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The Anatomy Of Apartheid

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Extract 2
Extract 3
South Africa
‘The Anatomy Of Apartheid’ aimed at generating positive propaganda for the apartheid government and defending its policy of separate development. An introduction to the ‘3 phases’ of the apartheid system in South Africa, culminating in the Bantu Self-Government Act.
Physical formats available:
Betacam SP, DVD
Digital formats available:
Quicktime (Pro Res)
Audio & visual:
Sound, Color
Director: Anthony Thomas
00:36-01:15 - Nice WS of the coast line Transkei region of South Africa with two men riding in and out of the shot on horseback. - Panning WS of the coast line of the Transkei to grass covered hills. - Nice tilting WS of a water fall in the Transkei - Good CU zoom out to a FS of a disc plough in the soil and the tractor pulling and its black farmer driving it. - Over the shoulder MS of a black farmer sitting on a tractor panning down to a WS of the green hillsides and a Land Rover Series IIA 109” Station Wagon driving on the road that cuts through the them. - Narrator saying the Transkei is larger than Switzerland, that it’s of eight “emerging black states” in South Africa called Bantustans. 01:15-01:32 - MS of a white man named George Waite(?) driving a right-hand drive Land Rover Series IIA 109” Station Wagon. - Nice CU shot of a Land Rover Series IIA 109” Station Wagon driving past the camera as it pans to a WS of it driving down a rural tree-lined road and out of the frame. - Nice over-the-shoulder shot of the person in silhouette driving a Land Rover Series IIA 109” Station Wagon down a dirt road and being stopped by two black officials with bicycles in olive green uniforms and wearing pith helmets. - MFS of two black police officers in olive green uniforms and wearing pith helmets walking towards the camera. - Narrator says that George Waite’s(?) family has farmed in the Transkei region for four generations, that region is now self-governed by blacks under the apartheid policy and that George has to acknowledge “the new order.” 01:32-2:10 - Various shots of paintings depicting blacks and whites in the Transkei region in 1833. - BW WS of wagons being pulled by oxen and men on horseback herding cattle. - Sepia MS of a black South African in traditional head dress picking up shields. - Illustrated map of South Africa showing the migration of farmers of Dutch, French and German origin from Cape Town heading north as Bantu where heading south from central and southern Africa. - Narrator talking about how black and whites showed up in Transkei at the same time, that was the only region in South Africa where the two races moved into “practically empty territory where black and white could share the right to be called African.” 2:10-03:12 - BW WS of white men in tuxedos talking in circle outside a building with the narrator saying that in 1910 the British recognized the respective claims of the races. - Illustrated map of South Africa with showing the different areas settled by “the Bantu nations” and that the fertile land along the coast were set aside for the Bantu. - BW high angle WS of people cheering and soldiers marching. - BW MFS of men in top hats marching and an unidentified man looking down from a balcony. - ZI on a painting of an unidentified man tipping his hat. - Narrator talking about the architects of territorial apartheid returning to their government positions in London. 03:12-03:41 - Various B/W and color shots of flames and sparks flying inside a steel mill and a machine with rolls of thread in a textile mill with a narrator saying that South Africa became the premiere industrial power in Africa between 1935 and 1945. - Good Panning CU shot of a train arriving in a station to FS of black passengers waiting on the platform and MFS of South African blacks walking toward and boarding trains. - Panning FS of black South Africans boarding trains to a WS an empty field. - Narrator says hundreds of thousands of black South Africans left the homelands for jobs in mining and other industries and as a result “the homelands become labor pools, nations no longer.” 03:41-04:29 - Various EXT shots of a black South Africans in western attire and African attire arriving at a shanty town intercut with a good panning WS of a shanty town and various other shots inside the shanty town. - Narrator saying the industrial revolution in South Africa was similar to Europe except the workers were black, and “the new slum, a black man’s shanty town.” 04:29-04:47 - B/W EXT panning WS of men cheering in 1948 intercut with MFS of Daniel Francois Malan, the first apartheid-era prime minister, and J.G. Strijdom, his successor. - B/W EXT panning WS of Hendrick Verwoerd, the third-era apartheid prime minister, on a stage waiving to hundreds of cheering white South African men. - Various B/W photographs of Malan, Strijdom and Verwoerd. - Narrator saying a new leadership took over in 1948 that “denied the morality of economic free fall” that believed in “parallel development, separate identity, apartheid.” 