Volksmoeder ordentlikheid’: exploring hegemonic representations of Afrikaner femininity in the Afrikaans language film Stroomop (2018)

Abstract

This dissertation studies the representation of hegemonic Afrikaner femininity in the Afrikaans film Stroomop, employing the concept of volksmoeder ordentlikheid as an analytical lens. Drawing on feminist discourse analysis and a Foucauldian notion of power, I examine how the women of Stroomop reinforce or challenge traditional expectations of Afrikaner womanhood. By positioning myself within the volksmoeder ideal, I further link the subjectifying power of social institutions, such as religion and family, with the representation of femininity in postfeminist media. The research considers the analysis within the broader historical and socio-political landscape of post-apartheid South Africa, ultimately, interrogating the ways in which Afrikaans cinema as a ‘safe space’ perpetuates a conservative nationalist Afrikaner ideology still embedded in white male supremacy and female subordination.

Hierdie proefskrif bestudeer die voorstelling van hegemoniese Afrikanervroulikheid in die Afrikaanse film Stroomop. Volksmoeder ordentlikheid word as ‘n analitiese lens in die proefskrif gebruik. Met die gebruik van feministiese diskoersanalise en ‘n Foucauldiaanse begrip van mag, het ek ondersoek ingestel op hoe die vroue van Stroomop tradisionele verwagtinge van Afrikaner-vroulikheid versterk of uitdaag. Deur myself binne die volksmoeder-ideaal te posisioneer, koppel ek verder die die mag van sosiale instellings, soos godsdiens en familie, aan die verteenwoordiging van subjektiewe vroulikheid in postfeministiese media. Die navorsing beskou die analise binne die breër historiese en sosio-politieke landskap van Suid-Afrika na apartheid. Dit bevraagteken die wyse waarop Afrikaanse rolprentkuns as ‘n ‘veilige ruimte’ voortduur en hoe ‘n konserwatiewe nasionalistiese Afrikaner-ideologie steeds diep in wit manlike oppergesag en vroulike ondergeskiktheid gewortel is.