OpenUCT :: Browsing by Author "Maasdorp, Liani"

Browsing by Author "Maasdorp, Liani"

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Open Access
A critical reflection on the production of this deadly air we breathe (2023) and the use of participatory and expository modes of representation in documentary films with lessons from Unearthed (2014)
(2024) Mohane, Patrick; Maasdorp, Liani
Self-reflection is a critical component of both the creative and research related processes. In addition to learning through the practical process, there could also be learning about, and from the undertaken practical process itself as part of inquiry. This study accompanies the research documentary film that I have produced titled, this deadly air we breathe (2023). The analysis attempts to deliberate and answer the question of the importance and the role of the documentary modes of representation towards the realisation of any envisaged documentary film. I am analysing the use of these modes of representation against filmmaking pre-production and post-production activities such as the creation of a story outline,scripting and editing respectively. Furthermore, related to this is the filming approach and amendments thereof, that are influenced by location, space, and time. Thus, bearing in mind the changes that may occur and their implication on the final film outcomes, including future practice development and improvement for myself. The goal being to consider the learning outcomes from the process, and to reflect on how activities were undertaken, or perhaps, ought to have been undertaken in the development of my short documentary film. This study contemplates the lessons incorporated at the initial film development stages, sourced through the reference feature length documentary film Unearthed (Minnaar, 2014). Impact filmmaking is relayed as part of the resulted learning considerations added with the analysis of this deadly air we breathe film development from a film creation perspective. With the focus on context of film production from a mode perspective, a self-questioning on mode application and timing of their incorporation is also discussed. By exploring the filmmaker's testimony about the self-reflection elements, the study discerns the prospect of impact filmmaking through the lessons implied. By way of conclusion, this explication makes concession through the identification of existing impact film components, possible future opportunities for this deadly air we breathe film along those lines, and within the body of climate and environmental films.
Open Access
Beyond the milk carton: strategies for creating and allowing a space for engaging with personal narratives from family members about missing persons
(2018) Drennan, Lisa; Maasdorp, Liani
The aim of this study is twofold, firstly to explore various media's coverage of missing children to probe whether they currently include the reflections and personal narratives of family members and loved ones and secondly to propose possible strategies for creating space for such content in the media. The much- publicised case of Madeleine McCann going missing in Portugal in 2007, showed how much power the media still yields and how much awareness can be created if the media choose to cast light on a particular case. But this case also stood out for another reason: many interviews conducted with the family after her disappearance didn't merely contain the facts surrounding her disappearance, they were also heartfelt narratives about the pain and horror that the family were going through. The public were not only made aware of their missing daughter but also of the very real and horrific way her disappearance had punctured their suburban life forever. Very few other cases of missing children have garnered the kind of media attention that allows parents of missing children to reflect in such a way. Most newspapers in South Africa at present barely report a child missing; let a lone create a space for parents to reflect on their loss (Drennan, 2012). News is often considered to be centred around the interests of the élite (Herman and Chomsky 1988) and often certain demographics like race, gender and ethnicity can influence how 'newsworthy' certain crimes or stories are considered to be (Pritchard and Hughes 1997, Gruenewald, Pizarro and Chermak 2009). Although social media allows a flow of information that is immediate (So, 2011), the information is still mostly centred around quick mobilisation of the public to find the missing person in the shortest time possible and doesn't allow a space for family members to reflect or share their experiences. Television plays a vital role by entertaining the viewer with facts and events that engage the audience but not much content can be found that allows the family and friends of the missing person to reflect on their sad and often lonely experience of losing a loved one in such a traumatic way. The existing television formats (fiction and non-fiction) are perhaps not ideal for intimate reflection and sharing emotional responses. By using narrative inquiry and action research while producing my own film about a missing person, I was able to test various fiction and non-fiction programming models. Four cycles of action research helped me to understand and determine what form would be best in order to create a space that would allow for intimate reflection from family members of missing persons. Through a process of trial and error, I found that a documentary form that incorporates inspiration from fiction and non-fiction forms was the most fitting platform to create an intimate space for reflection and sharing (Stubbs 2002; Nichols 2001). By combining these various elements I believe that I was able to make a film that is ethical, sensitive and respectful of my subject; to focus renewed attention on a cold case, while creating space for intimate reflection, something no other medium or platform I studied was able to do.
