And she'll be talking about the first red suitcase in and out of the strong memory.
And this is a chapter of Carly's new book, which is called Written Under The Skin, Blood and Intergenerational Memories of Africa.
And I think Carly has a few copies for sale after the summer that if anyone's interested.
So we'll have our usual timing where we'll we'll have to talk with you about 15 minutes an hour and then we'll have 30 minutes for questions.
And then we have some drinks and coffee and wine facts.
We keep talking informally for you.
Thank you very much. I didn't want to be the first one to say, Yeah, that's how it turned off.
My books come along to accompany me. I don't have to say so.
I want to thank you very much for asking me. Even though you believe me to be the first, I'm really happy to be here.
I want to start with this very well known photograph of South African activist group.
But during her period of imprisonment, which she recorded in perhaps the most famous prison ethnography from South Africa 117 days.
I was born in 1925, married in 1982. She was a South African born activist and revolutionary, a journalist and academic,
but she was also a gifted and influential editor and worked for some time as a university librarian.
Her pursuit of meaningful labour and the difficult choices she had to make to earn a living,
as well as do meaningful work and activist labour resonates powerfully for those of us who face similar challenges in this first seminar of the year.
It seems worth reflecting on the relationship between our lives, our activism and poverty work,
and how our desks and our computer terminals are connected to worlds beyond the key and beautiful seven hours.
I want to pay attention in this little talk like a cataloguing the contents of Wi-Fi speed, suitcases,
what is contained as she entered prison, and what it contained as she exited 117 days later.
I became very interested in the suitcase and what its contents can reveal about how we read,
how we catalogue and how we conceptualise what is an archive, but also how our private lives and the contents of our bags and suitcases into cages.
For those of you less familiar with, we thought she died a violent and bloody death at the hands of the South African security
police in her university office by opening a little bomb addressed to her at her office.
It wasn't once on a university in Mozambique. Her murderous identity, the common knowledge.
They are budgetary reasons. You could see it played when you.
After Craig Williamson made a full confession when he presented a full confession of the truth and reconciliation
grants amnesty for this and many other crimes he committed and to which he admitted he remain a free man.
The murder weapon was a letter bomb wired to explode into the fortifications of such blood and body fragments were dispatched to the office,
she shared at the university. I didn't bring that from.
Descriptions of the murder scene linger on the details of the dismembered body in the space, which she used to work and read.
This presentation files the DNC letter addressed to us alongside the other hostile acts
that the apartheid state collected and archived about her and her colleagues co-workers.
My argument for this entering the hostile archive from which the letter bomb was that a mistake,
perhaps is a re-entry into what we first called the strongroom of some memory in 117 days, she writes.
I was packing my mind into a strongly this strong room is in this space,
the prison cell in which I was detained and which she read in various form and through different media.
In the second place, the strong room is also the threshold that I wanted repeatedly to prove to himself that she had not crossed.
Through her creation of a strong room with memory, she wanted to sue and seal off any crossing into the hostile archive from where
her death sentence issued in an attempt at creating such a sealed counter archive.
That's her account of the incarceration by the apartheid government in 1964.
It was published in 1965 as 117 days.
It's a Texas fence as a centrepiece of the histories of the activists connected to.
Living in work, living and working in careful evasion of the official state paper trail, the written evidence first private life is a tiny archive.
Although many entries of catalogues under her name in library catalogue, the scholarly and journalistic work she produced and edited.
117 days is extremely widely written and has been adapted and recreated numerous times on screen and in novels, and is cited in all these areas.
The text constitutes a particular kind of authority to use force only a strongly self-consciously field against the surveillance archive.
But contrary to the way that is typically bad at the prison itself, I suggest this is not a documentary account.
It is a text that does much more and also much less than to document its obfuscate and
impose creating a screen and is from an impermeable to the gatekeeper interrogation.
Alongside this reading of the text of one hundred and days, I suggest that we first read suitcase as seen this file.
The collection go in the suitcase in particular, has been misfiled as part of bourgeois beauty regime,
but instead it offers a revealing clue to the complicated, bloody encryption 417 days.
You may be surprised to know that this photograph was taken.
In that sense, the spacecraft, it's a kind of deep faith, but it's also true fake.
