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The alternative press refers to a group of anti-apartheid newspapers which proliferated in South Africa during the early 1980s until the early 1990s. What was ‘alternative' about these publications was how they actively pursued an anti-apartheid agenda in their news reporting. The Weekly Mail newspaper is regarded as one of the pioneers of this section of the press and is the focus of this study which examines the representation of black political voices in its political reporting. Recognising a gap in the literature on the alternative press pertaining to questions of race, gender, voice and sourcing patterns, this study utilises qualitative discourse analysis and content analysis to analyse the political reporting in the Weekly Mail to evaluate the representation of black voices in the newspaper. It asks the questions: how can we analyse the content emerging from the alternative press with regards to the representation of black voices? Who writes, who speaks and what does this say about race, power and black representation in the Weekly Mail? Would this esteemed newspaper reproduce some of the racial and gender stereotypes prevalent in mainstream newspapers, or would it shift its content to more progressive terrains? This study revealed that the Weekly Mail was centred around male voices, specifically, those of black male leaders of popular black organisations. The study further revealed an interesting division in the representations of black males, where older black males were constructed as respectable, rational and approachable, while younger black males who were sometimes referred to as “young lions” in the ANC Youth League, were constructed as unthinking, violent, politically naïve and were infantilised. The findings of this study further showed that the Weekly Mail framed black females in politics according to their roles as wives, mothers and maternal caregivers. There were inconsistencies in how white and black women were portrayed. While black women were put strictly in their motherhood boxes, white women were allowed space to think and speak more broadly about their political ideas and aspirations. These observations showed the ways which the Weekly Mail deployed subtle (and sometimes not so subtle) undertones of racial and gender biases in their representations of black political voices.

The alternative press refers to a group of anti-apartheid newspapers which proliferated in South Africa during the early 1980s until the early 1990s. What was ‘alternative' about these publications was how they actively pursued an anti-apartheid agenda in their news reporting. The Weekly Mail newspaper is regarded as one of the pioneers of this section of the press and is the focus of this study which examines the representation of black political voices in its political reporting. Recognising a gap in the literature on the alternative press pertaining to questions of race, gender, voice and sourcing patterns, this study utilises qualitative discourse analysis and content analysis to analyse the political reporting in the Weekly Mail to evaluate the representation of black voices in the newspaper. It asks the questions: how can we analyse the content emerging from the alternative press with regards to the representation of black voices? Who writes, who speaks and what does this say about race, power and black representation in the Weekly Mail? Would this esteemed newspaper reproduce some of the racial and gender stereotypes prevalent in mainstream newspapers, or would it shift its content to more progressive terrains? This study revealed that the Weekly Mail was centred around male voices, specifically, those of black male leaders of popular black organisations. The study further revealed an interesting division in the representations of black males, where older black males were constructed as respectable, rational and approachable, while younger black males who were sometimes referred to as “young lions” in the ANC Youth League, were constructed as unthinking, violent, politically naïve and were infantilised. The findings of this study further showed that the Weekly Mail framed black females in politics according to their roles as wives, mothers and maternal caregivers. There were inconsistencies in how white and black women were portrayed. While black women were put strictly in their motherhood boxes, white women were allowed space to think and speak more broadly about their political ideas and aspirations. These observations showed the ways which the Weekly Mail deployed subtle (and sometimes not so subtle) undertones of racial and gender biases in their representations of black political voices.

Power to the People: Responsible Facilitation in Co-Creative Story-Making describes and applies a tool for recording and analyzing the co-productive creation process of digital storytelling (DST) workshops to be used by project facilitators for the purposes of reflection and for developing an ethics of responsibly in story-making practices. It provides a method for analyzing digital storytelling practices that focuses on the rhetorical, dialogic, co-productive, creative story-making space rather than the finished stories or the technologies. Looking through a new media lens, this dissertation aligns the DST genre and practice in relation to alternative media broadly, and tactical media specifically, to understand DST as a resource for storytellers. This dissertation situates DST as a co-creative media process created among participants, individual storytellers, facilitators, institutions, and the audience, and discusses the inter-relationships within the workshop setting as well as in those found in the dissemination of the final digital stories. The author discusses the relationships among the storytellers and the facilitators, the other workshop participants, and the viewing audience, examining this final relationship in terms of face-to-face and digital interactions. This dissertation provides a reflexive look at the responsibility of the facilitator in co-creative digital storytelling endeavors and makes use of diverse international case studies in addition to an analysis of the author's own facilitated project, "Exploring Our Information Diets," as examples. The author argues that co-creative storymaking facilitators should interpret their roles within the collaborative creation process to ensure that responsible facilitation practices based in "witnessing" guide the storytelling process, and create an environment that treats participants as subjects with the ability to respond to the world.

The rural South African environment in its many representations across television and documentary forms part of a continuously complex conversation. The ways in which fictional shows such as Generations (SABC1), compared to shows like Giyani: Land of Blood (SABC2) and The Herd (Mzansi Magic) have approached the representation of the rural environment, creates a new lens from which to look academically at the representation of rural areas in South Africa. Furthermore, the representation of aspiration in Giyani: Land of Blood and The Herd speaks to a unique shift in the treatment of the fictional stories we have seen in the past in local television shows. This paper analyses these two shows in conversation with my documentary film, Ndhawu which facilitates a conversation around space, identity and aspiration. This qualitative investigation seeks to look critically at the content of Giyani: Land of Blood, The Herd and my documentary film Ndhawu through textual analysis. This analysis, and the critical reflection on Ndhawu, will be steppingstones to supporting the argument that there is a new type of representation that we not only see of rural South Africa, but also of the aspirations of the inhabitants of those areas

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RUTHLESS! is a gritty, sports psychological drama set in the world of elite gymnastics. It tells the story of an overly ambitious gymnast who, after being involved involved in the accidental death of her teammate, struggles to keep her secret from being unearthed and her sanity intact -- all while trying to actualize her Olympic dream. Like I, Tonya meets Black Swan with shades of Showgirls, it's a story about how unchecked passion begets destruction.

A coming of age dramedy in the vein of "American Graffiti" taking place in a modern, urban setting. Grad Night is about three graduating seniors trying to pull off the most epic senior prank of all time but it backfires into lessons that go far beyond high school.