Gods Must Research Articles

Politik Identitas dan Multikulturalisme

The aim of this research is to find out what happens to identity politics and multiculturalism in the film "AND MULTIUCULTURALISM IN THE FILM "THE GODS MUST BE CRAZY II" (1989). In this research the author uses a qualitative approach method. In this research, the author collected data by studying literature from journals, articles and films. The analysis technique used is qualitative descriptive. The film "The Gods Must Be Crazy II" (1989) is a comedy film originating from South Africa. Even though this film focuses more on comedy elements, there is a background of identity politics and multiculturalism that can be found in the context of this film. Identity politics relates to how individuals or groups identify themselves based on characteristics such as ethnicity, religion, language, or culture. Overall, "The Gods Must Be Crazy II" (1989) uses a comedic approach to highlight the complexity of relationships between different ethnic groups. different in South Africa.

The Plastic Bag Store (Excerpt)

The Plastic Bag Store (Excerpt)

Review of: Daeley, Justin J. Why God Must Do What is Best: A Philosophical Investigation of Theistic Optimism

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Why God Must Do What is Best: A Philosophical Investigation of Theistic Optimism by Justin J. Daeley

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Why God Must Do What Is Best, by J. Daeley

Why God Must Do What Is Best, by J. Daeley

“The Gods Must Be Crazy”: Students’ Attitudes and Dispositions as Enablers and Blockers to Internationalization

This article argues that students’ attitudes and dispositions can be important enablers or blockers to effective internationalization of the curriculum in higher education. Using a case study of teaching African studies at a Dutch Liberal Arts and Sciences college, this article shows that students have mixed explicit attitudes toward the subject matter, but more consistent implicit dispositions that influence their understanding. Specifically, our students show strong dispositions toward agency, rationality, separation, and similarity, which clarifies some aspects of the course content but obscures others. As such, they function as both enablers and blockers to intercultural learning. Since dispositions are common among university students and relevant to a wide array of intercultural learning contexts, this study offers important insights for designing and implementing effective internationalization—in particular, the need to tailor our efforts to the specific constellation of attitudes and dispositions, the course content, and the skills of both teachers and students.

The Gods must be Crazy, or the Rhetoric of Apartheid: A (Re)evaluation of Jamie Uys's Film in the Context of French Anti-apartheid Solidarity

ABSTRACT Jamie Uys’s film The Gods Must Be Crazy (1980) became an instant blockbuster as it opened up in theatres worldwide. However, critics were quick to note that its humorous tone subtly propagated the central tenet of apartheid, namely separate development. This article analyses the reception of the film in France and places it within the context of growing anti-apartheid solidarity and rhetoric. Although journals such as Politique Africaine were quick to denounce the film’s racist undertones and implicit support of apartheid policies, condemnation remained limited to militant circles, which raises questions regarding the ways in which French society perceived the situation in South Africa. Drawing on the works of Keyan Tomaselli and Brendon Nicholls, this article offers a critical analysis of the film in the context of apartheid ideologies and growing anti-apartheid rhetoric by (1) looking at the state of the mobilisation and the specific context of cultural anti-apartheid manifestations in France prior to the opening of the film on French screens in 1981, and (2) analysing how the positive reception of the film inserted itself within a broader framework of European colonial discourse and thus effectively served as a tool of apartheid propaganda.

An Analysis on Commissive Utterances in The Film Entitled “The Gods Must Be Crazy” and Its Implication on Teaching Speaking

<p>The aims of this study were to find out 1) the types of commissive<strong> </strong>utterances; 2) the strategy in employing commissive utterances in the film entitled “The God Must be Crazy”; and 3) its context of situation. This study uses descriptive qualitative method. In collecting the data, the writer used the film entitled “The Gods Must be Crazy” and its transcript as the source of the data. The findings of this study are 1) the types of commissive utterances that found in the film are promise, refusal, threat, and offer; 2) in general, the characters of the film mostly use indirect speech act, they mostly use explanation, excuse or reason in employing refusals, use If-then in employing threat, use interrogative with modal and justification in employing offers; 3) the way of the characters in the film entitled “The Gods Must be Crazy” in choosing the strategy of employing the utterances are influenced by the factors like social status of the interlocutors, the relationship between the participants, and the situation when the conversation occurs.</p>

