Colonial Film Database ~ Moving Images of the British Empire

Welcome to Colonial Film: Moving Images of the British Empire. This website holds detailed information on over 6000 films showing images of life in the British colonies. Over 150 films are available for viewing online. You can search or browse for films by country, date, topic, or keyword. Over 350 of the most important films in the catalogue are presented with extensive critical notes written by our academic research team.

The Colonial Film project united universities (Birkbeck and University College London) and archives (British Film Institute, Imperial War Museum and the British Empire and Commonwealth Museum) to create a new catalogue of films relating to the British Empire. The ambition of this website is to allow both colonizers and colonized to understand better the truths of Empire.

Take a look: http://www.colonialfilm.org.uk/home

 

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Omrop Fryslân ~ Niet geknecht ~ It ferhaal fan it Friesch Dagblad yn de Twadde Wrâldoarloch

Wat soesto as nijsmedium dwaan yn tiden fan oarloch? Hoe hâldst dy steande en hoe fier giest mei yn wat de besetter wol, sûnder datst dyn prinsipen los litst? It is wêr’t it Friesch Dagblad yn de Twadde Wrâldoarloch mei wraksele, lykas alle kranten yn Nederlân yn dy tiid. As iennige deiblêd hie it Friesch Dagblad de moed om de krante stop te setten yn 1941.

Ien fan de ferslachjouwers en plakferfangend haadredakteur by it Friesch Dagblad út dy tiid, Jan de Haan, hat as in deiboekferslach de ûntwikkelingen stap foar stap beskreaun. Hoe’t de krante hieltyd mear ûnder druk fan de Dútsers setten wurdt en hoe’t de meiwurkers dêr nachts wekker fan lizze. De dilemma’s dêr’t se mei te krijen hawwe en hoe’t dêr oer diskusjearre wurdt. Hoe’t der drige wurdt mei in ferbod op it útbringen fan de krante en it gefaar dat se op in stuit rinne om arrestearre te wurden. En dan hoe’t de krante him ‘niet geknecht’ wurde lit en de ear oan himsels hâldt troch de krante stop te setten.

De oantekeningen waarden nei de oarloch oardene en as brosjuere útbrocht: ‘Niet geknecht’. It Friesch Dagblad en Omrop Fryslân hawwe yn oparbeidzjen mei-inoar in film makke fan it ferhaal. De taal en wurden dy’t De Haan brûkt hat yn syn ferhaal, binne tekenjend foar de tiid en it grifformearde karakter fan it Friesch Dagblad fan doe, en hawwe liedend west foar it meitsjen fan de film. De orizjinele tekst is ynsprutsen troch Thijs Feenstra, dy’t we noch kenne as feedokter yn Baas Boppe Baas. De sênen binne tekene troch yllustrator Laurens Bontes fan Ljouwert. Dêrneist is der in nije útjefte makke fan de brosjuere, mei tekeningen út de film en in neiwurd fan Lútsen Kooistra, útsprutsen op syn ôfskied as haadredakteur fan it Friesch Dagblad op freed 21 april.

Sjoch: http://www.omropfryslan.nl/programma/niet-geknecht
Sjoch ek: http://interviewsdehaan.blogspot.nl/2015/04/niet-geknecht-van-jan-de-haan.html

Het verhaal van het Friesch Dagblad in de Tweede Wereldoorlog

Wat zou jij als nieuwsmedium doen in tijden van oorlog? Hoe houd je je staande en hoe ver ga je mee in wat de bezetter wil, zonder dat je je principes loslaat? Daarmee worstelde het Friesch Dagblad in de Tweede Wereldoorlog, net als alle kranten in Nederland in die tijd. Als enige dagblad had het Friesch Dagblad de moed om de krant stop te zetten in 1941. Omrop Fryslân maakte een film bij het verhaal, die zaterdag 22 april is uitgezonden.

