MARKO SVICEVIC UP’s Department of Facilities Management, in collaboration with UP’s Department of Residence Affairs and Accommoda...Read more
“Whitewashing” is a phenomenon that has been around in the film industry for a while, but has recently been gaining more attention due to the increase in film production and access to social media. By definition, whitewashing occurs when white actors are cast in non-white roles. These choices often lead to backlash from fans of films, the media, and parties in the film industry. Perdeby looked at two upcoming films and their controversy.
South African films often avoid the gritty underbelly of South Africa, opting for the polished Hollywood sheen of Sandton or Cape Town. Dora’s Peace, directed by former cartoonist Kosta Kalarytis, takes audiences into the unedited reality of the Hillbrow underworld, providing a glimpse into the lives of the people who inhabit the world of organised crime.
The film follows Hillbrow prostitute Dora (Khabonina Qubeka), whose age and declining beauty are digging into her client base. When her friend and neighbour, drug addict Connie (Hlubi Mboya), suddenly dies, Dora is left to take care of her son Peace (Paballo Koza), an innocent and talented twelve-year old boy. Dora pretends to be Peace’s aunt to keep him out of police custody. He slowly starts to work his way into Dora’s heart, leaving Dora in a difficult position when his life is put in danger. She is forced to turn to her old friend, the sleazy Greek bookie Stavro (Danny Keogh), for help. Hillbrow’s underworld seems to hide many secrets, some that even Dora would rather keep hidden. In order to look to the future, Dora needs to confront her past.
If you’re heading to the movies on an upcoming Friday night you might be greeted by a crowd of duelling fandoms. This is due in part to the recent upsurge in comic book-based movie productions and, as a result, there are some things you might want to understand before taking your comic book-enthused friend on in a discussion about this multiverse.
Firstly, why now? Are these movies being brought into production simply because we are able to do bigger and better things with graphics-based software, or are the eight-year-olds from the first generation of Spiderman movies ready for an adult dose of their favourite films? Is the child inside of you that grew up in a Batman cape ready to take their Batman cape-wearing tween sibling to indulge in the same movie franchise that ignited their own imagination? Or is this generation looking for a two-hour escape from dreary day-to-day tasks?
In 2013 David F. Sandberg directed a two-and-a-half minute short film that quickly went viral. He was able to scare audiences in a very short space of time, tapping into an almost primal fear of the dark. Three years later a relatively low budget Lights Out is set to scare the world with a skilled cast and clever script, with the help of Conjuring and Saw director James Wan as producer.
Sometimes movies are only as successful as their marketing teams. A lot of time and money is spent on creating hype for films, with marketing teams going to great lengths to make sure their movie is a box office success.
The most recent movie with an overboard marketing scheme was Deadpool. With Ryan Reynolds' quirky character, there was quite a bit for the marketing team to play with. From billboards featuring a skull and a poop emoji followed by an “L”, to romantic comedy posters ahead of its Valentine’s Day release, Deadpool was set to be a success from the start. The team also created a set of Deadpool emojis and a Tinder profile for the anti-hero.
Another movie to make use of Tinder was 2015’s Ex Machina. Users could find a woman called Ava on their Tinder feed who would interact with users, engaging in deep conversations about love and life. Eventually, Ava points users to her Instagram page where they could find more photos of her, only to find out that they had been speaking to a Tinderbot advertising a movie about deceptive artificial intelligence.