ZIM DRAMA FIDELIS

Hall states that identity is more about routes than roots which is to say, matters of identity politics hinge more on where one is going than where one originates from. It is however crucial to my research as it calls for a deeper appraisal of all findings with a view to uncover hidden meanings and I found it largely appropriate because it insists on a categorical approach towards the scrutiny of details. Any discrepancies could therefore be easy to underline. I was disillusioned after consulting with those who actually stayed in rural areas when they exposed me to new pieces of information that altered my earlier perceptions. In one of the episodes Baba Fidelis refuses a simple gift of a disc player from Baba Innocent fearing that witches might know about it and end his life. I found it alarming that in this day and age there is still a sanguine community of women that willingly and gladly accepts male domination. This explains why the way reality was portrayed in the drama posed questions suggesting an element of confusion within the production team. Culture in itself according to Baran is dynamic and ever-changing but its cardinal tenets may remain intact ergo emphasizing that it is in danger of becoming obsolete is inconsequential.

Chapter Two is the literature review and theoretical framework which looks at relevant literature and theories referred to in this study. Fidelis 12 zim drama download 2 weeks 0. I especially liked this method because in rural areas Gwenhoro turn off and Vhudzijena where I used it, I gave special attention to households that had solar panels and also looked for homesteads that had one or two houses with corrugated roofing. The onus mostly goes to the director who oversaw the whole shooting and directing procedure. Of the various scholars that touched on this subject Meeker and Brandon who studied the Zimbabwean terrain made significant contributions. I gathered that perhaps trials and challenges of this life had precipitated in to their early marriages.

Those who had the temerity to participate demonised their female counterparts who wanted to challenge males, insisting that God fodelis His supreme wisdom had alloted the highest achelons of decision making and everything that comes with it to males.

Their ideas lacked any proof as they emphasized that men in rural areas are violent because they lack an education. Not only that, but also since the directors do not rely on research before compiling material for their productions, their content lack the views of the audiences, hence the prominence of clashes and conflicts with their audiences on the representation of reality.

Fairclough notes that critical discourse analysis strives to explore how non-transparent relationships are a factor in securing power and hegemony, and it draws attention to power imbalances, social inequities, non-democratic practices, and other injustices in hopes of spurring people to corrective actions. During the time they Chiumbu and Gatsheni-Ndlovu both studied, violence in Zimbabwe may have been rampant partly because of the band-wagoning of youths in to the so-called Border Gezi youth camps and also because of widespread unemployment hence the inculcation of the survival of the fittest mentality in to the youths.

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They tended to focus on the obsoleteness of the Zimbabwean culture and how the young people of the country failed to appreciate it. Not only that but also if one looks at the way Musowe and his cast built pathetic makeshift structures in the peripheries of Gweru it reinforces the observation that his drama was largely influenced by a lack of funding.

Drama and movie production companies should desist from emphasizing negativity whenever they portray the local culture because it reinforces the stereotypical representation of Africans and in particular Zimbabweans.

This presents two problems, firstly it is impossible to find out how everyone views phenomena, secondly, since meaning is constructed within audiences then there may never be a consensus on what any object actual represents but rather a plethora of conflicting and kaleidoscopic interpretations of phenomena.

Zimbabwean local tv drama shot in Gweru. My study is limited to the drama Fidelis only as there are many other acts by the director of Fidelis, Steven Musowe. Whereas as a practice or even a tendency, violence has several triggers and the fact that it has been practiced a few times or so does not mean that those who partook in it see it as their culture.

Zimbabwe TV drama (Fidelis) Episode 2 – Nehanda TV

This can be contrasted with the reality on the ground where according to the locals, commuter omnibuses now pass by their very homestead and farming areas. The word identity itself was defined from essentialist thinking and then from a postmodernist angle. The drama is about the life of one Fidelis real name Weakin Muza who grows up in the rural areas with his parents. But with advice from the likes of Munetsi Kadenhe Musowe renamed his film company Musowe Platinum Films fdielis recruited workers soon after being accredited to start operating by the National Aim Council.

Zimbabwe Drama (Fidelis) Episode 1 – Nehanda TV

Check all videos related to fidelis 14 zimbabwean drama. This means that there are those who have the privilege of determining genres. Therefore within the subject of identity is the idea of being able to control what label is given to you. Case in point, Baba Chenai who seemed not to know how to operate a mobile phone but most importantly there is no evidence of any migration or casual visits to town by the locals.

Not only that but also, since all this took place at a homestead, barking dogs, passing cars and curious passersby who demanded explanations hindered the smooth flow of progress. During therefore defines culture as; not a thing or even a system: With this theory in mind one can content that as representation of identities manifest in the drama Fidelis this distortion of images may take place and research to ascertain the validity of these claims is essential.

While these are already quantitative methods I relied more on qualitative methods as they are more reliable in the Social sciences field for analyzing data.

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Therefore identity works to define which group a person is now aligned to and due to the multiplicity of identities an individual can assume different identities depending on where they are and who they are perceived to be. The part where respondents claimed that they never saw characters getting in to a bus or car heading for the city may be a result of the special effects used in film production like synthetic experience where a real event may be portrayed in a somewhat fictive way.

I therefore believe that Kellner offers a better definition of culture where he locates the centrality of the media in constructing and shaping culture. This then means the portrayal of phenomena in Fidelis was being done from a one dimensional angle. He further describes them as guidelines for solving a problem using specified methods, tools and techniques. Violence has contributed tremendously to polarization of the nation and accumulation of anger, grievance and resentment across society.

The obtainable fact therefore is that those from other countries who came across the drama may be lead to believe that if they were to visit rural Zimbabwe the very same landscape presented in the drama is what they will find, when as the opposite is true. The media therefore voluntarily join the class struggle with the intention of promoting the interests of elite class; they intentionally lobby for the interests of the highest bidder. This then creates problems of control and the exercise of power in the union as the husband tries to dominate the wife.

Shares For 25 Years! In most cases critical discourse analysis is an approach to text whether written or audio visual that seeks to expose biases towards certain agendas or ideologies.

Fidelis 12 zim drama download

Fidelis is a drama that captures the local set up of a Zimbabwean community and it retells the story of how people live and interact in the country. There is conflict on the subject of witchcraft between the traditional courts and the formal courts. Radford however maintains that beliefs in witchcraft are a chief cause for underdevelopment in many African communities.

To that extent they argue that; Several studies in the field of psychology and social psychology have found a relationship between children’s media consumption particularly television and film and aggression.

That is to say while one is talking about the one he may refer to the other. For example, the painting of a mountain truly reflects the mountain in the real world. While referring to the obsoleteness of the essentialist school of thought pertaining to identities, Welz