Open Access
Collaborative filmmaking: lessons learned from the Cissie Gool house film project
(2022) Nisenson, Ann; Valley, Dylan-Wade; Maasdorp, Liani
From 2019 until 2021, I directed and produced a twenty-two-minute film about a housing occupation in Cape Town, South Africa. Setting out on this project, I had several concerns. One, the ethics of being an outsider filmmaker making a film about a community from which I'm neither from, nor to which I belong. Two, I did not want to contribute to a long-practiced, Western documentary tradition of making images of people in need of saving. Although I'm neither the first nor last to raise these dilemmas in documentary filmmaking, I was interested in making the film ethically by drawing on a set of practices and ideas from participatory and collaborative filmmaking. In the making of this film I was also influenced by my own values and political commitments. This paper will first examine what the ‘participatory' term means – both the origins and development of the term and its varied significance – and then situate the Cissie Gool House project within this mode of representation and reflect on the filmmaking process.
Open Access
Diverse Love: how interracial relationships are portrayed in film: a personal journey
(2022) Mallett, Rachel; Rijsdijk, Ian-Malcolm; Maasdorp, Liani
The following paper aims to explore and analyse the consequential impact of how interracial and cross-cultural relationships are portrayed in film. It highlights the perspectives of those who have subjective lived experience within interracial relationships through first-hand research. Further explanation is provided towards how these findings have shaped the approach to developing Diverse Love, a point-of-view style autobiographical documentary depicting my own experience in an interracial relationship. To achieve this, a mixed-methods approach has been employed; combining primary academic research through small-sample questionnaires, reviews of relevant literature or media and a reflective writing journal, as a supplementary narrative to the ideas and topics presented in Diverse Love. Throughout both the creative and written aspects of this project, the core motivation has been to accurately and authentically represent my own lived experience as a white English woman in an interracial marriage with a black South African man. To ensure I was creating a piece of work which addresses a socio-political need and to recognize the context in which it will be placed, I start by briefly outlining South Africa's more recent history, with a specific focus on race politics. Delving into the process behind creating the film, whilst understanding the key themes of interracial love, we both learn about the challenges that can be experienced, as well as celebrate the positive interactions. This is further complimented by interviews with other interracial couples who share their experiences with stereotypes, and how they feel this is represented in visual media. As there is limited research previously undertaken on this topic, it was important to not only include my perspective, but also the opinions of others, to address commonly occurring prejudices. To create a well-rounded piece of writing, I also explored through academic research the themes of documentary and the topics of race. The key conclusions drawn from this research indicate a significant lack of representation of interracial couples in film and that the majority of portrayals follow stereotypes and are not accurate to the lived experiences. There is also a lack of academic analysis on films which exhibit themes of interracial relationships, with the majority of papers focused on discussing Guess Who's Coming To Dinner (Kramer, 1967). Not only that, many of the studies are situated within the context of American film or political context and neglect to represent a global audience, as well as being outdated and in need of a more current lens. This study adds value to the field asit blends elements of personal experience with academic research, within a niche and under-represented topic. This gives an in-depth and emotive result, with an overarching recommendation that the film industry can look to evolve, ensuring a more diverse and accurate representation of in the interracial relationships portrayed.
