Hostname: page-component-586b7cd67f-dlnhk Total loading time: 0 Render date: 2024-11-22T14:39:40.363Z Has data issue: false hasContentIssue false

Not Quite Cricket: “Civilization on Trial in South Africa”: A Note on the First “Protest Film” Made in Southern Africa

Published online by Cambridge University Press:  09 May 2014

Extract

Michael Scott, the long-term Gandhi-esque opponent of the South African government, was a man of many talents and one of his ignored skills was using a cine-camera. Between 1946 and 1948 as he worked in Tobruk squatter settlement near Johannesburg and environs and traveled to Namibia, in addition to his powerful writing, he also filmed scenes he encountered. The purpose of this note is to share the delight of viewing “Civilization on Trial in South Africa.” It is, as far as I can ascertain, the first “protest” film made in South Africa, yet is not mentioned in the standard histories of film in southern Africa (Cancel 2004, Davis, 1996, Botha/van Aswegen 1992, Tomaselli 1988). While working on another project I fortuitously came across a copy in the Smithsonian Film Archives that I had copied and have deposited in the Namibian Archives.

The Smithsonian catalog dates this 24-minute edited black and white film to ca. 1950, and believes that it was shot between 1946 and 1952, prior to the implementation of the Group Areas Act, although it seems likely that shooting was completed earlier, before Scott was declared a Prohibited Immigrant in the late 1940s. Certainly, reading the documents on Scott's travels to Namibia, it seems likely that portions of his film was shot before 1948. In his autobiography, A Time to Speak, Scott mentioned showing the film in 1949 (Scott 1958:248). The Smithsonian obtained the film from the late Colin Turnbull, an Oxford educated Africanist anthropologist (J. Homiak, personal comment).

Type
Research Article
Copyright
Copyright © African Studies Association 2005

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Botha, M and van Aswegen, A. 1992. Beeide van Suid-Afrika: ‘n alternatiewe Rolprentoplewing. Pretoria.Google Scholar
Burns, Peter. 2002. Flickering Shadows. Athens.Google Scholar
Cancel, Robert. 2004. “‘Come Back South Africa’; Cinematic Representations of Apartheid over three Eras of Resistance” in Focus on African Films, ed. Pfaff, M.. Bloomington, 1532.Google Scholar
Cohen, Stanley. 1996. “Witnessing the Truth.” Index on Censorship 1:3647.Google Scholar
Davis, Peter. 1996. In Darkest Hollywood, Athens.Google Scholar
Evans, Ivan. 1997. Bureaucracy and Race. Berkeley.Google Scholar
Gewald, Jan-Bart. 2000. “We Thought We Would be Free.…Socio-Cultural Aspects of Herero History in Namibia, 1915-1940. Köln.Google Scholar
Gutsche, Thelma. 1972. The History and Social Significance of Motion Pictures in South Africa 1895-1940. Cape Town.Google Scholar
Hailey, William, Lord, . 1965. Africa Survey. Rev. ed. London.Google Scholar
Jeppe, W.J.O. 1967. “Stedelike Bantoeadministrasie” roneod.Google Scholar
Lestrade, G.P. 1932. Die Naturellevraagstuk en die Studie van die Naturel. Johannesburg.Google Scholar
Marais, A.S. n.d. “Presidential Address” Proceedings of the First Meeting of the Institute for Administrators of Non European Affairs. Cyclostyled.Google Scholar
Morris, S.E. 1930. “At the Vacation Course of Bantu Studies, University of Cape TownNada 8:3045Google Scholar
Schapera, Isaac. 1939. “Anthropology and the Native ProblemSouth African Journal of Science 36:89103Google Scholar
Scott, Michael. 1958. A Time to Speak. New York.Google Scholar
Tomaselli, Keyan. 1988. The Cinema of Apartheid. Chicago.Google Scholar
Troup, Freda. 1950. In the Face of Fear. London.Google Scholar
Twain, Mark. 1970. King Leopold's Soliloquy. New York.Google Scholar
Walker, Oliver. 1949. Kaffirs are Lively. London.Google Scholar
Wintle, Pamela and Homiak, John. 1995. Guide to the Collections of the Human Studies Film Archives. Washington.Google Scholar