Listening to Red

Following a distinction John Mowitt draws between hearing (and phonics), and listening (and sonics), this article argues that the dominant notion of listening to sound was determined by the disciplinary framework of South African history and by the deployment of a cinematic documentary apparatus, both of which have served to disable the act of listening. The conditions of this hearing, and a deafness to a reduced or bracketed listening (Chion via Schaeffer) that would enable us to think the post in post-apartheid differently, is thus at the centre of our concerns here. We stage a series of screenings of expected possible soundtracks for Simon Gush’s film and installation Red, simultaneously tracking the ways that sound – and particularly music and dialogue – can be shown to hold a certain way of thinking both the political history of South Africa and the politics of South African history. We conclude by listening more closely to hiss and murmur in the soundtrack to Red and suggest this has major implications for considering ways of thinking and knowing.