Prisons like writings has attracted a great deal of scholarly attention,
in particular in South African contact with the prisoners who graced the accounts
of their prison time tended to be associated with oppositional political move.
Daniel stepped based on his own.
Typically, these prison diaries have been read as mood of resistance to the documentary status blues.
Five Hundred and Seventy Days was confirmed by a 1965 BBC film based on the account, and this is still from the film.
In which Fox acted herself and which provided for a UK audience a key to understanding the events, the fate of the spacecraft.
As I said from the BBC documentary, which was filmed last week in the account published at 170 days,
we read of the many other hostile documents, including some prison space most critical.
The statement, which read makes it to the police but never signed.
That's not attaching her signature to it to authenticate.
Even without the incriminating signature, which would have proven and mocked her cooperation in the making of the statement,
first we come face for the dangers posed by this document and by how it might affect you.
She writes about her anxiety, about the document being cycling filed in many dossiers.
We're not allowed to use this technology, but it's a manual of reproduction.
A journalist interested in the reproduction of text through mechanical copying mean she imagines a nice,
very Mary's version of the safe as multiplying and circulating widely in case she cannot control.
Another dangerous document in need of containment is a suicide note, she writes, when she realises that the ways in which her statement,
which is a fake, it's not a statement can be used against her, has possibly compromised her.
This suicide note is a great to her husband and children husband.
She writes it on the inside cover of a crossword puzzle.
I mean, you could see how how cinematic this is the notion of encryption and.
She claims to tear the page out in her document, she claims that she told the page page up and flushed down the toilet.
But I'll talk later about how the suicide since is again a third time document it her official release from prison.
How did you find it duplicated?
You can see the notion of something being handed to her in a duplicated form indicates that there are other duplicates in office over.
This release confirmed that they were many other versions of her arrest and imprisonment files in ledgers and folded held by her interrogated.
When Test was released from prison, she left behind the unsigned statement,
but she was unable to retract or reject the statement, which already filed in the case, file a release.
With all kinds of compromise and compromising document, this is the 19 days detention.
I just expressed aim the extraction of information from a house under it.
In other words, to be released was to raise suspicion that someone had cooperated.
So she would have preferred to state in prison. Because that would prove that she hadn't spoken.
If you see the complications that I'm pointing to that. Winston, after her release from prison,
applied for a passport to allow her and her daughters to travel to the UK for a time free, intending to go back.
She was denied official permission and was issued with one document and exit permit.
Her departure from Alaska in March 1964 was to prove her final exit from the country to which she never returned.
Documents related to Rufous prison stay alongside the counterpoints for the exit permit that was handed to her instead
of a passport that would allow her to re-enter South Africa must exist still in a number of states to prosecute.
In the Prison Service archives, their letters and folders with her name on it and into which her name and prison movement are documents.
On her insistence, her complaints about her treatment were also reported in the.
As I said before recess and has avoided paper trail and notes and records of meetings and agendas were kept to an absolute minimum
to protect their identities and their time in a life lived in a void of the official all kind of safe recesses behind very little.
That is not part of the hostile archives.
When she left prison and later exited South Africa, she was aware of leaving behind this tainted Panopto archive.
In his testimony to the PRC, her murderer Craig Williamson, who cannot get shamed weekly, repeated that what he did was legal,
officially sanctioned by the archives, a document of the government secret not disclosed.
We started writing one hundred and seventy days while she was living in the UK,
the Great Autumn and winter of 1964 was a time of challenging transition.
A spring from the sea, we read an account of her early days in London persuaded her to write this
narrative of some prison time as an exposé of prison conditions in South Africa.
In that tradition of prison ethnography that I about earlier,
the book is also an account of and testimony to her own role as what she describes as the master of the ambiguous and evasive reply.
And she prided himself on her ability to speak ambiguity and evasive in the remembered.
We see Rufus checking and rechecking, but she left nothing behind that could be used as part of the archive and in order to do this, she returns.
I would say obsessively to so in her memory and writing, scrutinising it.
It came to fame. It could leave on her Typekit.
Tony, just in the title of the book The Memory,
Shanae describes the method he developed for organising his memories after he was affected by disabling disease, which graphically led to his death.
Using his ability to move meant a lot of what he calls the yellow pad and the pencil.