Open Access
Documenting trauma : an analysis of the construction of traumatic collective memory in the first and last scenes of the documentary, Mama Marikana
(2015) Saragas, Aliki; Maasdorp, Liani
On 16 August 2012, the South African Police Service opened fire on rock-drill operators who had gone on a wildcat strike demanding a living wage of R12500, at the Lonmin Platinum mine in Marikana. Thirty-four mineworkers were left dead, seventy-eight were wounded and over two hundred and fifty were arrested. The shooting on 16 August was dubbed the ‘Marikana Massacre’, and has been compared to the lethal use of force during the Sharpeville massacre in 1960 (South African History Online, “Marikana Massacre 16 August 2012”). The documentary by Rehad Desai, Miners Shot Down has made a valuable contribution to balancing media representation of the events and the mineworkers’ perspectives, but to date the media has neglected to adequately engage with the plight of the widows and other women left behind in Marikana after the massacre. In reaction to the neglect and marginalisation that they experienced the women of the community formed the Marikana Women’s Organisation, Sikhala Sonke, in Wonderkop near Marikana. ! My film, Mama Marikana, aims to give a voice to the women of Marikana: the widows, mothers, sisters and community members left behind and forgotten by society after the Marikana massacre. It takes a look behind the miners’ story as five Marikana women struggle to move from a space of oppression to a space of empowerment. The film exposes a personal account of how women fight within a traumatised space: through the growth of the women’s organisation, Sikhala Sonke, one member’s rise to Parliament, personal sacrifices for the community and the empowerment of victims. The cinema of memory culminates at the intersection of history, documentary and cinema (Rabinowitz 120). By combining film with memory, and their multidimensional dreamlike “aura of insubstantiality” (MacDougal 29), documentaries can be involved in collective memory transmission in order to break officially imposed silences and contribute to different interpretations of history (Waterson 51). This study analyses how the montage editing of certain conventions of documentary filmmaking present in the first and last scene of my masters documentary Mama Marikana, transform it into a cinema of memory that allows for the transmission of a social, collective memory that can endure over time (Waterson 51). Previous work has failed to present how a structural analysis of montage editing and juxtaposition of conventions associated with the documentary form can transform a documentary into a cinema of memory. This research and my ! 5! documentary, Mama Marikana, attempt to create an alternative discourse on the role of memory creation within the traumatised and gendered space of Marikana. Using the concept of “cinema as language” (Carrol 1) and a qualitative structural analysis approach, the montage editing in the first and last scenes of Mama Marikana will be evaluated. Documentary conventions that will be considered include testimony (interviews with the widows and women of Sikhala Sonke Women’s Organisation), reenactment (a play in which the women act out their memories and interpretations of the massacre that took place on 16 August 2012), cinéma vérité footage [of the audience (male mineworkers) watching the women perform the play at the Marikana Commemoration Rally 2014] and archive footage (of the massacre that took place on 16 August 2012 and its aftermath). The research and film, Mama Marikana aim to provide a space where the women’s stories can be told and their voices heard. This includes the potential to make the personal political and to break official silences of traumatised spaces through the transmission of individual testimony into a social collective memory, where the film itself becomes an event/ memory performing its own meanings (Waterson 65). The combination of these documentary conventions allow the telling of an untold story that engages with subaltern voices in a liminal space trapped in traumatic history.
Open Access
Don't hide the madness perception, bipolar and the film form
(2019) Rai, Kimberley; Maasdorp, Liani
Human perception is a process that begins with sensory input that is organized and then interpreted. During this process there is a movement of information about an event in the real world, into information that represents that event in the mind. This movement of information in the form of perception is similar to the filming process; where the event, sensory input, organisation and interpretation is like the pro-filmic event (that which exists in the world before or regardless of whether it is filmed), the light entering the camera lens, and, the editing process and audience experience, respectively. When these systems are influenced at any stage of the process, there is an alteration in the resulting representation. The pro-filmic event can be influenced through the filmmaking techniques used to record it that may influence beliefs that concern the event. For example, the recording of films that concern mental illness need to be approached with caution because treatment of the pro-filmic event can either reinforce or challenge stereotypes about the mentally ill. Bipolar is a mental disorder of mood that is often represented with wild inaccuracy in films. The biographical drama, Shine (1996), for example, attempts to represent the life of David Helfgott, a musician who suffered a mental breakdown and spent subsequent years in mental asylums. He is portrayed as an imbecile, always mumbling indistinctly. In the film, the connection between psychopathology and creativity is supported, heavy- handedly. This demonstrates how the intervention (by the filmmaker and his filmmaking techniques) can transform meaning and influence viewer perception through the film medium. For the case-study documentary film, Don’t Hide the Madness (2017), I use recording and editing techniques to portray a personal account of bipolar in a way that challenges mainstream beliefs about the disorder. I argue that this application of the film medium has the capacity to confront stigma and change perceptions about mental illness.
Open Access
Fairness in subjective documentary storytelling : A reflective essay supporting the documentary film 'Coming Home'
(2014) Abrahams, Johann; Maasdorp, Liani
Ever since filmmakers started making non-fiction films, they have been plagued by the question of objectivity. Is it true, is it accurate, and is it fair? Today television consumers have become sophisticated and media savvy. They know that with any documentary, a number of editorial and creative decisions are being made often by a number of people working in a team. The question in this study is how a film can still be truthful, fair and relevant for viewers despite a clear bias on the part of the filmmaker. Michael Rabiger, Stella Bruzzi, and Sheila Bernard gave great insight into the importance of fairness toward participants, while the P.O.V series aired on PBS in the US show how to make films from a particular point of view to stimulate debate. Based on this I will argue that it is possible for a filmmaker to hold a particular view and to still make a film that is fair and accurate.
