A Research Report submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements of the degree of Mater of Arts in Digital Arts: 3D Animation by Coursework and Research Report, 2017 / During the colonial era, stereotypes of Africa were created and normalised in order to gain, maintain and justify colonial power. Europe during the colonial era, defined itself, using binary thinking (stemming from the Enlightenment period), against the "Other". This was used to establish a definition of the savage against which Europe was defined as civilised; Europe, deeming itself rational, used nineteenth-century African ways as an opposition by which the binary of rational against irrational could be expressed (Loomba 45). Colonial depictions of Africa often overlooked complexities and distinctions and represented the continent as a homogenous land and created oversimplified representations of the people and places (Harth 14). From the repeated production of imperial imagery, a regime of representation was created portraying Africa as a primitive wilderness, inferior to Europe, and as a site of colonial adventure. More recently, Triggerfish Animation Studios, based in Cape Town, created the films Adventures in Zambezia (2012) and Khumba (2013). This research argues that both films contain colonial stereotypes that conform to the regime of representation depicting Africa as a homogenous land of animals and landscapes, and repeat the colonial single story of an Edenic Africa. Khumba (2012), although still containing colonial stereotypes, offers a less stereotypical depiction than Adventures in Zambezia (2013). / XL2018

This dissertation focuses on the animated, charcoal, hand-drawn films of William Kentridge‟s Drawings for Projection series (1989—2003). At the beginning of this study, Kentridge‟s films are positioned as a dialectic of self and memory as embodied in a post-colonial South African setting. The series itself was selected as being representative of his artistic oeuvre. They are a closed-ended narrative, using a ground-breaking animation technique, created by the artist himself (Christov-Bakargiev 1998; Godby 1982). They were made by Kentridge during a specific South African cultural and historical period: beginning with Johannesburg, 2nd Greatest City after Paris, made in 1989 at the height of apartheid; through to Tide Table, made in 2003 at the beginning of post post-apartheid South Africa. The hypothesis presented is that Kentridge‟s films have memory as their main theme. Memory itself takes different forms, and the discourse of memory deals with, for instance: memorialisation; repressed memories; traumatic memories; the unconscious and memories; and “postmemory”. How he depicts memories of his own and those of others is at the centre of this research. Using qualitative research methodology, with contextualisation (socio-historical and cultural) and comparative studies (apartheid and the Holocaust; different artistic representations of memory, for example Pascal Croci and William Kentridge; and Anselm Kiefer and William Kentridge) being part of the research design, this thesis has sought to substantiate this hypothesis. Further substantiation and clarification has been expounded by referencing seminal works in the field, such as those of Sigmund Freud (1899: “screen memories”; 1917: trauerarbeit); Roland Barthes (1981: the punctum / spacio-temporal continuum); Pierre Nora (1989: “lieux de mémoiré” / “sites of memory”); Henri Raczymow (1994: “memoire trouée” / “memory shot through with holes”); Richard Terdiman (1993: poesis); Marianne Hirsch (1997: “postmemory”); and Hayden White (1996: historical metafiction); among others. There have already been numerous references to how William Kentridge has depicted the ephemeral nature of memory / memories (Boris 2001; Cameron, Christov-Bakargiev and Coetzee, 1999; Christov-Bakargiev 1998; Sitas 2001). However an in-depth, hermeneutic, comparative analysis has not yet been undertaken. This study is therefore significant in that it explicates William Kentridge‟s works, making the following contributions: to the scholarship on Kentridge‟s work; to a South African perspective to the growing field of trauma studies; and to the apartheid and post-apartheid reflections on re-remembering and forgetting, memorialisation, forgiveness and guilt. Through socio-cultural and historical comparisons as well as artistic contrasts, the films themselves are acknowledged as an important source of reference of South African society. They are a documentation of life lived during apartheid and post-apartheid South Africa. / Department of Communication Science / D.Litt. et Phil.

This dissertation focuses on the animated, charcoal, hand-drawn films of William Kentridge‟s Drawings for Projection series (1989—2003). At the beginning of this study, Kentridge‟s films are positioned as a dialectic of self and memory as embodied in a post-colonial South African setting. The series itself was selected as being representative of his artistic oeuvre. They are a closed-ended narrative, using a ground-breaking animation technique, created by the artist himself (Christov-Bakargiev 1998; Godby 1982). They were made by Kentridge during a specific South African cultural and historical period: beginning with Johannesburg, 2nd Greatest City after Paris, made in 1989 at the height of apartheid; through to Tide Table, made in 2003 at the beginning of post post-apartheid South Africa. The hypothesis presented is that Kentridge‟s films have memory as their main theme. Memory itself takes different forms, and the discourse of memory deals with, for instance: memorialisation; repressed memories; traumatic memories; the unconscious and memories; and “postmemory”. How he depicts memories of his own and those of others is at the centre of this research. Using qualitative research methodology, with contextualisation (socio-historical and cultural) and comparative studies (apartheid and the Holocaust; different artistic representations of memory, for example Pascal Croci and William Kentridge; and Anselm Kiefer and William Kentridge) being part of the research design, this thesis has sought to substantiate this hypothesis. Further substantiation and clarification has been expounded by referencing seminal works in the field, such as those of Sigmund Freud (1899: “screen memories”; 1917: trauerarbeit); Roland Barthes (1981: the punctum / spacio-temporal continuum); Pierre Nora (1989: “lieux de mémoiré” / “sites of memory”); Henri Raczymow (1994: “memoire trouée” / “memory shot through with holes”); Richard Terdiman (1993: poesis); Marianne Hirsch (1997: “postmemory”); and Hayden White (1996: historical metafiction); among others. There have already been numerous references to how William Kentridge has depicted the ephemeral nature of memory / memories (Boris 2001; Cameron, Christov-Bakargiev and Coetzee, 1999; Christov-Bakargiev 1998; Sitas 2001). However an in-depth, hermeneutic, comparative analysis has not yet been undertaken. This study is therefore significant in that it explicates William Kentridge‟s works, making the following contributions: to the scholarship on Kentridge‟s work; to a South African perspective to the growing field of trauma studies; and to the apartheid and post-apartheid reflections on re-remembering and forgetting, memorialisation, forgiveness and guilt. Through socio-cultural and historical comparisons as well as artistic contrasts, the films themselves are acknowledged as an important source of reference of South African society. They are a documentation of life lived during apartheid and post-apartheid South Africa. / Department of Communication Science / D.Litt. et Phil.