I think many of you still take notes and then past,
but I think increasingly people taking you not tell a story first and then you just add in the pencil are crucial to.
Tony Judt writes. About it returns in memory to a chalet he used to visit frequently as a child.
And he writes each night, days, weeks, months.
And now when every year I return to that chalet,
I have to his short corridors that they won't fit and settled into one of two or perhaps three armchair conveniently and occupied by others.
I have one memory tend to be and then I've come to the sorted out and ordered a story or an
argument that I plan to use is something I should write the following day trapped in his body.
He attaches memories to objects in the room and goes round and round the room, attaching ideas,
hoping that the next day he can somehow convey the right into any Judd's memory chalet.
The atmosphere is one of a crazy return to a beloved chat as one setting as a child.
This is starkly opposite to the way first we visited the prisons in Hermann.
But in other ways, this architectural metaphor is suggestive of a space that is revisited repeatedly.
As a way of organising memory editing and reduction costs and fiercely imagining what went overlooked will not prevent.
Obfuscation and subterfuge are dominant themes in the literature on the group,
which we respect and with members in the 1960s and countless references and incidents in the biographies of the great document,
their daily lives were characterised by deliberate secrecy and constructed to evade the inevitable surveillance are to minimise risk of exposure.
Such a group will not leave a written archive,
a typical of the reference section in the biography and on this all sorts of interviews conducted with those to remember and zip through the event.
And Julia will be teaching you who doing the sequel is about fatality and about these techniques.
Next Monday, in her family autobiography, Every Secret Thing Resets Daughter Gideon.
So this comment explicitly on the paucity of a written about her parents like explaining why she had to rely on interviews,
which in turn reunite and continually reconstitute the group of people about whom we read dying that have died.
Researched biographies do not enter the Apostle Paul,
relying instead on the oral and written produced by uncirculated in the movement and one hundred and seventy days from the key text.
As I say in this archive, it's often read a separate primary document the source of information.
In piecing together and editing these parts, I often think of the so-called effort to recreate and sometimes invent in.
The threshold to be documented fact and remembered invention runs at a the 270 days,
which is an extended reflection on the nature of remembering without, you know, revealing description of the best looking method as a journalist.
She the three sentences together with so I think, building up a text through splicing of other text,
using the domestic machinery of sewing and mending first and energy and skill as an editor is often remarked upon as her industry.
We know that she is a noisy worker.
Her writing, accompanied by the seemingly ceaseless clutter of the typewriter that now is in headquarters in her account of her time in prison,
the night at his typewriter.
But even a pencil first makes a very surprising observation, especially for someone whose personal archive has turned out to be not in oral.
She writes, My memory is very cool. I always need a pencil and smooth stuff to my writing.
This is a challenging comment to integrate in one's reading of the text, which we know reconstructed from memory without a pencil.
If the author acknowledges her memory, what we are holding in our hands cannot be based on a complicated,
uncomplicated history and the documents we read.
First work as a journalist and editor who's a mainstay of accounts of the meeting is highly more opaque about political work at the time,
she's been training to be and working as a librarian at the time.
Probably that's just prevented by banning all different.
Working as a general for some political work consisted of writing and trying to read documents why the bank would fix it.
It's that irony in training the librarian in the account of her arrest.
We read the first report after making a list of what was needed in the library.
Barbara Hollis slotted the scene in Harris County, interpreting the choosing of assisted revolutionary preparation.
Once Harlow raises the possibility of the librarian, someone smuggles knowledge out of the official archives.
The potentially explosive meanings of this activity proliferate the revolutionary who is pretending
to be a librarian and indeed working as a librarian that's with the official archives contain.
It would have been to evade.
This approach is echoed infests repeated insistence that in prison she would watch to see what they knew before she found how to evade the question.
Got the device that you must have. One of the most frequently repeated anecdotes around the arrest and imprisonment is the parking opposite.
Under the gaze meets the red suitcase has a live picture attached to it, with many interpreters pointing up the gendered class and racialised content.
In the introduction to 117 days written by his,
we find references to a beloved and remembered mother's elegant itemised to her perfume and her underwear.
The contents of the suitcase catalogue and read text again memory in 117 days.
It contains the comforts one might need in prison.
