Representations of violence and gender relations in Yizo Yizo are the primary concern of the thesis. Initially, the phrase Yizo Yizo means 'it's that' or as the authors of the series imagine 'It's the real thing' (Perlman & Esterhuysen 1999). The second part of the paper will develop commentary on text and context by exploring the genesis and goals of Yizo Yizo.
The Yizo Yizo compact disc (CD) recording with Kwaito artists informs the discussion about the intertextuality of the series. The protagonists of the series are Tbiza (standard 8/class 10 student learner6), Hazel (new standard 8 student), Nomsa (standard 8 student), Javas (standard 8 student), Chester (gangster) and Papa Action (student and gangster) . S Attempts to obtain transcripts of the series or scripts proved unsuccessful (reasons included the nature of filming and changes specific to this process).
The last episode of the series illustrates the establishment of order, governed by a new "principle". The lowest ARs were recorded at 10.9 for the last episode of the series (see: Appendix 1a).
Gender Distribution of Participants who watched Yizo Yizo
From a total of 51 responses, 53% were female and 47% were male (see: figure 1.1), A total of 65% of respondents watched all episodes with 20% watching between five and ten episodes, followed by 15 % who watched only two to five episodes of the series (see: figure 1.2),.
Number of Episodes Watched
Of the chosen characters, the four main characters (lavas, Nomsa, Thiza and Hazel), who are high school students in the series, were rated among the highest in responses to questions about favorite characters. Out of a total of 45 responses to favorite characters, 18% of respondents chose Lavas, who was seen as a 'good leader' (see: Figure 2.1). Dudu (student who was raped in episode nine), who was liked for his 'innocence' and his 'true character', received only 4% of positive responses.
Hazel, who was also raped (episode six) was admired as a 'true reflection of a hard-working township schoolgirl'. Zoe was considered 'sociable' and with 'good teaching methods' and Edwin was considered to have 'integrity'. Mthembu proved to be more popular than Edwin, Zakes and Bra Gibb who only received 2% of the total responses.
Favourite Characters
Characters in Yizo Yizo
Two years after Thipanyane's contribution to the 'International Conference on the Rights of the Child', research documenting public perceptions of crime in South Africa was published by the RGN. He further claims that the 'legacy' of apartheid-style viewing contributed to the authors of the series leading to disagreement regarding the use of language in Yizo Yizo (Gibson 2000). Furthermore, supplementary materials, including teacher's notes and a Yizo Yizo magazine, should be used in schools by learners and educators to generate debate on issues relevant to the series, within the framework of the.
Additionally, the goals of the series (confronting the denial of learning culture; creating a platform for debate; moving dialogue to the center) point to the educational thrust of the series. Kwaito music is part of the negotiation of cultural processes of black South African youth. Also, Kwaito music is the basis of the success and popularity of the Yizo Yizo soundtrack (CD Yizo Yizo Ghetto Ruff et al).
Familiarity with Yizo Yizo
The songs would be similar to the songs they would hear in the taxis and in their own homes and that is important to us. The fame of this soundtrack is confirmed by the fact that 74% of respondents to the questionnaire indicated that they or someone they knew had purchased or dubbed the soundtrack (see Figure 3).
Soundtrack
The following analysis "also tries to assess whether these goals and objectives were lost in the style of the program. Are representations of violence and gender relations in Yizo Yizo necessary to formulate the ultimate goal of the narrative. The above graffiti on a school wall is part of the opening scenes in the TV series Yizo Yizo.
Javas is one of the students of Supatsela High who (as mentioned earlier) appears as the most favored character for the respondents in the questionnaire. The above illustration of the first few scenes of the series is presented to inform the reader of the context of Yizo Yizo. The importance of meaning is then incorporated into interpretations by the series' creators, audience, and characters.
In other words, each stakeholder approaches the series with individual interpretations of the definition or definitions of violence. However, it is dear from interviews with stakeholders of the series that the issue of narrative closure will be addressed in the next series. The above description unfortunately does not describe the tense and ominous nature of the scene included in the first episode of the series.
