The Western in the Global South

Higgins, Mary Ellen; Keresztesi, Rita; Oscherwitz, Dayna

doi:10.4324/9781315731131

Cited by 6 publications

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“…15 The Western has its origins in commercial cinema, but it has also been successfully adapted and overwritten for many other kinds of cinema as was noted by the contributors to the volume The Western in the Global South. 16 In other words, questions about popular culture are related but not necessarily intrinsic to any consideration of genre.…”

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confidence: 99%

Afterword: Genre Queries, African Studies

Adejunmobi¹

2017

Postcolon. Lit. inq

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This essay on genres acknowledges the constructed nature of the fluid classifications that form around recognized and recognizable types of creative work. Some systems of classification owe their recognition to powerful cultural intermediaries. Others, often located in the realm of popular culture, emerge without input from cultural intermediaries. As constructed groupings of works, genres matter for their ability to generate distinct circuits of transmission that allow for a specific type of encounter with the work and a type of response to the work.

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confidence: 99%

Afterword: Genre Queries, African Studies

Adejunmobi¹

2017

Postcolon. Lit. inq

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At the Intersection of Trauma, Precarity, and African Cinema

Higgins

2018

A Companion to African Cinema

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Redemption in the South African West: Violence, Colonialism and Oppression in Five Fingers for Marseilles (2018)

Broodryk

Joynt

2021

Critical Arts

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In the South African Sesotho-language Western Five Fingers for Marseilles (2018), Tau flees his hometown of Marseilles in the aftermath of a violent incident. Returning after apartheid ended, Tau finds his hometown in ruins at the hands of some of the very individuals-his childhood friends-who were supposed to protect it. Tau seeks to save Marseilles from those who corrupt it and seeks redemption for himself and the town in the process. In this article, we demonstrate that the film borrows genre conventions and iconography from the Western to tell its story of redemption, and in telling this story the film invokes a general disillusionment with contemporary South African politics. Tau's quest for redemption is as much political as his self-forgiveness is personal, and this redemption is made possible through an atonement for the past to halt the intergenerational violence that characterises South Africa and Marseilles in the post-apartheid era. Marseilles can only be a lifesustaining, generative community in the absence of the violence of colonialism and corruption.

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The Western in the Global South

Cited by 6 publications

References 0 publications

Afterword: Genre Queries, African Studies

Afterword: Genre Queries, African Studies

At the Intersection of Trauma, Precarity, and African Cinema

Redemption in the South African West: Violence, Colonialism and Oppression in Five Fingers for Marseilles (2018)

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