But it also is to be understood as an instance of a genre of knowledge shared by people who thought that
they were going to be arrested and had two suitcases made in the documentary film version made for the BBC,
which is in black and white. The suitcase remains great, but I'm seen suitcase that's sitting itself in a world of possibilities.
Find Barbara Hardy, Barbara Hershey with his Who, a thinly disguised brief test with a of suitcase instead of a red one,
and his suitcase has become cryptic in disguise.
It's one item in particular in the suitcase that no one has commented on in the sense of writing a large amount of cotton wool.
David Skull in a censorious discussion of what he describes as bush white gloves as the suitcase as containing,
I'm going to keep its tax receipts to receive items such as underwear, makeup, eyebrows and a mirror.
He judges first hot, comparing her relative comfort to the condition posed by other women's prisoners not protected by the middle.
I did, but I want you just off the cuff, and I do this to mark how crucial it is where the Cosmopolis archives and how it is classified.
Well, mostly this happens always because the catalogue and the makeup and cosmetics and simply ignored.
But I'm going to have a darker interpretation of the casting process described in 117 days
how the police think this gorgeous will be pounced on and sprawled it on the counter next
innards of an hygienic textbook the account of the invasive and hostile unpacking of the
intimate contents is followed immediately in the text by a series of paranoid questions.
What did they know? That someone talked with their questions? Give me a scoop the appointing of the coffin as if it were a light creature being cut.
It seems to conjure up fear of a secret being opened up in a later scene in the narrative.
A fellow inmate who is there for one night only.
And who turns out to be Anne-Marie Wolpe, who describes this moment in her biography Long Way Home.
She remembers asking if anyone has possible because she knew she was going to have some period that night.
For the reader who knows how to read and administration, this is the function of the hygienic people.
During a prison stay of 90 days,
a woman of age would expect Main Street three times apart from the references to someone else being unprepared and needing to have some coffee.
So it's never mentioned the court again, nor the you know,
that makes mention of the use of absolute means that if the language of barriers and prevention, leaks and secrets saturate the text.
First insistence on his dignity and her personal cash is a central part of the narrative and needs to be understood
as she intended it to be as a form of resistance to the dehumanisation Typekit of solitary confinement.
To write about menstruation is not part of a project or programme.
In the 1970s, attempting to repress menstrual activists would encourage women to speak out about the
secret world of menstruation and the dignity offered by women to Typekit sanitary products.
While menstruating in prison has recently become rather prominent,
one might also wish to contrast the hygienic caterpillar to the harrowing descriptions of torture found.
In Winnie Madikizela-Mandela 491 days with No.
One three two three six nine when she describes her own excessive menstrual bleeding in prison.
They many references to menstruation in the TLC record and the history of menstruation and
its racialised archives in South Africa would be a really useful and important project.
But I did hear. This question has a particular peculiar place in our society.
The most obvious connexion is the well documented history of menstruation,
as it's so in history that menstruation in literature and Frank's name that appears on every day.
Living in a hideout.
I'm Frank Daybook mentions with racist excitement, the anticipation of processing while the changes in her body seem to Anne Frank,
a reminder and a promise of a life outside as an adult,
thanks to the reader as they must have been to the adult women sharing behind the reality of conceiving any
material to do with menstruation while living in secret and confined spaces in scholarly work on Frank's diary.
Discussions typically revolve around her father's desire, intimacy and sexuality when he edited the diary,
hence the theme of embodied secrecy brought to the level of domestic and familial rather than in relation to the largest secret in subterfuge,
a related incidence of menstrual flow and secrecy.
Also from risk resistance, literary tradition comes from Frances is a novel in which Mario know a young Italian woman at gunpoint,
while enemy soldiers demand to know the whereabouts of her lover and his comrades feels the first signs of the onset of menstruation.
And while she feels but I still love going down her leg, she finds herself telling them everything so very often in the future.
When has this moment of I'm sick of menstruation? But mating refers is interviewed by a jaded.
She prides himself on her ability to lock this following, and one of the ways in which her interrogations break down the song really surprise her.
The suitcase as a touching first home contains at least one novel, a pencil.
Everything read that it contains writing paper. It almost certainly did, given her working methods have a memory, a work of investigative journalism,
a use of interviews as the basis of such an editorial work in which she responded to and shaped the work of others.
