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08 January 2019 | Story Charlene Stanley | Photo Charlene Stanley
Film and Visual Media
Johanet Kriel-De Klerk, Chris Vorster, and Martin Rossouw in the auditorium at the Visual Hub, where a lot of time is spent watching and analysing films.

Three years ago, an oblong yellowish-green building arose between Pellies Park and the Beyers Naudé male residence, housing state-of-the art filming, editing, and viewing facilities, and sporting the promising name ‘Visual Hub’ on its exterior.  With this, an exciting interdisciplinary honours degree in Film and Visual Media was introduced.

While the interior and facilities still provide a brand-new impression, lecturers reflect that they’ve come a long way over this period, finding a delicate balance between practical and academic components. 

Not traditional “film school”

“This is not ‘film school’,” lecturer Chris Vorster explains. “Although we have an intensive practical component that sees our students producing a short film at the end of their training, our emphasis is on equipping students with a thorough academic knowledge of film history and analysis.”

Only 15 students can be accepted each year. Applicants should have a degree in the Humanities, scoring at least a 65% average in their final year.

Over the course of a year, students are given a viewing list of selected movies, illustrating different aspects of visual storytelling, film development and techniques, but which also relate to the societies that produced them in revealing ways.

Broadening students’ viewing experience

“Most people tend to get stuck in their favourite genre when it comes to watching movies. We considerably broaden students’ viewing experience,” says Vorster. “We give them as wide a base as possible. When they walk out of here, they can go on to specialise in anything from directing to writing film reviews.”

He usually advises students to see the year after completing their degree as a ‘practical year’, doing volunteer work in as many fields of film production as possible to see what they enjoy most, and then work hard to become a specialist in that field.

“The film industry is a tough world. You really need a great amount of talent and drive to make it.” 

LECTURERS’ FAVOURITE FILM GENRES:

Chris Vorster: DRAMA AND THEATRE ARTS

Science fiction crossed with psychological thrillers, and all that shouts, explodes, devours, hits, and disgusts.

Johanet Kriel-De Klerk: HISTORY OF ART AND IMAGE STUDIES

Indie (independent) films, as they strike a good balance between profound art and everyday entertainment.

Debeer Cloete: DRAMA AND THEATRE ARTS

Science fiction. A great favourite is Steven Spielberg’s A.I. Artificial Intelligence [2001]. Spielberg was asked by Stanley Kubrick’s widow to direct this film after Kubrick’s death in 1999. It stays true to Spielberg’s own aesthetic approach while incorporating Kubrick’s approach to cinematography and fragmented narratives.  

Martin Rossouw: HISTORY OF ART AND IMAGE STUDIES

So-called boring philosophical art films, such as those of Terrence Malick.

News Archive

Eusibius McKaiser gives first talk on new book at Kovsies
2012-05-09

 

Eusibius McKaiser
Photo: Johan Roux
9 May 2012

Students and staff from our university got the first glimpse of political and social commentator Eusibius McKaiser’s new book, There is a Bantu in my bathroom, during a public lecture of the same title held by the author on the Bloemfontein Campus.

McKaiser told the audience that they were amongst the first people to get a preview of his book, a collection of essays on race, sexuality and politics.

His talk centred on domestic race relationships, posing the question whether it was acceptable to have racial preferences with regard to whom you live with. Recounting an incident he encountered while looking for a flat in Sandton, McKaiser said the country was still many kilometres away from the end-goal of non-racialism.

McKaiser, who hosted a weekly politics and morality show on Talk Radio 702, and is a weekly contributor to The New York Times, said the litmus test for non-racialism in South Africa was not what people utter in a public space, but rather what was said in private.

“We need to talk more about the domestic space. In public, we are very insincere and quick to preach non-racialism.”

Recounting conversations he had with Talk Radio 702 listeners on the incident, McKaiser said that preference about whom you live with was not specific to white people’s attitude. He said many of his black listeners also felt uncomfortable living with a white person. “The question is, ‘What do these preferences say about you? What does it say about where we are as a country and people’s commitment to non-racialism?’”

McKaiser was the guest of the International Institute for Studies in Race, Reconciliation and Social Justice.
 

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