Een van de verslaggevers en plaatsvervangend hoofdredacteur van het Friesch Dagblad uit die tijd, Jan de Haan, heeft als een dagboekverslag de ontwikkelingen stap voor stap beschreven. Hoe de krant steeds meer onder druk van de Duitsers wordt gezet en hoe de medewerkers daar ’s nachts wakker van liggen. De dilemma’s waar ze mee te maken hebben en hoe daar over gediscussieerd wordt. Hoe er gedreigd wordt met een verbod op het uitbrengen van de krant en het gevaar dat ze op een gegeven moment lopen om gearresteerd te worden. En dan hoe de krant zich ‘niet geknecht’ laat worden en de eer aan zichzelf houdt door de krant stop te zetten.

De aantekeningen werden na de oorlog geordend en als brochure uitgegeven: ‘Niet geknecht’. Het Friesch Dagblad en Omrop Fryslân hebben samen een film gemaakt van het verhaal. De taal en woorden die De Haan gebruikt heeft in zijn verhaal, zijn tekenend voor de tijd en het gereformeerde karakter van het Friesch Dagblad van toen, en zijn leidend geweest voor het maken van de film. De originele tekst is ingesproken door Thijs Feenstra, die we nog kennen als veearts in Baas Boppe Baas. De scènes zijn getekend door illustrator Laurens Bontes uit Leeuwarden. Tevens is er een heruitgave gemaakt van de brochure, met tekeningen uit de film en een nawoord van Lútsen Kooistra, dat ook wordt uitgesproken tijdens zijn afscheid als hoofdredacteur van het Friesch Dagblad op vrijdag 21 april.

http://www.omropfryslan.nl/persbericht/niet-geknecht

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The Vrije Universiteit And South Africa, From 1880 To The Present And Towards The Future: Images, Practice And Policies ~ Contents

SAVUSA POEM Proceedings, Volume 1 – Rozenberg Publishers 2005 – ISBN 90 5170 587 5 – Soon complete online

Contents

Part I: – The history of the relationship between the Vrije Universiteit and South Africa
* Introduction – Gerrit Schutte & Harry Wels
* The Vrije Universiteit & South Africa: 125 years of sentiments and good faith – Gerrit Schutte
* The Vrije Universiteit and South Africa since 1972: Political and organisational developments – Harry Brinkman
* Can ‘new’ meet ‘old’? VU-South Africa, 1976-present: Development cooperation in Southern Africa – Kees van Dongen & Leo de Feiter

Part II: A ‘new’ science for a ‘new’ South Africa: four current academic projects
* A ‘new’ history for a ‘new’ South Africa – Gerrit Schutte
* ANNA and a ‘new’ lexicography for South Africa – Willy Martin
* A ‘new’ literature – Ena Jansen
* A new size of theology for a new South Africa – Bram van de Beek

Part III: A ‘new’ science for a ‘new’ South Africa: Reflections
* South Africa-VU: The meaning of traditions for future VU-policy in South Africa? – Carools Reineke
* Some trends in South African academic history: Changing contexts and challenges – Albert Grundlingh
* Political studies in South Africa. A personal perspective – Tom Lodge
* Stimulating research futures – Tessa Marcus
* International R&D cooperation with South Africa – Selected policy perspectives – Hendrik C. Marais’
* ‘New’ scientific practice in South Africa with special reference to land reform – Flip Smit
* The changing Higher Education landscape in South Africa – Daniel Ncayiyana
* Good neighbours and far friends; The Netherlands, Europe and South Africa – Peter Nijkamp

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Where Global Contradictions Are Sharpest ~ Research Stories From The Kalahari ~ Contents

The ‘Bushmen’ or ‘San’ of the Kalahari could well be called an iconographic people. Partly as a result of this, over the years abundant social research has been carried out among the San. Keyan Tomaselli and his research team from the University of KwaZulu-Natal in South Africa form part of that tradition; however, in this book Tomaselli is also able to reflect critically, and not without a touch of irony, on the way the San have been represented over the years. Hardly ever has there been a researcher who so uncompromisingly and aptly illustrates the many ethical contradictions in doing fieldwork among the San, and at the same time manages to reconstruct and represent the actual fieldwork experience and the San people so vividly that you almost taste the dust of the Kalahari and smell the raucous world that is depicted.