It's not clear what she would have written in a prison cell other than letters and a kind of prison ethnography.
The restriction of access to writing and reading materials is a mainstay of that period in solitary confinement.
It's repeatedly justified by the police as part of the programme to make prisoners
uncomfortable and to get to give them time to think about the interrogations question.
It specifies and remembers many instances of reading material in his belt,
as well as in the two different prisons that are her home for the duration of 517 days to readers of a literary bent one hundred and seventeen days.
Much to offer. The text contains references to other literary works.
Check the Chophouse Thomas. The narrative breaks up to include in italics, the narratives of others creating a collective voice.
She catalogues and inventories any references she points to writing on input on the tiniest things like writing on the side of a pencil,
as well as what she glimpsed through a window, sometimes in all kinds of the resistance movement also in the present.
The documents, the names of the other jail inhabitants. And she likens the family reunion.
The text includes the book into which her complaints about her treatment and the official visit to all of these incidents,
even trails that can potentially be used against us.
Maybe readers have commented on the scraps of paper and newsprint, and she finds pain through the window,
and every single account mentions the chewing gum rapids that has also escaped over and over.
Undiscussed in any of the countries, it's written archive of applicants name tags that you find something people to guy and comes across.
Don't be. I'm going to washing line from across the jack.
Each item was marked with a number and enough name to write.
I wondered between the way the mouth and short being funded, most of it can you know something or you can come through,
so I could see it depressing the all kinds of white underpants.
And she is described in a hauntingly evocative passage. It is absolutely fantastic.
This reading of the names of the washing line is blocked by not only to name a tipping point and the kind of all contents behind these name tags,
but she developed from a short historical analysis that's been done in the prison.
She just she just runs with this small archive of underwear that she finds and.
Journalistic piece that first writes in the most famous line from 120 days in prison, you only see the moves of the enemy.
This can be reinterpreted through the lens of the archives of the arrived earlier, which first makes a statement.
She sees her words lose the meaning she intended them to have and become part of the archive.
She. After making the statement, which she first thinks of, like self-congratulatory with a non statement,
she's off to return the next thing to sign and say, it's this evidence, the signature on the tape,
which will not prove her agency and control,
but will instead be evidence of the fact it would have been entered in the official that this witness signature is what led to the crisis,
a crisis which is not entirely legible. It's quite difficult to look at what's going on in the text.
Gillian Slovo in her book Every Sequencing of her family history right of reading sentences in 117 days over and over trying to make sense.
And they were right. She told her friends would judge her and say something.
If Ruth have not written a book, that one would have known that she'd say anything, however trivial.
Yet once the book was published, instead of applauding her courage, some of her closest comrades judge people read.
She must have known before the book came out that this was bound to happen and she left it right.
She was a brave woman, my mother. She began imagining the movement that must be sensitive.
This passage makes it hard to see a bridge between bravery and cowardice bravery brings, in fact, as the ability to withstand accusations of weakness.
In this version, then the suicide to come made an attempt at resisting an act of perceived cowardice to overwriting it with the brave.
In fact, own accounts remember this in an attempt to reseal some of the meaning of a suicide attempt.
It's rather more opaque, deciding to commit suicide, she writes.
There was only one way out, but the logic of that statement remains unclear that she means there was only one way out of signing the form,
or that the only way to exit the prison exit as a success would prove that she hadn't compromised a concrete.
First meeting, two things assigned to the outside world and the sign she uses encrypted message suicide,
but the planned suicide, which is a way of authenticating the document of drawing attention to the absence of her signature.
Sales in Alice Bay now in custody in another way by writing the suicide to address in the form of an apology,
using to write an indelible pencil over the words property of the South African Administration on it.
And she writes a with the tools used to write the note,
admitting that her words of constraints I had dated but also received encrypted the message and message.
That is not what it seems. The suicide note is intended as a confirmation statement.
If the sleeping tablets that she asks, the doctor will turn out to be fake,
and so her attempted suicide doesn't succeed because even the public in first
impression she wrote the suicide note in the book and flushes it down the toilet.
The note seems now to become evidence of cowardice rather than bravery, because she not succeeded.
Here again, the meanings that hold back on themselves, the point to which the cow is precious itself is not clear.