Open Access
"I'm not going to let the patriarch stop me!": Examining the Obsession with Muslim Women's Bodies, Voices and Veils in Cinema, Television & Popular Culture
(2022) Behardien, Thaakirah; Haupt, Adam; Maasdorp, Liani
Historically, Muslim female bodies have been a key focus of attention in colonial and patriarchal discursive practices. This colonial and patriarchal desire to control Muslim women's bodies ± and, by extension, their voice ± is rooted in Orientalism. Today, Orientalist modes of representation are sustained via consumer culture as well as the ways in which Muslim women are represented in mainstream media, cinema, and popular culture. Arguably, the need to control Muslim women's bodies is none more evident than in the polemic over the hijab and veil, which are banned in countries such as France and enforced in states such as Iran and Saudi Arabia. Not only is this banishment and enforcement of the hijab inherently a sexist (and racist) policy that deprives Muslim women of autonomy, but this need to control Muslim women's bodies may also be linked to the fear of female sexuality. This paper seeks to analyse the policing of the Muslim female body and dress through representations in the mainstream media, television, and cinema. In addition, this paper argues that this fascination with the Muslim female body as well as her voice and dress are rooted in Orientalist traditions, which are still perpetuated today. Lastly, referring to my own documentary ± An-Nisaa (Women) ± as a case study, I attempt to demonstrate how the film resists Orientalist tropes and traditions.
Open Access
Making a feature length documentary film linked to the programme for improving mental health care (PRIME) : process and ethical challenges
(2015) Makan, Amit J; Maasdorp, Liani; Lund, Crick
Globally mental health is widely regarded by scholars as a neglected public health issue. Documentary film is recognised as an appropriate medium for addressing social and political issues, and mental health is both of these. Country comparative documentary films on mental health, set in low and middle-income countries, appear to be lacking. Prorgramme for Improving Mental health carE (PRIME) works in five low and middle income countries, two of which were selected for the film (Nepal and South Africa). This was motivated by across continent comparisons, financial and logistical viability within a one year timeframe, global interest and appeal and the support of PRIME colleagues and local country partners. Based on qualitative research including a literature review and 40 indepth interviews with stakeholders, this essay reports on, and critically assesses the ethical and production processes involved in making the documentary film. The essay includes several elements. Firstly, it considers the power relationship between the filmmaker and the subject. Whilst Nichols, Aufderheide and colleagues present useful ethical considerations for making a documentary film, both from the subject and audience perspectives, more care is required when making a film with persons living with mental illness. This is particularly because the subject may not have the mental capacity to consent, and if they do, participating in the media production process could potentially exacerbate their condition. Having weighed these risks up with the benefits of representing persons living with mental illness, and giving them a voice, the decision was made to give persons living with mental illness the opportunity to represent themselves. Secondly, and having made the decision to allow for representation, the various documentary modes (expository, performative, poetic, observational, reflexive, participatory) conceived by Nichols were explored, in an attempt to identify a conceptual framework for the film. The performative mode was most appropriate for telling deeply personal stories, and providing patients with an opportunity to be represented. However, this mode was ideally complemented with elements of the expository (verbal commentary of experts), poetic (use of rhythm, emotion and music), observational (footage of patients in their daily routines, and of their environment for cutaways) and participatory (through direct engagement between filmmaker and subject) modes. 2 Having identified a conceptual framework, the third element involved the institutional research ethics processes. These processes contributed to a more ethically sensitive film production. This included a check for mental health service users to ensure that they do have the capacity to consent. The process of developing a research protocol highlighted the synergistic benefits of integrating a qualitative research method in the form of in-depth interviews into the film production process (and vice versa), whilst remaining cognisant of not compromising research findings for more visually appealing footage. Following a research process for the production also contributed to a more robust discussion guide after translating communication objectives into research objectives. Finally, the process of implementing the film's production, and post-production, was assessed. A host of steps were identified, which included securing the funding for the filmmaking, establishing stakeholders support, briefing the crew on the vision and purpose of the documentary and having access to equipment and translators. During the post production process, a systematic approach to editing using a script outline was helpful in identifying main themes, and to ensure the narrative flow. Despite its typical use in fictional filmmaking, the three-act structure was fitting as a framework for the narrative. Timecoding during translation and transcription was found to be particularly expedient for inserting English sub-titles. The country comparative approach revealed similaries and differences, and developing and implementing stakeholder specific distribution strategies (including conferences, symposia, film festivals and broadcasters) was identified as critical to the public dissemination and reach of the film. Documentary film, and the performative mode complemented by other modes, has shown to be an advantageous means of representing persons living with mental illness, and their families. However, the paper calls for more evaluation research regarding the impact of the film on the main patient characters, amongst other stakeholders such as health workers and policy makers. The paper also proposes the integration of media production into a research process for researchers interested in using this medium to visually communicate their research findings, emphasising the value of systematically using the research findings to develop a narrative script in the context of a typical three act structure. A distribution strategy was also identified as necessary to maximise the research and stakeholder impact of the film.
