Abstract
This article examines the changes rung on Karel Schoeman's 1972 novel, Na die geliefde land (Cape Town: Human & Rousseau) by the 2003 film adaptation, Promised Land, directed by Jason Xenopoulos. The crucial effects and demands of the medium of film as well as the historical moment of production are taken into account to conclude that the filmic updating of the novel is interesting, finally, for its use of its source material as a vehicle for commenting on post-apartheid South Africa and the world of the Truth and Reconciliation Commission hearings, rather than as an exploration of how Schoeman's play with exilic consciousness might be brought to screen. *My thanks to Meg Rickards for her invaluable comments on an earlier version of this article, and to my Honours Film class of 2004 for their insights.
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