You've told us nothing. The interrogator in the documentary film version shot, you know, in a very bad context.
In fact, this prison, she doesn't bring the suicide note, which she destroys as another piece of potentially incriminating evidence against her.
Nor does he bring the text of what will become of her 170 days in her seat.
She walks out with one document only the carbon copy of her release form the original
having a carbon copy of the original and what some of the original in the file.
Here it will join the incomplete unauthenticated a darkly dangerous statement.
The carbon copy is not a copy of the statement that first took place.
Having me never see the game is often imagined, but it's a reminder of the incriminating, unsigned documents.
When, in fact, that's where she spent some time recovering at her home in Johannesburg.
And during this time applied for the passport I mentioned before. The South African authorities did not grant the passport,
but insisted the exit papers only closing hiding at the exit from prison and the exit
from South Africa are still inside the very motivation for the 90 days detention,
with the express information to have left prison.
But it means that in the gossip and rumours circulating, the implication would be that she had lied and.
She writes in her account that she would much prefer to remain in prison, as this would have proven her non collaboration.
The memory strongroom has this layers in the fantasy of return, wishing to be back in the prison cell,
rather to be there, and things simple to be free of the couple.
The text contains a number of passages to preclude the desire to double back and to reject redacted document.
They references to clubs and the secret, but multiply your income, remember the the the interrogation session, she notes,
with some price sheets full of evasive answers she provides some testing on so she did during the course of the season,
however, the ground shifts assessed who'd been told that they already had been asleep from elsewhere.
The existent leak exposes her, and it makes it unclear whether she had at least something by the state.
Leaving South Africa with her two young daughters.
The eldest was travelling by boat with friends, first arrived in London, unsure how she was to make a living.
What kind of meaningful work she would find. It's in the grey of a London autumn that she begins to write.
It's best read then as an attempt to override the state and to counter the suspicions
attached to the paranoid language about the need for tidiness and careful vigilance.
It's striking if if self supervision is not an act, it takes place at the time of imprisonment.
It's written from London in order to document in her own version to put her signature to what she hopes will become the definitive statement,
which will seal the struggle within once again.
Soon after completing the writing of 150 days, but was invited by the BBC to collaborate on the documentary,
which she wrote the script as well as making a radio programme and a radio play.
I managed to see this rare 90 days in the BBC archive, and it was made by the recently deceased with collaboration.
It's an extraordinary parallel text which must recreate and recreate and re-enact her own imprisonment.
The documentary films authenticating the list of Grace speaks also evocative of the isolation and new life.
There's not much written on the making of the film, but from the few energy sources and the accounting for granted.
It's evidence the films made my scene, and some of the film did something badly and unconvincing to disguise as South Africa.
The film is presented as a documentary, but it's viewed as one in a series of revisiting and reenactments of the events narrated in 117 days.
The film experiments in form, I'm sitting in a stylishly stilted acting in the film version.
The title is changed in 90 days for the viewers, for whom the phrase would be more easily understood as scientists of African descent.
If the change of name is written for the text, which theme Typekit known the girl and the subterfuge involved is a fake.
Even the name is a sort of disguise of the original.
The final scene of the documentary documentary shows Rufus walking out of prison a suitcase, quite possibly as it finds itself in her hands.
I hope footsteps echo down the prison passage.
We hear the voice of the BBC, the BBC voice of the male narrator closing the scene.
She left prison and South Africa in the conflation of the two scenes of exit as if she's walking out of South Africa.
The viewers need to understand that we first left South Africa because there was no other option.
The films, the recent events end with a walking out of prison. If this is also where the written narrative begin,
as the author of the document starts right to the accounts after leaving prison and after leaving South Africa,
the red suitcase is the suitcase it contains of what it represents remembers it in.
The version we see, like the suitcase itself, is and is not accurate.
The red colour is reached out on the black and white screen as his own memories of itself being deleted while she's trying to.
The film goes over the same events as re-enactments, and there's a fascinating because on historical reenactments on film,
and if you insist I can give you the practical reasons for the deviation from exit visa meant she couldn't return to South Africa.
The film was based on a very small budget.
It was made in the genre of the didactic news documentary film executed the kind of BBC documentary paid at the time,
and first Prokofiev wanted to protect her children's privacy.
But the reenactments differences from the text on which are based on more than practical.