Open Access
One lens three views
(2014) Maytham-Bailey, Sandra; Maasdorp, Liani
This document explores the complexity of the Zulu Reed Dance in the context of creating a photographic record of the event in various narrative styles within the genre of documentary photography. The authorphotographer acknowledges their subjective contribution in the image making process, and uses this understanding to demonstrate a continuum of subjectivity that operates depending on the visual narrative being constructed. To contextualise the photographers approach, the document explores the social, political and economic landscape, and the dominant visual record produced by media. A qualitative review of six national newspapers demonstrates that the media view is relatively generic and does not attempt to engage with alternative perspectives. The document also explores critical theory on the subject of the qualification of a photographer to provide an accurate record outside of their cultural status. The author considers the validity of image production and the reception of the work as indicative of a continuum of subjectivity. To demonstrate this fluidity, the photographer produces three photo essays, all made at the same event at the same time with very different narrative outcomes. These photo essays can be found the accompanying book titled 'One lens three views'.
Open Access
Race Day An Explication of the Documentary Film One Mind
(2024) Maarschalk, Ivana; Maasdorp, Liani; Rijsdijk Ian-Malcolm
This qualitative research paper is an explication in support of my twenty-five-minute documentary film entitled One Mind. One Mind follows Ashwill Petersen's journey as he prepares and competes in his first 100km trail running race at George Mountain Ultra Trail (MUT) 2022. Even though the film only follows one person's story, it is representative of the experience of trail runners entering the ultra-trail running community in South Africa. The chapters of this dissertation examine and reflect on the approach I took in representing the physical and mental challenges my protagonist faced when participating in his first ultra-trail race. My first chapter discusses Bill Nichols' modes of representation, particularly the participatory and observational modes, in relation to Julie Perini's notion of relational filmmaking. Chapter 2 analyses three existing sports documentaries in relation to One Mind, and Chapter 3 reflects on the production process and creative decisions involved in the making of my film. Finally, Chapter 4 considers the scope for further research and filming opportunities related to the research I have done thus far.
Open Access
Report on the implementation of an impact campaign for the documentary film, This Land: From cinema to community centres - a guide to developing a grassroots impact strategy
(University of Cape Town, 2020) Redelinghuys, Henriette; Maasdorp, Liani
This Land is a forty-eight minute narrative documentary which tells the story of a small village in rural South Africa, where the community resists the development of a mine on their land. The impact campaign for This Land evolved over time, as did my role in. It could be described as a process of guided learning-in-practice, where I consulted with researchers, academics, civil society leaders and representatives from the communities where This Land was filmed. I furthermore researched other successful impact campaigns, for example the impact campaign for Miners Shot Down by Rehad Desai; I attended an impact "Boot Camp" convened by Dr. Liani Maasdorp from the Centre for Film and Media Studies at UCT; and I researched global impact case studies. While I don't describe my academic research in this report, I describe the strategy that evolved for This Land, its implementation and the relationship between the film impact goals and the impact campaign.
Open Access
Twitter: An opportunity or a curse for South African female journalists?
