts and refutes the three elements of symbolic annihilation namely: underrepresentation; trivialisation; and, condemnation.
In a private conversation I once had with Professor Pumla Dineo Gqola at the launch of her book R... more In a private conversation I once had with Professor Pumla Dineo Gqola at the launch of her book Rape: A South African Nightmare, Gqola said something interesting to my ears at the time and very necessary for the discussion about masculinity on which this paper is based. She said that she has no problem with masculinity, as she feels it is a necessary part of a man's identity. She then added, that however, it is hyper-masculinity that provokes a severe concern in her. It is the intention of this paper to engage the differences between the two masculinities and the roles they play in Tamahori's film. Although Tamahori's film engages with many aspects of twenty-first century urban New Zealand life, this paper chooses to focus solely on the portrayal and interactions that are experienced by the male bodies in Once Were Warriors.
“Tell your story until your past stops tearing your present apart” (Mashile, 2016). In these impo... more “Tell your story until your past stops tearing your present apart” (Mashile, 2016). In these important words uttered by renowned poet, Lebogang Mashile , I welcome you to my paper. The topic of engagement is about coloniality, with a focus on the various ways which coloniality shows up in reality. I have divided my paper into four sub-categories which critically engage coloniality. First, I will define coloniality in conjunction with differentiating it from colonialism or colonisation. Then, I will discuss coloniality of power by using the film Namibia Genocide and the Second Reich (Olusoga, 2004) as an example. Then I will discuss coloniality of being by using the film Once Were Warriors (Tamahori, 1994) an example. I will follow with a discussion on the coloniality of knowledge using the documentary Afrikaaps (Valley, 2010) as an example, before ending my paper with a succinct conclusion.
Gaye Tuchman’s 1979 essay “Women’s Depictions by the Mass Media” makes two general claims. The fi... more Gaye Tuchman’s 1979 essay “Women’s Depictions by the Mass Media” makes two general claims. The first claim is that the representation of women in mass media symbolically annihilates them. This means that the mass media portrays women in a way which excludes the diverse identities and experiences women behold (both onscreen and off-screen). Tuchman’s second suggests that the under-representation of women- rather, the symbolic annihilation of women- is a directly reflects the demography of women that occupy positions within mass media. This paper engages Beyoncé’s muso-documentary, LEMONADE, by using Tuchman’s first claim to adequately engage how the disparities in representations of women in mass media are relevant today. More specifically, this paper pays particular attention to how LEMONADE interacts and refutes the three elements of symbolic annihilation namely: underrepresentation; trivialisation; and, condemnation.
In a private conversation I once had with Professor Pumla Dineo Gqola at the launch of her book R... more In a private conversation I once had with Professor Pumla Dineo Gqola at the launch of her book Rape: A South African Nightmare, Gqola said something interesting to my ears at the time and very necessary for the discussion about masculinity on which this paper is based. She said that she has no problem with masculinity, as she feels it is a necessary part of a man's identity. She then added, that however, it is hyper-masculinity that provokes a severe concern in her. It is the intention of this paper to engage the differences between the two masculinities and the roles they play in Tamahori's film. Although Tamahori's film engages with many aspects of twenty-first century urban New Zealand life, this paper chooses to focus solely on the portrayal and interactions that are experienced by the male bodies in Once Were Warriors.
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