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The South African transition and ideological disillusionment : Johnny is nie dood nie and Die Seemeeu
Thesis (MA)--Stellenbosch University, 2024.
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| Format: | Thesis |
| Language: | English |
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Stellenbosch : Stellenbosch University
2025
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| _version_ | 1867613738652139520 |
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| access_status_str | Open Access |
| author | Bester, Cornelia Margaretha |
| author2 | Mbao, Wamuwi |
| author_browse | Bester, Cornelia Margaretha Mbao, Wamuwi |
| author_facet | Mbao, Wamuwi Bester, Cornelia Margaretha |
| author_sort | Bester, Cornelia Margaretha |
| collection | Thesis |
| dc_rights_str_mv | Stellenbosch University |
| description | Thesis (MA)--Stellenbosch University, 2024. |
| format | Thesis |
| id | oai:scholar.sun.ac.za:10019.1/131574 |
| institution | Stellenbosch University (South Africa) |
| language | English |
| last_indexed | 2026-06-10T12:40:55.520Z |
| license_str | Other — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from SUNScholar — Stellenbosch University Repository |
| publishDate | 2025 |
| publishDateRange | 2025 |
| publishDateSort | 2025 |
| publisher | Stellenbosch : Stellenbosch University |
| publisherStr | Stellenbosch : Stellenbosch University |
| record_format | dspace |
| source_str | SUNScholar — Stellenbosch University Repository |
| spelling | oai:scholar.sun.ac.za:10019.1/131574 The South African transition and ideological disillusionment : Johnny is nie dood nie and Die Seemeeu Bester, Cornelia Margaretha Mbao, Wamuwi Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of English. Motion pictures -- Political aspects -- South Africa Motion pictures -- Social aspects -- South Africa Ideology in motion pictures Post-apartheid era -- South Africa Afrikaners -- South Africa -- Social conditions UCTD Thesis (MA)--Stellenbosch University, 2024. ENGLISH ABSTRACT: This thesis aims to explore how the South African transition is represented in two films by the Afrikaans filmmaker, Christiaan Olwagen, which is Johnny is nie dood nie (2016) and Die Seemeeu (2018). I am specifically focussing on a constructed version of this transition. This extends the transition further than the accepted end of 1994, after South Africa’s first democratic election, or when the Constitution was instituted in 1996, until after the Truth and Reconciliation Commission since the films in question have this wide range. Furthermore, the films’ focus on specifically Afrikaners’ experience during the transition aim to interrogate how they as Afrikaners is in a precarious position – both exploited by their elders during the apartheid regime which left them traumatised and unable to adjust to the new South Africa after losing their position of privilege, but also guilty for partaking and profiting in apartheid’s oppressive regime. The focus of the thesis is the representation of disillusionment during the South African transition. This is due to how it impacts the characters’ approach to South Africa’s apartheid past and how they reconcile their own complicit actions that was done in the name of the apartheid regime. Another added layer to this disillusionment is the hopelessness felt by the characters during the transition because the lofty promises made by this new democratic regime is revealed to be just as morally suspicious as the previous political order. I used both Johnny is nie dood nie and Die Seemeeu in my analysis, since both represent a different period of South African history. This is done by looking how the Voëlvry Movement, anti-conscription movement and Border War are represented in Johnny is nie dood nie and how it impacts the characters, and how the Performing Arts Councils’ closure led to the creation of a thriving South African theatre after apartheid ended with theatre moving