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Includes bibliographical references (p. 218-236). ; In 1994, South Africa was emancipated from apartheid, and in 1996, a new democratic Constitution was released. This charter envisioned a progressive society and placed emphasis on equality, multiculturalism, reconciliation and freedom. The state targeted the cultural industries, including cinema, to carry this new vision to the nation. The problem, however, was that the production, exhibition and distribution infrastructure inherited from apartheid was not only dominated by Hollywood, but also exclusively catered for the white sector of the nation. This monopolised, racially skewed structure continues to pose an obstacle to the dissemination of progressive identities and the sustainability of local cinema. Through an analysis of relevant film policy, industry structure and specific cinematic texts, this study aims to trace the intersection between the dynamics of national identity representation and South Africa's political and economic position as a developing nation in the global marketplace. The research presented took place over a period of three years (2007-2010) and incorporated both quantitative and qualitative methods.

When South Africa was emancipated from the oppressive apartheid regime in 1994, it was a severely divided society in need of an inclusive national identity to bind its citizens and maintain peace. Therefore, the state targeted the cultural industries, including film, as a means of promoting symbolic representations of national unity. The film industry was further identified as a priority sector for economic growth and as a potential platform for equitable redress. This article discusses existing and emerging finance, distribution and exhibition structures in the post-apartheid film industry. It considers government interventions in the form of film policies and development strategies with the purpose of examining the influence of globalising forces, in particular neoliberalism, on the apparent market-orientation of such interventions. The results presented indicate that the post-apartheid vision of equality, freedom and diversity does not always sit comfortably with the neoliberal, free-market principles promoted in the Growth, Employment and Redistribution (GEAR) programme of 1996. Moreover, it suggests that in this commercial environment, the voices of the historically oppressed black majority, rather than enjoying a sense of artistic and creative freedom, can in fact encounter commercial censorship through the commodification of films for an export-orientated market.

Representation, Creativity and Commercialism in the Post-Apartheid Film Industry Since the advent of democracy in 1994, South Africa has been in the process of redefining itself as a nation. The newly elected government recognised the potential role of cinema in democratic transformation and economic empowerment and established a number of strategic interventions and government bodies to foster the growth of the local industry. Similar to other forms of cultural production, cinema is informed by the national Constitution of 1996, which celebrates multiculturalism, freedom of expression, and transformation. However, it is questionable whether this vision is compatible with the state's ambition to build an internationally competitive, and commercially successful film industry. This paper provides a critical analysis of the economic and ideological workings of the post-apartheid feature film industry. The focus is on international co-productions, which have been encouraged by the state since such arrangements are seen to.

Increasingly, researchers and policymakers recognize the ability of girls to effect social change in their daily lives. Scholars working across diverse settings also acknowledge the key influence of individual, family, and societal structures on such activism. Drawing on our work with girls in a participatory visual research project in a rural community in South Africa, we consider examples of partnership and collaboration between the adult research team and the young participants. We highlight their agency in mobilizing adults to partner and support community and policy change to address traditional practices of early and forced marriage in this setting. We conclude that collaborative engagement with adults as partners can support activism and advocacy led by girls in contexts of traditional leadership.

Participatory visual research can offer critical insight into the experiences of those most affected by health issues. As these methods are increasingly used to research sensitive topics, there is a need for a clear ethical framework to guide best practice on the part of researchers and research ethics committees. Here we reflect on a project where we used digital storytelling as a participatory visual methodology to explore HIV treatment adherence in rural South Africa, with a focus on the ethical issues we encountered during the lifetime of the project. To ground our reflections, we use the framework for ethical research developed by Emanuel et al., and the adaptation of this framework for social science proposed by Wassenaar and Mamotte. We suggest that fellow PVM practitioners and REC members draw on this holistic framework to support the optimal application of PVM in health research.