04:47-05:01 - Various great shots of a black South African man riding a motorcycle wearing a leather jacket and leather hat and then having his papers checked by a white police officer. - MFS silhouette of a white farmer driving a Land Rover Series IIA 109” Station Wagon having his entry permit checked by a black in an olive-green uniform and wearing a pith helmet who then salutes him. 05:01-05:46 - Illustrated map of South Africa showing the re-division of land during apartheid with a narrator saying “Where there was one city and one working class, several city sections where to be created, each to a Bantu nation.” - ZO of a photographic collage that says “End Apartheid, Cried the Thousands.” - Various moves on photographs of people protesting against apartheid. - Narrator talking about how the world was outraged, that other countries that separate people by religious and nationalist groups see separation by race as criminal and that former colonial western countries believe “the greatest service one could do the black man would be to make him like oneself; a westernized gentleman.” 05:46-07:13 - Various seemingly staged shots of African villages with girls running in straw dresses, men weaving, a man painting a wall, and dynamic shots men dancing in traditional clothing. - Great ECU ZO to WS of a black woman in a red wig wearing and taking off fantastic white sunglasses, intercut with illustrations of white actors in billboards, advertisements and graphic comics. - Various collages of newspapers headlines with a graphic flower peddle randomly imposed on them. - Various good INT shots of a white man in a leather jacket playing pinball and a white woman smiling. - MFS of a black woman wearing a leopard one-piece bathing suit and a clown wig on a beach walking up to a white family. - Various shots of white women in dresses and men in suits walking on city streets walking by obviously staged black and white homeless men. - Various shots of black men and women walking on a city street and toward the camera. - Narrator talking about how South Africa is undoing the work of the 19th century colonialists, that it’s challenging black South Africans to build a civilization based on their ancestors’ foundations of governing and arts, cynically comparing it to western advertisements, politicians, lifestyles and entertainment of the 1960s. 07:13-08:27 - MS of a crowd of black South Africans walking towards the camera and looking into the lens. - Various shots of a disturbing mock commercial featuring a poster-sized advertisement for “The Wonder Skin-Bleach Cosmetic” and showing black women at a supposedly western beauty salon having a treatment “For a Lighter Whiter You!” - WS of a western looking run-down row houses with black children playing in the dirt. - WS of a shanty town, MS of a black landlord in a western suit, MS a woman inside a dark room pulling a curtain to reveal another family living in it. - Various good shots of the sparse conditions inside the shanty town - Narrator describing how blacks are second to whites in various ways in the West and the voice of a supposed tenant in the shanty town explain the payments he has to make to live there and narrator saying everything is rationed in the shanty town. 08:27-9:53 - Various INT shots of an interview with an unidentified white South African man in a suit saying “we must allow the black man respect in his own light,” the problem doesn’t arise from separation but in the belief of the superiority of the western culture “which makes us think the only way to recognize the black man is to make him our own,” and that he doesn’t believe in superior. - Various good EXT panning shots of a shanty town with an audio track of the unidentified white man saying that we don’t recognize what’s happening to man at the moment and that South Africa is trying to address this problem intercut with various good shots of people packing up and leaving a shanty town, waving and seeming happy and a tractors demolishing buildings, people waving as others leave in a truck, arriving at rows on newly made homes in a homeland made by the South African government. 9:53-10:31 - Panning WS of mountainous land in South Africa. - Various great shots of a hut being built on one of the eight “emerging black states” in South Africa called “Bantustans” or homelands. - Various shots of a white South African hold blue prints, examining a cow, and operating a hay bailer. - Great shot of an NCK cable backhoe lifting and pouring soil with a mountain range in the background. - Narrator saying, the South African government is instructing, guiding and investing in keeping “…Bantu…economically self-sufficient” 10:31-11:04 - Nice Panning FS ZI of two black men collecting hay with oxen and ZO of a tractor. - Various great shots of a traditional hut being built. - Various shots of a brick building under construction in a homeland with a nice detail of a black contractor point to a detail on a blueprint. - Narrator saying the Bantus were handling more and more of the construction in the homeland by the 1960s. 11:04-11:59 - Various informative shots of a large-scale irrigation project under construction in a homeland. - Various shots of a lush farm in a homeland with a black man showing a field to a white South African agricultural officer in khaki shorts, shirt and safari
End of shotlist
South African Propaganda
During the apartheid era, the South African Information Service launched a campaign of propaganda and disinformation aimed at the Western powers, which it considered its natural allies against what it called the “Communist onslaught” to take over South Africa. This campaign was both covert and overt, and ranged from what appeared to be straightforward tourist films to savage attacks on the ANC through a source apparently connected to the South African Information Service. The South African government spent millions of dollars to win support, with most of this effort being directed at the USA, where it had many influential sympathisers of the apartheid regime. These VHS tapes represent an extremely rare collection of propaganda materials produced by the Information Service.