This dissertation examines the representation the Khoi woman Krotoa in the film of the same name directed by Roberta Durrant (2017). It draws on scholarship by Pamela Scully (2005) and Julia C. Wells (1997), who argue that Krotoa adapted well to her circumstances, following the arrival of Jan Van Riebeeck at the Cape in 1652. Krotoa used her gender to influence Van Riebeeck's decision-making, regarding trade relations with the Khoi people. This thesis shows these views to be complicated and contested, especially considering evidence of victimisation and sexual assault of indigenous women by colonial authorities – as Pamela Scully (2005) has noted. Yvette Abrahams (1996) also wrote that Krotoa's alcoholism indicated some form of trauma. Simultaneously, indigenous people were also stereotyped based on race. They were deemed immoral and generally inferior to Europeans. These ideologies were perpetuated by European writings on encounters with indigenous people, as scholars like Nicholas Hudson (2004) write. Additionally, indigenous women such as Sarah Baartman, were perceived by Europeans as sexually deviant and hyper-sexual – as written by Zine Magubane (2001). It is for this reason therefore, that issues of identity, sexuality and gender are significant to this study on, Krotoa (2017). Furthermore, in bringing together the narratives of Sarah Baartman and Krotoa, it emphasizes how indigenous women have been marginalised and abused within a colonial society. Critical analysis of the film indicates that history has been distorted by the way Krotoa is represented. This was largely due to the perception that the film is told from the perspective of a ‘white' man, as Rusana Philander (2017) discusses. Moreover, due to the extent to which Durrant's film has been influenced by the past, I argue that Krotoa is mis-represented – both in history and in her representation on-screen.

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<p> This dissertation seeks to create a theory of narrative balance based upon the connection between economics and literary narrative, and to apply that theory to postmodern texts, which confront issues of space, economics, and narrative. I use sources in both postmodern economic and cultural theory, as well as the more modern influences of cognitive science, narratology, and evolutionary psychology. My work will build on the work of several cognitive and evolutionary scholars, including David Herman, Lisa Zunshine, Blakey Vermeule, Nancy Easterlin, and Merlin Donald, but the concept of &ldquo;space&rdquo; creates a gap through which I blend theories of the postmodern with cognitive psychology. I argue that narrative fictions have an &ldquo;economic&rdquo; quality to them and that causality becomes increasingly conflated with what some would call &ldquo;meaning,&rdquo; others, &ldquo;literariness.&rdquo; </p>

<p> The process of writing music for a film involves preliminary discussions between the composer and filmmakers where decisions are made on how to create an effective score that supports the story. This project report explores the composition process of <i>Dead Man&rsquo;s Bluff</i>, a short film noir story directed by Franklin Guerrero, Jr., produced by Calvin Green, Sandra McCurdy and Matt Carmody. In this project, one musical motive representing the <i>femme fatale</i> character is used to create the framework for the entire score. Variations in the musical motive demonstrate nuances in the mood and tone of various scenes. The process of scoring a film also involves a stage of revisions from the filmmaker&rsquo;s feedback. Final stages of creating a film score involve mixing on a professional stage where the sound effects, music and dialogue volume levels are adjusted to perfect the overall sound.</p>