PHD Thesis - Arts / Intertextuality is used to engage with the ‘already said’, which according to
Umberto Eco is the hallmark of postmodernism. African popular culture in 2005 is
frequently created through a dialogue between multiple partners. It is
heteroglossic in expression, is capable of withstanding multifocal scrutiny and is
fluent in the conventions of the form it chooses. It expresses itself by allusion to
the ‘already said’ and through inclusion of increasingly sophisticated popular
audiences. Intertextuality is generally used as a smart tool to express and
comment upon hidden narratives relating to, for example, African identities, class
relations, corruption and the taboo: abuse, incest, Aids, archaic traditional law
practices as well as the not-so-hidden topics of necropower, global capitalism
and so on. This study looks at the various uses of intertextuality, including the
way it is used as a mechanism to access political memory, in the South African
youth TV drama Yizo Yizo.
It is argued that a text must be read in relation to the dynamic and interaction
between the producer of the text, the text and the audiences of the text. To
understand what producers bring to the text, one must understand the universe
of the producers. In trying to understand why Yizo Yizo appears to depict
“violence”, one needs to understand the experiences and ideologies of the
producers in the physical space known as South Africa and reproduced as
memory in the chronotope occupied by Yizo Yizo. In analysing the term
“violence”, it becomes clear the word is inadequate if it is used in the singular
only. What is explored here is rather, a hierarchy of violences. Violence is
embedded in the very construct of the rainbow nation and returned as the
political memory of violence in representation. The pecking order of these
violences is identified as political violence, the relations of abuse, sexual
violence, violence silence, dialogic violence, violence towards the self, traumatic
violence revisited, lifestyle violence, criminal violence and retributive and
restorative violence. Yizo Yizo works with the consequences of the apartheid
iii
past in the present and forces one male character after another to take a stand
against the continuing violences of their present. Two characters (Papa Action
and Chester) become the archetypes of criminal violence. Another two (Thulani
and Gunman) answer reactionary and victimising and criminal violence with
violence intended to free those it oppresses.
But the proof of the pudding is in the audience tasting. We know from Henry
Jenkins that fans rewrite texts in ten different ways—by recontextualisation,
expanding the series timeline, refocalisation, moral realignment, genre shifting,
cross overs, character dislocation, personalisation, emotional intensification and
eroticisation. Using comments by fans, focus group results and media reports,
the research looks at the way these rewrites take place in relation to Yizo Yizo.
Ultimately it is suggested that the producers of this particular text are able to
reach their audiences because they are also fans of movie and TV and of African
popular culture. Moreover, they share a country in which a multitude of violences
are experienced but invisible, hence the need for the development of a language
and aesthetic of violence.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:wits/oai:wiredspace.wits.ac.za:10539/155 |
| Date | 02 February 2006 |
| Creators | Andersson, F. B. |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Format | 2000689 bytes, application/pdf, application/pdf |
Page generated in 0.0023 seconds