They, in fact, reveal the urge to re-enactment as reception really present in the original text.
In the act of writing the text first,
read the scene of the scene in which she was held saving the strongman and attempting not to reveal any information.
It was the moment when suspicions settled on her and in her book and in the film, TV inhabits the prison to go over again at repeating nothing,
playing out and re-enacting that she had told nothing overlaid with the leaving of the prison and the country.
Its effect. The film is May and the book published from London, removed from the engaged activist work in South Africa.
Revisiting the memory prison is painful and traumatic, but is that comforting?
And the community of fellow comrades to which he was connected by the shed is not communal in prison,
remembering the prison cell and reconstituting it as if she can have a separate member state in 90 days.
So the re-enactment is a fake, but I think it's self-consciously so.
The film depicts the effects of solitary confinement in a cool cinematic style
reminiscent of the European avant garde cinema that both knew well and love.
I don't mean to suggest that the film is artful and therefore not truthful.
Instead, what I mean is that the fake counterpart in South Africa is precisely to be understood as in a state prison.
You know, the real truth is visited by fake children receiving revealing to us the estrangement brought not only by solitary confinement,
but my life in exile. It's worth going over the ways in which those extraordinary films can be viewed
as a document of fortune and an account of safety and the children who act.
Both children are members of a counterfeit and unprotected family, and the house in which the red great suitcase is clearly a little in love.
And you can see the fact that it's so clearly English how English terror in the language available to cinema.
The documentary film picks up and reinterpreted the book Paranoia.
The book brings to the surface scenes of surveillance and self through narration, and it's the film justice in extremely visual language.
We hear first voice make the scene explicit. I try to make time pass with the activities of authors, but the figures I see be on set.
Usually they are not my world. That's not in line from the book.
So the black and white documentary that black and white documentary images from the
South African Resistance Archive replaced the italicised twinning narrative date,
creating great proximity and distance.
But who is re-enacting how imprisonment far away in London in a further complication of the re-infected archive?
It's worth noting that these images circulated outside South Africa in ways very different from the censored news environment inside the country.
The accented speech in the film is striking, providing us with yet another instance of distancing and imposing and how in
authenticity and forgery are used to make a truthful and accurate testimony.
The film opens with respect in a library in London as Camden Library uses a counterfeit
kind of libraries that she says she spent in front of a shelf of books on prohibition.
And she's shown dressed in the kind of clothing that we that iconic style of Danish jewellery they might see.
She's holding in front of her black folder into which she seems to be entering darkness.
I think the accuracy of the film is proven by the her careful note taking from documentary sources in the camera
follows her as she descends the stairs in the mid-century modern building of the kind we know first in mind.
She doesn't make eye contact with the view of the film. I think we are spying on her.
I think we are watching her, who knows we find with her. When you pretend not to notice.
Then she's made by two men speaking in what is meant to be of the accented English.
Support acting,
an unconvincing axing of all of us interrogators must be understood in this edition of the South African Institute in cinema tradition,
a perennial favourite to get these counterfeit xingu of significance in another way and can be understood in
relation to the stylised and wooden acting by white people against the suspect pockets of resistance movement.
Do active characters with whom they didn't share a vision of the world?
An excellent example for those of you who've seen come back Africa is Myrtle Thurman,
who was in fact a friend of unspeakable magic in line flying over to come back Africa.
I was honest enough to confess in scenes that are hard to decode without the knowledge that all actors taking part in such a project,
which by definition would be sympathetic to the aims of the film.
One sees the protagonist, Sakariya, in conversation with a great tingly, racist white mother and her passive husband.
The woundedness of local governments acting is an encrypted the same.
Since the poor acting is more than an act, it's a counterfeit and it's meant to be understood only progressive white South Africans.
We trusted to take part in a project that was to become Comeback Africa.
Robeson writes in a section called Casting White in his wonderful book on the film.
As these same constraints that we see in Ferguson, documentary projects, I think, are also evident in 90 days.
The acceptance speech of the interrogated them. The God is meant to invoke and record the particulars of African realities.
And this is the world with being exposed by the writing of the book and the making of the film.
Yet at the same time, the counterfeit African accents remind the viewer,
at least the viewer able to categorise the accents accuracy that this account is being compiled from the other side.
