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Static: Race and Representation in Post-apartheid Music, Media and Film critically examines music, cinema, social media and the politics of change after apartheid. It cuts across academic disciplines, the creative arts and the media and poses two central questions: Is South Africa changing for the better, or are we static? Is there too much static for us to hear each other clearly?

Static provides key insights into recent media phenomena, such as Die Antwoord; the 2010 Soccer World Cup; Bok van Blerk; Tsotsi; Kuli Roberts' Sunday World column on 'coloureds'; revisionist film Afrikaaps and the University of the Free State's Reitz video scandal.

The book will appeal to scholars in media, sociology, anthropology, music, African and cultural studies as well as to anybody with an interest in music, media, identity politics and debates about change in post-apartheid South Africa.

Product information

Format : 210 mm x 148 mm (Soft Cover)
Pages : 256
ISBN 10 : 978-07969-2386-8
ISBN 13 : 978-07969-2386-8
Publish Year : 2012
Rights : World Rights

List of figures
Foreword
Acknowledgements
Acronyms
Introduction

  1. Locating agency: Music, technology and copyright
  2. Bok van Blerk, University of the Free State and the red herring of race
  3. Racism 2.0: Die Antwoord's blackface
  4. Gangsta currency: Shooting black men
  5. Wavering flag: Compromise, soccer and capital flight

Conclusion
Epilogue
Reference list
Picture credits
About the author
Index

Adam Haupt is an associate professor in the Centre for Film and Media Studies at the University of Cape Town. Haupt is the author of Stealing Empire: P2P, Intellectual Property and Hip-Hop Subversion, published by the HSRC Press in 2008. In 2010, he was a Mandela Mellon Fellow at the W.E.B. Du Bois Institute for African and African American Research at Harvard University, where he conducted research for this book. Haupt has taught at the universities of the Western Cape and Stellenbosch, and freelanced as an arts journalist for publications such as the Mail & Guardian. In the mid-nineties, Haupt set the scene for research on black youth culture with his work on pioneer rap crew Prophets of da City, whose work was banned by the apartheid regime.

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