Original Research

The indigenous Afrikaans film: Representation as a nationalistic endeavour

Hendrik P. van Coller, Anthea van Jaarsveld
Literator | Vol 39, No 1 | a1412 | DOI: https://doi.org/10.4102/lit.v39i1.1412 | © 2018 Anthea Van Jaarsveld, Hendrik P. Van Coller | This work is licensed under CC Attribution 4.0
Submitted: 24 April 2017 | Published: 04 April 2018

About the author(s)

Hendrik P. van Coller, School of Languages, North West University, Potchefstroom Campus, South Africa
Anthea van Jaarsveld, Department of Drama and Theatre Arts, University of the Free State, South Africa


Within the South African context, Afrikaans films unabashedly and predominantly served Afrikaner nationalism. Given the South African historical and political background, it is evident that Afrikaner nationalism has almost become an obscene term because of its association with the National(ist) Party and its apartheid policy: emblematic of an ideology and policy that has been rejected worldwide and has even been compared – albeit a skewed comparison – to National Socialism. In this article, the different stages that emancipation of a formerly colonised literature goes through, according to Amuta (1989), Ashcroft (1989) and Brink, will be discussed in detail with reference to the Afrikaans films, Geboortegrond (1946) and Hans die skipper (1952). In this process of representation, the historical past is re-assessed and laid to rest with far-reaching philosophical, ideological and poetical implications. In order to discuss the representation of this contextually bound discourse, mention will be made regarding important relevant theoretical concepts such as semiotics, discursive formations, literary reception and processing, reportorium, horizon of expectation and habitus.



Post-colonical literatures; Afrikaner nationalism; Afrikaans farm novel; Representation; Literary reception and processing; Horizon of expectation


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