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In the 1970s, Southern Africa became the major locale for African filmmaking with an increasing use of the Kalahari Desert, Okavango Delta and Kruger Park area. This study examines the relationship between filmmaking in Southern Africa and international broadcasters and audiences, and argues that previous accounts have neglected the importance of innovations from Southern Africa.
This is a vividly written and innovative book on wildlife filmmakers in southern Africa. Ian Glenn explains how they emerged at the top of their field globally, were awarded Emmys and Golden Pandas, and reached a mass audience. He celebrates their contribution to a sympathetic understanding of wild animals and to environmental conservation. –- William Beinart, Emeritus Professor, St Antony’s College, University of Oxford, UK.
Introduction: The social, political and technological background; Chapter 1: The Kruger and the politics of conservation; Chapter 2: Catching rhinos: from Ian Player to John Wayne; Chapter 3: East to South: why African wildlife filmmaking moved from East to Southern Africa; Chapter 4: Alan Root in Kenya and the Bartletts in Southern Africa; Chapter 5: Michael Rosenberg and cultural brokering; Chapter 6: David and Carol Hughes; Chapter 7: Dieter Plage and South West Africa; Chapter 8: John Varty and the role of the private lodge; Chapter 9: Technology transfers and local innovations; Chapter 10: The new millennium: Kim Wolhuter, the Jouberts and Mad Mike and Mark; Chapter 11: The future of the genre?: WildEarth television and the attractions of wildlife live; Conclusion.