Note on the Author
Keyan G. Tomaselli is Professor in Culture, Communication and Media Studies, University of KwaZulu-Natal, Durban. He is a Fellow of the University and serves on the advisory board of !Kwa ttu – The San Cultural and Educational Centre. He is Old World book review editor of Visual Anthropology, and has published on visual anthropology in this and other publications such as Appropriating images: The semiotics of visual representation (Intervention Press, 1999). Other journals in which Tomaselli has published include: Visual Studies, Cultural Studies, Journal of Film and Video, Research in African Literatures, etc. He is published in translation in Italian, Spanish, French, Italian, Portuguese and Arabic, amongst others. Tomaselli is editor-in-chief of Critical Arts: A Journal of South-North Cultural and Media Studies.

Contents
Acknowledgements, Acronyms, A Note on Pronunciation
Starting Off – Different people, different communities – Specifically, what are we doing?
Chapter 1. Negotiating Research with First Peoples
Chapter 2. Reverse Cultural Studies: Field Methods, Power Relations and 4X4s … 
Chapter 3. ‘Dit is die Here se Asem’: The Wind, its Messages, and Issues of Autoethnographic Methodology in the Kalahari
Chapter 4. ‘Op die Grond’: Writing in the San/d, Surviving Crime 
Chapter 5. Psychospiritual Ecoscience: The Ju/’hoansi and Cultural Tourism
Chapter 6. Textualising the San ‘Past’: Dancing With Development
Chapter 7. Stories to Tell, Stories to Sell: Hidden transcripts, negotiating texts
References

© Keyan G. Tomaselli, 2005
Cover photograph: Frederik J Lange (Jnr). Taken between Witdraai and Welkom, Northern Cape, June 2005.
Coverdesign: Ingrid Bouws, Amsterdam
Editing: Saskia Stehouwer

Published by Rozenberg Publishers, Amsterdam, 2005, ISBN 90 5170 481 X

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Where Global Contradictions Are Sharpest ~ Acknowledgements, Acronyms, A Note On Pronunciation

Acknowledgements
The research on which this book reports is greatly indebted to The Protea Hotel, Upington, for sponsorship of accommodation on the way to and back from the Kalahari. Riann and Jeannne de Klerk, Bill and Kathy Fisher, and Kathleen and Willie Burger provided other accommodations in Upington at one time or another. Thanks to the Molopo Lodge for dealing with our often-idiosyncratic requests, like students having to study and write exams during fieldtrips.

To Bronwyn Spicer, who worked as my editorial assistant on this book, my abiding and enduring appreciation. Thanks to Kamini Moodley, the project’s research manager, who worked hard and diligently behind the scenes, and also assisted with copyediting. In field trip and research management Kamini was preceded by Vanessa McLennan-Dodd, and Chantel Oosthuysen. My thanks also to Catherine Dunphy for copyediting. Nelia Oets was a superb camp provider, translator and co-researcher. Nelia was always ready to volunteer her 4X4 for our visits to the Kalahari and assisted in many other roles. Our research team could not have accomplished as much as it did without her consistent and systematic support – both in material resources and intellectually. Thanks to all my students and research affiliates who contributed to the project over the ten-year study period. All have been an inspiration to me and have provided significant depth to the analysis. (A second strand of this project has been conducted in Zululand, not reported on here.) Contributors are listed in Table 1 in Chapter 2 together with the their publications and thesis titles. A special mention must go to Mary Lange who acted as facilitator, translator, and advisor and who brought a unique empathy to our research relations with our hosts. Arnold Shepperson was an ever-present intellectual source in both this and other of our publications on the topic. Thanks to all our partners in the Kalahari, Belinda Kruiper, Roger Carter and all those who engaged in discussion with us. Paul Rodda provided computer support.