They are not African, they're not least they are progressive collaborators of both and of respect.
But it's free and out of prison.
In London, we have, I think it's acceptable to have only two black and white newsprint and the reenactments of counterfeit South Africa.
This same outside face paint me with her exit from South Africa and the loss and isolation that brought.
The counterfeit of the colonies re-enact the scene of her interrogation.
They also hit over Holly in Yvonne that nothing is off her release from the women's health in March.
I skipped the actress. I need the security. Have I made the.
But also from the outside, the excuse me, the security branch policeman. Nor are they representative safe from that.
We first is shown being arrested and driven away from case. I've tried so hard to see what street that is.
I think it's long because it is a wall that you see a very young South Africans instead of the car
driving to Johannesburg to see in the streets and then come through the window of moving cars.
Gillian Sperber writes in the acknowledgements At the end of every secret thing,
although my parents' history was in fact not written down and the raw material if they
destroyed the truth of what happened was lodged in the memories of their friends and comrades,
and some in equities brought the reader's attention. It's an unusual world.
They were making a point about the absence of a written record,
which we also see the extra meaning of a nice is against a to Asian, a life that had an all time to be visible as a vehicle.
Counterfeits of itself.
They exist two sets of images of the moment we first left South Africa and arrived in London to be united again with her husband, David.
Looking at these images so often invoked in accounts of her departure,
when I become unusually attuned to what might be an act and what the photograph has been edited to feel,
the child Gideon, her adult self, is holding a pencil as she claims that you can see, yes, the picture.
She's not holding it. The chance, Jillian, I don't sell records shown carrying attention because she finds the stairs into the same.
On the photograph, the book is not physical. It's clearly seen, however, on a picture taken after arriving.
Here we see her clutching head, Simpson, Simpson and the prisoners of the Sun.
The book is held upside down as its owner looks up into her mother's face, so lets herself does not return the gate.
And in fact,
what is most striking in the family is the fact that this just over until you are looking at food is almost protectively around her youngest daughter.
The icicles on the parents positions of the Jillian's unfolding upside down while her
mother unfolds her sister and the meanings of the family under siege proliferate.
I mean, I didn't even talk about the fact freedom with the prisoners of the Sun above their heads.
We read the sign no entry. The photograph may well have been taken in the BBC studio, but I haven't been able to verify that on the cover of my book.
Of 117 days in the photograph with a very awkward image that shows her face held on to between
two hands that look because of the angle of the camera far too large to be passengers.
The thing is they do not look like her own. They all have faces tilted slightly downward.
Her lips are tight line and her hands print her face on both sides.
I think what is inside the head needs to be constrained. The last word in 117 days refers to the fact that her release from prison felt like it
was not the end and that they were not done with her over Hollywood rights involved.
But 19 years after her release from the women's cells in March, where the Victorian government sentiment said today.
Intelligence service, every secret thing includes a description of a letter and true as some imagined conversations between her parents
when she spoke to say on the phone by saying she must have told you something of the way she felt she must,
as she wrote, eventually from England to a nameless friend inside the country, secrets from her mother's letter to a friend.
I found myself very nervous when I came out about intruders and hearing my spell in jail, wrote all kinds of things coated in skin and some town.
This sentence evokes the bodily metaphor of blood and the threshold of skin this contains
and also reinforces the dangers inherent in the moments of skin rupture and means.
It's a passage from the mother's correspondence written from outside the country.
I had typewriter the copy left behind in her own folded, but unclear as to who it.
The address of the electrical. I'm feel the words in the letter provide the daughter with an imagined script for a conversation between her past.
This body is described as having lost the ability to read with any substance itself as well as its environment.
Over here you have somebody put it into the home. I don't have this.
Disorientation is described as something that has come close to the skin lurking just under the skin and raised.
To pursue this exclusive explosive metaphor in terms of testing is too risky, although they would come close to it when she runs the risk.
My parents took, I meant that we were always on the lookout for that terrible event, which would break through the front door of everyday life.
Instead, one can read that metaphor as one that describes the ethical reading, editing, mentoring and archiving practises and protocols,
including over going over the lines and retesting and editing the events and the documents that we think we already have like.
This picture was taken in prison. I think everyone.
Thank you. Good question.