“He wants to know how all those people got in there”: Surveying The Gods Must Be Crazy through a post- and neo-colonial telescope

The popular film The Gods Must Be Crazy (1980) remains, despite its age, the primary reference point for Westerners with regard to the San people of southern Africa (commonly known outside Africa as the Bushmen). It is a catalyst for tourist interest in the people since many tourists, as this paper demonstrates, credulously accept the mythology that the San people live now as (and where) they do in the film. Indeed, a Lonely Planet ‘coffee-table’ publication of 2010 cites the film as mandatory viewing for tourists prior to visiting Botswana. The San’s lifestyle is depicted in the film as one of Garden-of-Eden tranquility, although the landscape is somewhat more arid than the Genesis idyll. The San had been driven out of the Kalahari by the Botswana government in the interests of diamond mining, big-game hunting and high-end tourism. Meanwhile, tourist ephemera in-country extols the lifestyle of the Bushmen esoterically, producing imagery that suggests they are still living as they did for millennia, omitting any mention of their modern realities and perpetuating a lie about their ongoing relationship with lands to which they no longer have access. The film is explored here via some thematic distinctions of Spurr (1993). This paper transcribes these distinctions (or tropes) of colonialist thought and action as neo-colonialist which are ubiquitously in operation within the modern tourism industry, perpetuating disempowerment to a significant extent

“God Must Have Been Sleeping”: Faith as an Obstacle and a Resource for Rwandan Genocide Survivors in the United States

In 1994, 1 million Rwandans were violently killed in only 100 days. Devastating for some Rwandan survivors was the significant role that some Catholic parishes and leaders took in ignoring, facilitating, and even perpetuating the genocide. This article seeks to understand how Rwandan genocide survivors draw on religion as they negotiate their postgenocide identities in the United States and comprehend their current faiths, beliefs, and practices. Based on qualitative interviews with Rwandan survivors now located within the United States, I argue that the experiences of religiosity postgenocide serve as both an obstacle and a resource in postgenocide life, creating significant individual and local ramifications for community engagement, reconciliation, and trauma recovery.

The Gods Must Have Gone Crazy: Neo-Liberalization and Impoverishment of Black, Youth and Women in Africa

Globalization is like a bottle of Coca-Cola thrown into a remote community in a bushman’s story in the famous movie of 1980s called “the Gods must Be Crazy.” While globalization is not a bad thing, the engine behind the process for the past decades has been neoliberalism. The world has reached a climax at which neoliberalism is no longer tolerated even in the United States as witnessed in the “occupy wall street” protest and similar movements across the world. We do not understand what made inhabitants of Sub-Saharan Africa so lenient to neoliberal regimes. At times, they have even fought in fierce civil wars to protect such regimes only for a few pennies. This is contrary to their fellows elsewhere whose living standards are relatively higher than those in Sub-Saharan Africa. The bottom line is that, it has taken only a few tough years initiated during the global recession of 2007 and sustained by the on-going Global financial crisis, for people in Global North and North Africa to launch powerful uprisings against neoliberal forces and regimes. The most powerful ones are perhaps the ones which started in Egypt and Tunisia. For sure African gods, whom many Africans take refuge in, must have gone crazy, if not mad, to allow so many Africans to tolerate extreme poverty and hunger for as long as it can be remembered. It is believed that in the past the gods punished rebellious community equally and all felt the pinch. However, the gods have been bribed by neoliberalism ideology and they allow only a few to live as gods on earth while others suffer. The time has come for Sub-Saharan Africa, predominantly black, to rebel against the gods and learn from their fellows elsewhere. The time has come for black Sub-Saharan African to throw away neoliberal policies and their associated regimes. The time has come for Sub-Saharan Africans to make use of globalization tools to create a common agenda for their betterment.

From Loss of Objects to Recovery of Meanings: Online Museums and Indigenous Cultural Heritage

The debate about the responsibility of museums to respect Indigenous peoples’ rights (Kelly and Gordon; Butts) has caught our attention on the basis of our previous research experience with regard to the protection of the tangible and intangible heritage of the San (former hunter gatherers) in Southern Africa (Martin and Vermeylen; Vermeylen, Contextualising; Vermeylen, Life Force; Vermeylen et al.; Vermeylen, Land Rights). This paper contributes to the critical debate about curatorial practices and the recovery of Indigenous peoples’ cultural practices and explores how museums can be transformed into cultural centres that “decolonise” their objects while simultaneously providing social agency to marginalised groups such as the San.

