ABSTRACT

This research is framed by the view that homosexuality has been represented through the lens of stereotype and inaccuracy, which is often exacerbated by societal influences. This paper specifically intends to investigate how the identity of homosexuality is shaped by social constructs, particularly in the areas of toxic masculinity and hegemonic heteronormativity, as represented in film. The purpose of this research is to investigate gay narrative in current Afrikaans films and contrast the findings against the development of the gay identity through the history of South African legislation. The research focuses on understanding the construction of this identity in order to provide a more progressive view of representation within Afrikaans culture and the film industry.

This research aims to investigate the representation of homosexuality and heteronormativity – as well as those themes that have influenced such depiction – by investigating three contemporary Afrikaans films: Skoonheid (2011), Kanarie (2018), and Die Stropers (2018). This study sets out to understand the social construction of toxic masculinity and its pervasion in South Africa under the paradigm of the Apartheid era and its lasting effects in a post-Apartheid context. Furthermore, the research aims to critique masculine ideologies that have been presented in the three aforementioned case studies so as to garner further insight into the underlying impacts that such ideologies have had on homosexual identities, particularly how heterosexuality has been shaped as the dominant norm in society.

Several theoretical perspectives inform upon this research. The study is underpinned by social construction theory that has apprised the viewpoint held in regards to gay representation in film, as well as homosexuality as seen holistically in society. The research delves into the extension of ‘queer shame’ (an indoctrinated view in society that limits homosexual depiction because it fits outside of the heterosexual spectrum), which has informed dominantly on the Apartheid legality surrounding homosexuality. Finally, the research delves into the theoretical framework of homosexual identity development and further examines how the homosexual identity is negatively affected by heteronormative and masculine idealism.

Broadly, this research is a qualitative study, a method that has permitted the researcher to investigate the ways in which individuals view the world around them, which prominently informs upon identity formation in society. The case study method was applied to the selected Afrikaans films: Skoonheid (2011), Kanarie (2018), and Die Stropers (2018). A combination of film analysis and interviews were used in order to gain insight into social reflections and the ways in which it correlates with the literary themes. Interviews with directors and writers of the case studies as well as a key expert in the Afrikaans film industry supplied rudimentary insight into the examination of the films. Data was transcribed and coded according to emerging themes.

The findings of this research suggest that homosexuality in South African media still suffers under the predisposition of stereotype and hegemonic heteronormative influence. Through the assimilation of the films and literary theory, the research makes it clear that division still exists in the Afrikaans film industry in response to homosexual narratives. The findings elaborate upon the impact of violent masculinity in the South African context, providing underlying reasons as to its permeation in society and the possibility of its deconstruction.