(2022) Gambade, Emilie; Bosch, Tanja; Maasdorp, Liani
The spread of cyberviolence around the globe and cyberbullying towards female journalists is growing (Mijatović, 2016); in fact, thanks to improved technology and the proliferation of bots and botnets (Barojan, 2018), it is becoming even more ubiquitous. The cruelty and frequency of the attacks prompted UN Secretary-General António Guterres to declare in March 2021: “There should be no room for misogyny and violence in journalism. Social media platforms and governments must protect women journalists from online violence” (Posetti et al, 2021.) However, social media companies, government bodies and regulators have done little to curb the toxicity of the discourse often held on social media platforms, the violence of attacks and cyberviolence in general. In South Africa, Twitter had “9.3 million users in 2021… up 4% from 2020” (Staff Writer, BusinessTech, 2021.) However, the number of intimidations and threats towards female journalists also increased, especially on Twitter (Quintal, 2019). This essay serves as research material for the short film ‘Section 16', which is also submitted for the completion of a Master's degree in Documentary Arts. It features interviews with selected female journalists working at Daily Maverick, who through personal accounts and specific experiences describe why they use Twitter, even though they are or might be subject to online violence (Anonymous, personal communication, August 2021.) They understand the dilemma many journalists face in today's connected world: on the one hand, Twitter provides leads to stories, work opportunities and global news alerts (Anonymous, personal communication, August 2021); on the other hand, it also puts the user at risk of emotional abuse, ‘loneliness and possible trauma' (Daniels & Lowe Morna, 2018.) This dissertation also studies, as a foundation for the film ‘Section 16', the extent and frequency of usage, the type of content shared and the level of engagement, and explores the impact of Twitter, from the time they started using the platform to the present day, and the feelings and emotions using the platform sparks. Findings show that “the hate machine” (Simon, 2021) and online violence directly influence and curb journalists' interactivity on the platform, even if only a little, as usage becomes more carefully controlled and at times constrained; the bigger a journalist's Twitter following, the more important the platform is within and for their work – regardless of the emotional toll that using the platform has on them (Anonymous, personal communication, August 2021.) Furthermore, an experienced journalist I spoke to who worked in a newsroom during apartheid explained that they found social media violence not dissimilar to what they experienced in the years leading to the release of Nelson Mandela and the first democratic national elections on 27 April 1994 (Anonymous, personal communication, August 2021.) This research and the findings helped considerably in further developing interview questions, structuring the storyline of the film ‘Section 16', finding the arc of the film's narrative and editing the final cut.
Open Access
A visual analysis of HIV/AIDS antiretroviral therapy print campaign materials found in four Western Cape community clinic environments
(2016) Murray, Jacqueline Ruth; Maasdorp, Liani
Print media campaign material strongly influences people's perceptions of illness and health and the role and purpose of medication (NSMC, 2010: np). Because adherence is critical to the successful management of the Human Immunodeficiency Virus (HIV) and Acquired Immune Deficiency Syndrome (AIDS), the introduction of antiretroviral treatment (ART) into the South African health sector presented a major communications challenge, namely how best to communicate awareness and administration of the drugs and how they should be taken. Over the past ten years, the government Department of Health (DoH), the Treatment Action Campaign (TAC), and other prominent nongovernmental HIV/AIDS organizations (NGOs) such as Love Life, Soul City and the Bishop Tutu Foundation have defined a number of different objectives aimed at the promotion of prescription generic antiretroviral drugs (Venter, 2014:3). This has led to an increase in the number of campaigns, each having singular visual representations of HIV/AIDS and users' relationships to antiretroviral drugs. Despite this, stigma and distrust around HIV/AIDS is prominent among the South African public (Rubincam, 2013:13). As a result, there remains a large amount of ambivalence toward the impact of ART on the body and its place within many communities. This has a direct bearing on issues of adherence. For this reason, it is important to study the nature and efficacy of the materials currently being used for social marketing in this context. This qualitative study therefore questions the nature of the current visual language of ART related leaflets and posters found in four Western Cape community clinics and asks whether the content effectively communicates an understanding of antiretroviral therapy, specifically around issues of adherence. In this study, I aim to identify ART adherence social marketing communication strategies used by leading NGOs and the DoH in South Africa. The nature of the visual and textual representations of antiretroviral print media campaign materials found in four Western Cape community clinic environments is established. The purpose of this research is to provide contemporary and useful information on the style, content, and design of social marketing materials in the hope that it will add significant value for further research on ART adherence. This study is a microanalysis focused on quality, not quantity. The investigation is modest. It does not consider a large sample and is intended as a starting point for further research. I hope to identify possible gaps between the combination of messages offered in leaflet and poster print media, and the needs of those infected with the virus, especially at a time when it necessitates they begin ART. The intended impact of this research is to encourage an increased understanding and awareness by government and NGO marketing departments of their campaign material so that it facilitates the transition onto treatment in a way that is empowering, informative, empathetic, and responsible.

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