Rereading the Gods Must be Crazy Films

Studies of Jamie Uys's Gods Must be Crazy films have tended to focus on his pseudo-ethnographic representation of “Bushmen,” from primarily Western perspectives, both anthropological and anti-apartheid. This study examines critically the wider corpus of Uys's feature films, especially those employing “Bushmen” characters, in terms of intertextual relations. The article offers the comments of many San viewers of the films and also conveys the perspective of Gao, the main Ju/'hoansi actor. Finally, the study examines responses from the anthropological community to the films.

Made in China: The Gods Go East

ABSTRACT Jamie Uys's The Gods Must be Crazy and its sequel films are icons of South African entertainment, perceived both as hilarious comedy and blatant apartheid propaganda. Three further sequels, made from Hong Kong by Chinese directors, are hardly known in South Africa. These films are particularly interesting from a cultural point of view, as they portray Orientals (and white South Africans) from an Oriental perspective and San Bushmen from a position that is neither Western nor set in an apartheid/post-apartheid South African context. The current context of globalization in which cultures are expressed and negotiated creates an interesting space for the analysis of these “multicultural” films. This article examines these films especially, Crazy Safari, and discusses them in terms of responses from focus groups, one of Taiwanese viewers in Durban, and another of Kenyans in Kenya.

"…We Have to Work with our own Heads" (/Angn!ao): San Bushmen and the Media

The way that the Bushmen San negotiate their relations with film and video makers and how they and tourists respond to films about them are the subjects of this analysis. Tourist responses to In God's Places [1997], after visiting one such village, are discussed in terms of broader issues of identity, representation, and reception. What have tourists learned about themselves from the encounter? What do San viewers think of films made about them? What do San actors, like Gao of The Gods Must be Crazy films, think about Western interpretations of his films? This article also discusses how In God's Places and other documentaries have elevated San knowledge as a primary source, rather than relying on academic experts and others who speak "for"them. Issues of essentialism and enchantment with hunting and tracking by film-makers are discussed in terms of cosmology, power, and ownership. The article ends with some comments on how the San are engaging the historical record in terms of their own perspectives, experiences and knowledge.

Household Ethnicity, Household Consumption: Commodities and the Guaraní

I. Introduction The power of commodities to disrupt indigenous cultures has attracted great attention from anthropologists. Studies document how subsistence producers, desiring manufactured goods, abandon their gardens and become totally dependent on the destructive market system. Others suggest that the symbolic power of fetishized commodities can redefine relations within even the most stable noncapitalized society.) The simple arrival of commercial goods often seems to destroy the object of anthropological interest. Like the soda bottle dropped into a !Kung village in the movie The Gods Must Be Crazy, commodities cause dissent and confusion and ultimately devastate small-scale societies. As manufactured goods from industrialized societies flow into the most isolated groups, they cause inevitable change. But as indigenous societies struggle to contend with expanding commercial economies, it is becoming clear that this transformation is not uniform or necessarily as extensive as previous models suggest. Many indigenous populations of lowland South America have sold goods and purchased commodities for centuries without abandoning their gardens, communities, or ethnic identity. In the following case, the Guarani of eastern Paraguay have used market goods since the sixteenth century without being assimilated into the national society. This study points out that buying commodities does not render the Guarani powerless in the larger economy and, in fact, that these goods often enter indigenous exchange systems and reinforce Guarani communities. Therefore, despite the potential for damage, these indigenous people have defended their social institutions against the divisive power of the larger economy. Guarani differentiate themselves from other Paraguayans not on the basis of market involvement but with regard to their differing com

Books Without Boundaries: Jewish Children's Books in the Secular Arena

Books with Jewish content are of universal interest and are important to individuals and to society. Through humor and personal experiences in writing and speaking about my Ike and Mama series, my middlegrade young-adult books, as well as my picture book, God Must Like Cookies, Too, I communicate to publishers, authors, and librarians the ways that my books have crossed over to the general marketplace. Why and how this came to be, and the newfound inclusion and interest of Jewish writers in the "multicultural" designation are also examined.