The research was partly funded by the University of Natal’s Research Fund, now the University of KwaZulu-Natal. The National Research Foundation also funded it: Social Sciences and Humanities. Opinions expressed and conclusions arrived at are those of the author and not the Foundation. An UKZN-based Mellon Post-doctoral Fellowship enabled Matthew Durington to join the project for 18 months. His critique of an earlier draft of Chapter 2 proved very helpful. The research was started while I was a Fulbright researcher in the African Studies Center, Michigan State University, 1990-1, working on its African Media Program.
Other organisations which facilitated aspects of our research at one time or another include the Department of Anthropology, Smithsonian Institution; Documentary Educational Resources; the Working Indigenous Minorities Group; the South African San Institute; the Nquaa Khobee Zeya Trust, the Kuru Development Trust; and Rob Waldron.

I must also mention Jake Homiak whose early support via the Smithsonian’s Human Studies Film Archives underpinned the early stages of the research. Others on whom my students and I have drawn include John and Lorna Marshall, Cynthia Close, Fiona Archer, Nigel Crawhall, Meryl-Joy Winschutt, amongst many others. I am also deeply appreciative of the sustained support and encouragement for our autoethnographic turn offered by Norman Denzin of the University of Illinois, Urbana-Champaign. Thanks also to Frans Prins, Bob Hitchcock, Garth Allen, Megan Biesele, Dave Wiley, amongst many others, who have liaised with me and some of my students on our work.

Chapter 1, ‘Negotiating Research with First Peoples’, is revised, adapted and updated from Shepperson, A. and Tomaselli, K.G. (Eds) (2003), ‘From one to an-other: Auto-ethnographic explorations in Southern Africa’, Cultural Studies – Critical Methodologies, 4(4). Chapter 2 is a very extensively updated, totally revised and much elaborated version of my earlier article, ‘Blue is hot, red is cold: Doing reverse cultural studies in Africa’, first published in Cultural Studies – Critical Methodologies, 1(3), 2001. Chapter 3, ‘Dit is die Here se Asem: The Wind and its Messages’ is adapted from Cultural Studies – Critical Methodologies, 3(4), 2003. Chapter 4, ‘“Op die Grond”: Writing in the San/d, Surviving Crime’, is revised from Current Writing: Text and Reception in Southern Africa, 15(3), 2003. Chapter 5, ‘Psychospiritual Ecoscience: The Ju/’hoansi and Cultural Tourism’, and Chapter 6, ‘Textualising the San “Past”: Dancing with Development’, are revised from Visual Anthropology, 12(3/4), 1999. Chapter 7, ‘Stories to Tell, Stories to Sell: Resisting Textualisation’, is adapted, revised and updated from Cultural Studies, 17(6), 2003. My thanks to the various publishers for permission to rework these articles into this book.

Keyan G. Tomaselli, August 2005

Acronyms

  • CCMS Culture, Communication and Media Studies (University of KwaZulu-Natal) (Howard College Campus, Durban)
  • CKGR Central Kalahari Game Reserve
  • IGWIA International Working Group for Indigenous Affairs
  • CPA Community Property Association (Based in Andriesvale)
  • CRAM Cultural Resources Auditing and Management Project
  • JFP Jesus Film Project (Based in Kimberly)
  • LIFE Living in a Finite Environment Program
  • NNDFN Nyae Nyae Development Foundation of Namibia (Based in Windhoek)
  • NNFC Nyae Nyae Farmers’ Cooperative (Based in Baraka)
  • SABC South African Broadcasting Corporation
  • SASI South African San Institute (Based in Kimberley)
  • SBB Safaris Botswana Bound (Based in Maun, operating in KD/1 Area)
  • SI Survival International
  • SIM Serving in Mission
  • SACOD Southern African Communications for Development
  • SWAA South West African Administration
  • SWAPO South West African People’s Organisation
  • WIMSA Working Group for Indigenous Minorities in Southern Africa (Based in Windhoek, Namibia)

A Note on Pronunciation

All !Kung and San languages have clicks, which are additional consonants. The most commonly used clicks are:
 Alveolar click made by sucking the tongue against the ridge behind the upper front teeth.
//  Lateral click made at the side of the mouth.
!   Palatal click made by clicking the tongue on the roof of the palate.

