{"id":192432,"date":"2021-06-17T22:02:53","date_gmt":"2021-06-17T20:02:53","guid":{"rendered":"https:\/\/www.myza.co.za\/banning-african-films-like-rafiki-and-inxeba-doesnt-diminish-their-influence\/"},"modified":"2021-06-17T22:02:53","modified_gmt":"2021-06-17T20:02:53","slug":"banning-african-films-like-rafiki-and-inxeba-doesnt-diminish-their-influence","status":"publish","type":"post","link":"https:\/\/www.myza.co.za\/press\/banning-african-films-like-rafiki-and-inxeba-doesnt-diminish-their-influence\/","title":{"rendered":"Banning African films like Rafiki and Inxeba doesn’t diminish their influence"},"content":{"rendered":"

Social media and internet forums function as an important space of contestation for issues relating to queer identities. This is evident in reactions to two fairly recent queer-themed African films, one from South Africa \u2013 Inxeba\/The Wound<\/em><\/a> \u2013 and the other from Kenya \u2013 Rafiki<\/em><\/a>. <\/p>\n

The films were met with diverse responses, from government bannings and cultural backlash to enthusiastic viewers and international awards. On social media and internet forums, reactions differ from those of state institutions. <\/p>\n

These various responses should be understood against the background<\/a> that in many African countries, with the exception of South Africa in this case, queer sexualities are criminalised<\/a> and deemed \u2018unAfrican\u2019. Many argue<\/a> that homophobia itself is unAfrican<\/a> and a relic of colonial laws and mores.<\/p>\n

In my research<\/a>, I have explored the fact that African queer lives are complex and don\u2019t tell a single story. By viewing these films as popular social texts it became clear that government censorship has been unable to stop support for them or the kinds of discussions they generate, especially online.<\/p>\n

Films as popular social texts<\/h2>\n

In Africa, films have become popular social texts. They are readily accessible and easily distributed, thanks to the internet and hand-held screen devices as well as the large-scale sale of pirated DVDs<\/a>. The informality of circulation, coupled with the affordability of pirated films, has ensured that film has overtaken literary or text-based genres in influence in many parts of Africa.<\/p>\n

Films like Inxeba<\/em><\/a> (2017) and Rafiki<\/em><\/a> (2018) can function as popular social texts in that they can ask questions about social issues \u2013 in this case queer lived experiences on the continent. Popular social texts appeal to large audiences. It is against such sociocultural and political backgrounds that the reception of the films Inxeba<\/em> and Rafiki<\/em> should be understood. <\/p>\n