Annoying Anthropologists: Jamie Uys's Films on 'Bushmen' and Animals

SVA ReviewVolume 6, Issue 1 p. 75-81 Annoying Anthropologists: Jamie Uys's Films on ‘Bushmen’ and Animals Dr. Keyan Tomaselli, Dr. Keyan Tomaselli Contemporary Cultural Studies Unit, University of Natal, Durban.Search for more papers by this author Dr. Keyan Tomaselli, Dr. Keyan Tomaselli Contemporary Cultural Studies Unit, University of Natal, Durban.Search for more papers by this author First published: March 1990 https://doi.org/10.1525/var.1990.6.1.75Citations: 2AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume6, Issue1March 1990Pages 75-81 RelatedInformation

The Gods Must Be Angry: Flight to Canada as Political History

The Gods Must Be Angry:Flight to Canada as Political History Norman Harris (bio) This Discussion of Ishmael Reed's Flight to Canada has dual aims, for in it I seek to discuss the novel as literature1 and as social commentary. The literary discussion is an analysis of point of view and time (discussed here as a function of plot) as they impact on character development. The social commentary is derived from the literary analysis: point of view and time cause Reed's characters to illuminate reactionary and progressive aspects of Afro-American political history. The following quotation from the novel's first chapter provides a useful way to frame this analysis, for it contains the nucleus of the conflicts that animate the novel: Is there no sympathy in nature? . . . Are people lost because the gods have deserted when they said they never would? They promised they never would. Are they concealing themselves to spite the mean-minded, who are too unimaginative to recognize the new forms they've given themselves? Are they rebuking us for our stupidity? They are mean and demanding. They want to be fed. (9) This quotation posits a dynamic and dialectical relationship between the seen forces of current events, the world that is immediately perceivable, [End Page 111] and the unseen forces of history as projected by the ancestors or the gods. That relationship is the central conflict in the novel and has three related consequences. The primary conflict from which the other two proceed occurs when characters are unable to see a symbiotic relationship between seen and unseen forces. Such characters become frozen in time, increasingly assuming that perception and reality have one-to-one correlations. Theory, science, and imagination recede into a thickening and hardening consciousness that becomes nonreflective and that loses its ability to adapt. This stasis leads to the second consequence: characters are unable to recognize new or different expressions of the symbiotic relationship between seen and unseen forces. When this second consequence is in operation, characters assume that other characters' relationships to any number of objective conditions—job, family ties, religious affiliation, and so forth—have consistent meaning over time. Thus, in the novel, field slaves distrust and dislike house slaves (referred to as Castle Blacks) because of the latter's job. The affiliation is seen as definitive because perception is achieved through but half the dialectic posed here: the seen forces (the fact of one job or the other) are projected as the only definitional forces. Here I turn to the third manifestation of the dialectic between seen and unseen forces. Together, the stasis and the inability to see new or different expressions of the dialectic result in a kind of individualism that precludes mutual projects and the support of black institutions. The "food" referred to in the line the gods "want to be fed" can be understood to mean the creative and developmental interactions of Afro-Americans within the framework of the symbiotic dialectic between seen and unseen forces. The resolution of conflicts posed by this relationship is the rapprochement of roots, the resumption of that "Ol" Time Religion." The way Reed develops this central conflict demonstrates his virtuosity as an imaginative and skillful writer while also illustrating dramatic and divergent ideological trends in Afro-American political history. Before these issues are discussed, it is useful and illustrative to turn again to the dialectic between seen and unseen forces that comprises the novel's central conflict. That relationship and its three manifestations can be illustrated as appears below: [End Page 112] The world developed in Flight to Canada asserts that the optimal place for individual and racial development is at the intersection of the seen and unseen forces (position #4). The farther characters and individuals are from this intersection, the more dubious their individual accomplishments and the less likely they are to view their growth, development, and security as commingled with that of other Afro-Americans. (1) Static World view (2) Individualism = non-support for black people & institutions (3) Inability to recognize new expressions of seen and unseen forces Through an analysis of the way point of view and time shape character development within the framework of...

"The Gods Must Be Crazy": Unsolicited Opinions

"The Gods Must Be Crazy": Unsolicited Opinions