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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

Nigeria’s Boko Haram: Why negotiations are not an option
2014-10-23



There has been much speculation if the recently announced ceasefire in Nigeria as well as talks with Boko Haram will indeed secure the release of about 200 girls kidnapped by this religious militant group.

Talks already started between the government and Boko Haram but there are still doubts if the girls will be freed and if the Nigerian government can successfully negotiate with Boko Haram. Prof Hussein Solomon, Senior Professor at the University of the Free State, regards this current negotiations as a terrible idea.

“At a time when Boko Haram’s strength is escalating, the correlatory weakness of the Nigerian government is increasingly exposed. As Nigerians prepare for the next presidential elections, embattled President Goodluck Jonathan is increasingly desperate to negotiate with Boko Haram to secure the release of schoolgirls seized by the terrorists earlier this year and to negotiate a ceasefire. This is a terrible idea. It makes a mockery of the rule of law and of the thousands of innocent victims of the militant violence. More importantly, it will only serve to fuel the terrorists’ ambitions further as the powerlessness of the government is exposed.”

Prof Solomon says religious intolerance is on the rise on the African continent, with a concomitant rise in terrorist incidents. In Algeria, extremist terrorism carries the name of Jund al Khilafah or Caliphate Soldiers in Algeria. In Mali it is Ansar Dine or Defenders of the Faith. In Somalia it is Al Shabaab (The Youth). But none of these organisations come close to the carnage wrought by Nigeria’s Boko Haram (literally meaning Western education is forbidden).

Boko Haram has carried out more than 1 000 attacks since 2010, which has resulted in the deaths of 10 000 people and a further 6 million affected by this terrorist violence. The 300 000 Nigerian refugees who have fled this tsunami of terrorism and have sought refuge in neighbouring Cameroon, Chad and Niger, provide adequate testimony to the human costs of such terrorism. Boko Haram, meanwhile, has formed tactical alliances with Al Qaeda in the Islamic Maghreb, Al Shabaab and the Islamic State in Iraq and Syria (ISIS), which means that the groups are sharing intelligence, tactics and material support. This cooperation has also resulted in increasingly sophisticated terror attacks mounted by Boko Haram.

Read more about Prof Solomon and his research.


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