For further information on language see Dickens and Traill (1997); Dickens (1992); Barnard (1992: xix-xxii).

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Where Global Contradictions Are Sharpest ~ Starting Off

Map adapted from Willet et al. (2002)

Red sand dunes are set against an endless sky of indigo blue.
At night the Milky Way envelops a seemingly untouched land.
People who come here are changed forever

(Molopo Lodge brochure).

This book deals with three geographically discrete groups of people generally referred to as ‘Bushmen’ or ‘San’. The controversial debates on naming are well known (Gordon 1990a) and need brief mention here. The politically correct terms are ‘San’ in South Africa and Namibia and, in Botswana, the official naming is ‘Basarwa’ (singular ‘Mosarwa’). I will however use the clan names of the communities with which my students and I have been working, e.g., Ju/’hoansi (pronounced ju-twan-si), ≠Khomani and !Xoo. Often those who call themselves ‘Bushmen’ or ‘Boesmanne’, do so as a form of resistance against the politically correct externally imposed naming (Bregin and Kruiper 2004: 52-5). San is derived from a Nama word, meaning bandit (Barnard 1992: xxiv, 8; Hahn 1881: 3), while Saa means ‘to pick things up’ or forage. It is in this context that I will occasionally use the term Bushmen. Single quotes indicate where I am distancing myself from such use.

The Kgalagadi Transfrontier Park spans both South Africa and Botswana. It features endless rolling dunes with shrubby vegetation and isolated tall savannah thorn trees. The semi-desert is interspersed with numerous pans, ranging from small to well over 50 kms in diameter. The communities with which we worked resided in three locations, Ngwatle in south central Botswana, Witdraai and Blinkwater in the Northern Cape, and the Nyae Nyae, Eastern Bushmanland, Namibia.

Ngwatle was a community of perhaps 100 plus displaced people in 1995, with over 184 in 2004. It is located in the controlled Hunting Area called the Kgalagadi District 1 (KD/1). KD/1 is 13,000 km squared and three villages within its boundary include Ngwatle, Ukwi and Ncaang. It has a total population of about 800. In 2001, the villagers told us that the number had risen to 200 plus, the majority being inkomers (newcomers/incomers) mostly of Kgalagadi origin. The !Xoo are the majority at Ngwatle during hard times, but sometimes become a minority in good periods of rain. Ngwatle is living on borrowed time: the villagers have been told to move to other settlements, as the area is reserved for wild animals. Their response is one of resistance, a refusal to move, and requests to publicize their plight.

Ngwatle consists of two main ethnic groups: The !Xoo and the Bakgalagadi, although the !Xoo typically build their shelters away from the Bakgalagadi. The Ngwatle Basarwa community comprises a mixture of Bakgalagadi and !Xoo who have defined themselves as Bushmen. This small group coalesced around two Afrikaans-speaking !Xoo brothers in the late 1980s (Simões 2001a).

The community is severely poverty-stricken and is serviced by a Non-Governmental Organisation (NGO), some state departments, and a safari company (Flyman 2001). ‘Destitute rations’ are delivered monthly to a third of the Ngwatle population. In July 2004, we watched as the district officials placed 66 rations of maize meal, sorghum, tea, cooking oil, etc. on a large tarpaulin on the sand, readied for distribution. The goods looked like a multi-coloured miniature magic city glistening in the fading sunlight. Those who qualified for these rations also received a monthly allowance of P55 [i] from the Department of Pensions. The community is supplied with one water tank that is filled approximately every two weeks by the government. The larger settlements are also provided with salt water for their livestock. However, because Ngwatle is deemed too small, its villagers have little option but to share their water supply with domestic animals. Their main cash income is through craft sales to tourists, roadwork for the government and through various opportunities available via the Nqwaa Khobee Xeya Trust.[ii] Read more

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