to the arts festivals in Die Seemeeu. AFRIKAANSE OPSOMMING: Hierdie tesis beoog om te ondersoek hoe die Suid-Afrikaanse oorgang verteenwoordig word intwee rolprente deur die Afrikaanse filmmaker, Christiaan Olwagen, naamlik Johnny is nie dood nie (2016) en Die Seemeeu (2018). Ek fokus spesifiek op 'n gekonstrueerde weergawe van hierdie oorgang. Dit verleng die oorgang verder as die aanvaarde einde van 1994, ná Suid-Afrika se eerstedemokratiese verkiesing, of toe die Grondwet ingestel is in 1996, tot ná die Waarheids-enVersoeningskommissie aangesien die betrokke rolprente hierdie wye omvang het. Verder het dierolprente se fokus op spesifiek Afrikaners se ervaring tydens die oorgang ten doel om te ondersoekhoe hulle as Afrikaners in 'n benarde posisie is – beide uitgebuit deur hul leiers tydens dieapartheidsregime wat hulle getraumatiseerd gelaat het en nie in staat was om by die nuwe SuidAfrika aan te pas nie nadat hulle hul posisie van bevoorregting verloor het, maar ook skuldig isaan die deelname en voordeel trek van apartheid se onderdrukkende regime.Die fokus van die tesis is die voorstelling van ontnugtering tydens die Suid-Afrikaanse oorgang.Dit is te wyte aan hoe dit die karakters se benadering tot Suid-Afrika se apartheidsverledebeïnvloed en hoe hulle hul eie medepligtige optrede wat vir die apartheidsregime gedoen is,versoen. Nog 'n bykomende aspek tot hierdie ontnugtering is die hopeloosheid wat die karakterstydens die oorgang ervaar het omdat die verhewe beloftes wat deur hierdie nuwe demokratieseregime gemaak is, geopenbaar word as net so moreel verdag as die vorige politieke bestel. Ek hetbeide Johnny is nie dood nie en Die Seemeeu in my ontleding gebruik, aangesien albei 'n andertydperk van Suid-Afrikaanse geskiedenis verteenwoordig. Dit word gedoen deur te kyk hoe dieVoëlvry Beweging, die studentebeweging teen verpligte diensplig en die Grensoorlog in Johnnyis nie dood nie verteenwoordig word en hoe dit die karakters beïnvloed, en hoe in Die Seemeeudie Raad van Uitvoerende Kunste se sluiting gelei het tot die skepping van 'n florerende SuidAfrikaanse teater nadat apartheid geëindig het met teater wat nou na kunstefeeste verskuif het. Masters 2025-01-27T12:50:10Z 2025-01-27T12:50:10Z 2024-12 Thesis https://scholar.sun.ac.za/handle/10019.1/131574 en Stellenbosch University 104 pages application/pdf Stellenbosch : Stellenbosch University |
| spellingShingle | Motion pictures -- Political aspects -- South Africa Motion pictures -- Social aspects -- South Africa Ideology in motion pictures Post-apartheid era -- South Africa Afrikaners -- South Africa -- Social conditions UCTD Bester, Cornelia Margaretha The South African transition and ideological disillusionment : Johnny is nie dood nie and Die Seemeeu |
| title | The South African transition and ideological disillusionment : Johnny is nie dood nie and Die Seemeeu |
| title_full | The South African transition and ideological disillusionment : Johnny is nie dood nie and Die Seemeeu |
| title_fullStr | The South African transition and ideological disillusionment : Johnny is nie dood nie and Die Seemeeu |
| title_full_unstemmed | The South African transition and ideological disillusionment : Johnny is nie dood nie and Die Seemeeu |
| title_short | The South African transition and ideological disillusionment : Johnny is nie dood nie and Die Seemeeu |
| title_sort | south african transition and ideological disillusionment johnny is nie dood nie and die seemeeu |
| topic | Motion pictures -- Political aspects -- South Africa Motion pictures -- Social aspects -- South Africa Ideology in motion pictures Post-apartheid era -- South Africa Afrikaners -- South Africa -- Social conditions UCTD |
| url | https://scholar.sun.ac.za/handle/10019.1/131574 |
| work_keys_str_mv | AT bestercorneliamargaretha thesouthafricantransitionandideologicaldisillusionmentjohnnyisniedoodnieanddieseemeeu AT bestercorneliamargaretha southafricantransitionandideologicaldisillusionmentjohnnyisniedoodnieanddieseemeeu |