Abstract:
Hierdie artikel ondersoek die onstaan en vroeë ontwikkeling van die Afrikaanse rolprentbedryf en fokus veral op hoe sekere tydgenootlike ideologieë wat in die rolprente uitgebeeld word, die grondslag van die Afrikaner se "sosiale gewete"gevorm het.
Daar is na drie rolprente - Die Bou van 'n Nasie (1938), Simon Beyers (1947) en Kom saam vanaand (1949) - wat in hierdie vroeë tyd vervaardig is, gekyk in 'n poging om, aan die hand van C.C. Nepgen se uiteensetting, die eienskappe van die sosiale gewete van die Afrikaner te identifiseer. Die eienskappe waarna gekyk is, is godsdienssin, konserwatisme, waardigheidsbesef, landelike realisme en slimmigheid. Die invloed van heersende ideologieë onderliggend aan hierdie eienskappe is dan ook uitgewys.
Die gehalte van die rolprente word nie as sodanig behandel nie, maar 'n ondersoek word geloods na wat die rolprente binne die Afrikanergemeenskap bereik het of gepoog het om te bereik. Daar word ook gekonsentreer op wat die rolprente binne 'n Afrikanergemeenskap beteken het. Die waarde van die rolprente en van navorsing daaroor sal ten slotte aangedui word.
ENGLISH: This article investigates the origin and early development of the Afrikaans film industry and focusses especially on how certain contemporary ideologies, which were portrayed in the films, formed the basis of the social conscience of the Afrikaner.
Three films - Die Bou van 'n Nasie (1938), Simon Beyers (1947) en Kom saam vanaand (1949) - which were produced during these early years, were watched in an attempt to identify the charactertistics of the social conscience of the Afrikaner, using the explanation thereof by C.C. Nepgen. The characteristics that were looked at were religiousness, conservatism, worthiness, rural realism and cunning. The influence of prevailing ideologies, underlying these characteristics, was also identified.
In this article, the quality of the three films was not evaluated, but an investigation was done into what these films achieved or tried to achieve within the Afrikaner community. The focus is also on the significance of these films within the Afrikaner community. In conclusion, the value of these films and of research conducted on them, will also be indicated.