This scene takes place in the township during the afternoon and the fast camera movements add to the tense, fast-paced atmosphere of the scene. The phallic imagery of the 'gun' complements that of the red BMW as a symbolic penis. Limitations of time and space limit a thorough investigation of Yizo Yizo's narrative structure, but reference to this (narrative structure) contributes to the discussion about the 'groundbreaking' nature of the series.
The final episode of the series reflects the positive transformation of Supatsela High.
Perception of Violence in Yizo Yizo
A similar trend appears in the answers to the question about the portrayal of female characters (question 8, appendix 3), which will be presented in the last part of the following section. The images of the rape scene, interspersed with the chaos of the 'bash', add to the episode's dramatic effect. For example, in the first episode of the series, Nomsa is stopped by three male students and taunted about her uniform.
Episode one of the series contains various myths, and representations of women, either as objects of the gaze, or in stereotypical roles. Yizo Yizo contributes to the myth of maintaining the nuclear family as a contributing factor to achieving success. It demonstrates how Yizo Yizo preserves the culture of patriarchy and the success of the series "reflects its power to affirm hegemonic family values" (Wallace.
This section will therefore try to explore the reason for this by examining the representation of the two young women. Mantwa continues to represent the myth of the 'gold digger' who cares less about love and more about financial gain. Papa Action rapes Dudu (and says: Let her pay for her sins), whose cries are accompanied by the chickens.
This is followed by images of the other men present and the viewer must assume that she is being gang-raped. It is clear from discussions with directors of the series that the reconceptualization of gender relations (researched with rape survivors) will indeed play an important role in Yizo Yizo II. For this and for their attempt to address rape within the context of intimate relationships, the writers of the series are to be commended.
One of the open-ended questions in the questionnaire attempted to measure perceptions of representations of female characters in Yizo Yizo.
Respondents Exposure to Township High Schools
Furthermore, of the 51 respondents, 67% had attended or were in an urban secondary school, while 290/0 had not attended or been in an urban secondary school (see: Figure 7).
Ide ntification with the Reality Represented in Yizo Yizo
Attempts to establish the definition of the form of Yizo Yizo reveal a unanimous confirmation from stakeholders of the series that Yizo Yizo is a drama series. Following insights into the production process of Yizo Yizo as referred to earlier, it is possible to see how important it is to establish the 'look' or style of the program (Mahlatsi 2000). Although it is not the focus of this paper to debate approaches to audiences, it is recognized that proponents of the 'active audience' approach (Fiske (1987) in particular) will emphasize the elitist assumptions implicit in these claims regardless defense that the 'reality' of such cases (they appear often enough for FXI to dedicate workshops to address this issue).
Using social theory, Richard Sparks (1992) questions the notion of fear of crime in relation to genre. He shared his respect for the series (and anticipation of its return) and mentioned that he feels that the show's depiction of violence reflects its reality. As previously mentioned in discussions about the meaning of the series title, Yizo YizolThis is it alludes to the show's relationship to 'reality', or for example, depictions of violence and gender relations in real life.
The seemingly smooth environment of the above discussions is due to the glossy, complex terrain of the program itself. Moreover, by illustrating the dexterity of the text, I hope to demonstrate that the generic construction of Yizo Yizo affects representations and receptions of violence and gender. The latter was introduced in the opening chapters through a discussion of the meaning of the title, Yizo Yizo.
Choices regarding language and imagery are clearly informed by the genre of the show. It is clear from the ARs that episode 13 was the least watched program of the series (Appendix 1 a). By positioning itself as an essentialist narrative, Yizo Yizo should have exposed the myth of the conditions of township high schools as a problem of.
Finally, this essay shows that the form of the program clearly influences the nature of representations of violence and, for example, gender relations. Clearly, the slippery environment of the program form further problematizes a definitive argument about the nature of representations of violence and gender relations in Yizo Yizo. Violence and its consequences for children', In Center for Development Studies (Ed.), International Conference on the Rights of the Child.
FOCUS GROUPS
Would you be nl0re/less/not upset at all if sounds were edited out.
