text: Africa, muchofthisfilm-making hastakenplaceintheillegally occupied Territory ofNamibia. Mostprominent amongthecompanies engaged inSouthAfrica andNamibia hasbeenTheCannon Group,which, following representations bythe Special Committee andanti-apartheid groups, pledged on10October 1988notto undertake anyfurther business inorwithSouthAfricauntil ~.~lg was abolished. However, subsequent information revealed thatCannon hadnotinfact ceaseditsactivity andwassomehow continuing it. 178.Another company, Moonroae Productions, isresponsible foroneofthemost notorious filmsmadeinNamibia, "RedScorpion". Produced inlate1987and1988, thefilmreceived thefullhacking andco-operation oftheSouthAfrican regime, including theuseofawide ran~eofmilitary personnel andequipment. Shortly afteritsrelease jntheUnitedStates, theChairman oftheSpecial Committee'R Sub-Committee onImplementation ofUniteclNations Hesolutions andCollaboration withSouthAfrica ~tatedthatthefilmviolated theUnitedNations cultural boycott against SouthAfrica. TheSpecial Committee andanti-~L~~ groupscontinue to monitor activities connected withtheproduction ofthesefilmsBndalsocontinue toundertake jointefforts topersuade theindividuals andcompEnies involvp~ to ceasetheircollaboration withSouthAfrica(seepara.236). 179.Avibrant culture ofresistance to~a.[,t.bU..Q isflourishing inSouthl\(rica, inthetownships, schools, tradeunionhallsandpolitical organizations, even thoughtheregimecontinuously attempts tonarrowtheparnmet~rs ofcultural expression. Sinceculture isseenasacomponent oftheorganized resistan~e to theregime, inthepastfewyears, anti-,~A~tb~Q artists andcultural workers have established organizations according tothevarious artistic disciplines andhave allied themwiththenon-racial tradeunionmovement. Whileseeking tostrengthen thecultural boycott andthereby achieve thecultural isolation oftheregime, theseorganizations havealsorecognized theneedfortheculture ofresiuLance to comeintocontact withtheworldofculture outside. 100.Acknowledging these dev~lopmentG, theSpecial Committee adopted thepolicy guidelines fortheimplementation ofthecultural boycott ofSouthAfricain August 1988(AlAC.1l5/L.656, onllexVI).Thepolicyseekstopersuade art!stl.l, entertainers andothersnottoperform inSuuthAfricaortoengageinanycultural contacts withit.Atthesametime,itC\cknowledges thataculture ofresiHtnnCf! existsin~outhAfrica; thus,specific activities andcontacts that, ~nthevlowor theSpecial Committee, havet.heintf!nL andeffectofeXJ!ressing oppositiull III ClP.a.r.tbjtil1, enriching thatculture andfurthering thellberation struggle dolIut comewithinthescopeofthecult.ufal boycot.t. 1'hegulc1ellnes received thf! endorsement oftheparticipantfl (art.ist.s flncl wdtel"'~) intheSymposiwn onCUtl',I.ll'P. against A1lArtheil1, which\o:a6heldinAthens from2to4SepteJ\,;)er 1988tur'ov.ip.w thecultural bo~cott andconsidor wDystomakeitmoreeffective. 96/ -46-181.InMay1989,ANCmadepublicitsredefinition ofthecultural boycott ina docwnent entitled "Position paperonthecu.Ltural andacademic boycott". Noting thatthecultural andacademic boycott ofapartheid SouthAfrica(i.e.,bodies, institutions, cultural workers andtheirproductG thatpromote, defendandgiveaid anucomfort tothesystemofwhiteminority domination) mustbestrengthened as partoftheoverall strategy toisolate theregime, ANCstatedthat"nocultural workers, artis~s, sportspersons oracademics shouldbepermitted totraveltoSouth Africatoperform ortoimparttheirservices andexpertise, saveandexceptin thoseinstances wheresuchtravelisclearly infurtherance ofthenational democratic struggle oranyofitsobjectives". Inaddition, "democratic and anti-racist SouthAfricanartists, cultural workers, sportspersons andacademics ­ individually orcollectively -whoseektoperform, workorparticipate in activities outside SouthAfricashouldbepermitted todosowithout fearof ostracism orboycott". Theinternational community andtheanti-~ opposition bothwithinandoutside SouthAfricaarenowapplying theboycott ina
analysis: The text primarily focuses on the cultural boycott of South Africa during the apartheid era, discussing the involvement of film companies, cultural organizations, and international efforts to isolate the regime. It also touches on the importance of cultural expression and resistance in the fight against apartheid. Given the emphasis on cultural and artistic activities, it seems likely that the text belongs to the category of Culture.