ABSTRACT

In Inxeba (2017, dir. John Trengove), an initiate, Kwanda, asks his ikhankatha (initiate guardian), Xolani, why he keeps coming back to entabeni (the mountain). Xolani responds that it is important to return with his “hand” to help the initiates’ journey to manhood. We later learn that Xolani’s return to entabeni can further be explained by his ongoing passionate affair with Vija – another initiate guardian, who is married to a woman. While much of the analysis of Inxeba has focused on this dynamic and volatile relationship between Xolani and Vija, this paper returns to Kwanda’s question: why do seemingly urbanised men like Xolani and Kwanda’s father, Khwalo, in Inxeba, and Solomon and his brother, “Bra Lucas” Mahlangu in Kalushi’s (2016, dir. Mandla Dube), perceive leaving the city as important for the attainment of personhood and manhood? While Inxeba is set in the rural areas, and Kalushi is set in the city, both postapartheid films represent what I call the “New South African Man” (NSAM). Building on the conceptual terrain of the “New South African Woman” (NSAW), developed by scholars such as Pumla Gqola, Nthabiseng Motsemme and Athambile Masola, among others, this paper employs the concept of the NSAM as a conceptual term to unpack the cinematic representation of postapartheid Black masculinities in these films.

摘要

在Inxeba (2017, dir. John Trengove) 中，同修 Kwanda 问他的ikhankatha（始修监护人）Xolani，为什么他一直回到entabeni（山）。Xolani 回应说，重要的是要带着他的“手”回来帮助同修走向成年。我们后来了解到，Xolani 返回entabeni可以进一步解释为他与 Vija 持续的激情恋情——另一位已婚女性的初始监护人。虽然对Inxeba 的大部分分析都集中在 Xolani 和 Vija 之间这种动态和不稳定的关系上，但本文又回到了 Kwanda 的问题：为什么看起来像 Xolani 和 Kwanda 的父亲 Khwalo 这样的城市化男性在Inxeba，所罗门和他的兄弟，“胸罩卢卡斯”马赫兰古在Kalushi的（2016年，迪尔。Mandla杜贝），地感知离开这个城市作为重要的人格和男子汉气概的实现？虽然Inxeba是在农村地区设置，并且Kalushi在城市设置，无论是后种族隔离电影代表我所说的“新的南非人”（NSAM）。本文基于 Pumla Gqola、Nthabiseng Motsemme 和 Athamble Masola 等学者提出的“新南非女人”（NSAW）的概念领域，采用 NSAM 的概念作为概念术语来解开电影在这些电影中表现出种族隔离后的黑人男子气概。