long shot of a windmill in a grassy field, and Jooste’s voice describing the beauty of
the South African countryside. Then, there’s an ominous shift: a truck drives down a
country road in darkness and stops. A voice yells, “Move! Move!” as boys jump out of
the truck and begin unpacking the truck by flashlight. As van Gelder explains, “We
wanted to set a nice vibe and then add a bit of confusion.” Still images show boys try-
ing on old apartheid regime uniforms, some of which, Jooste explains, still have bul-
let holes and bloodstains. After the pastoral opening, van Gelder notes, “You‘re quite
shocked by what he says and then you continue watching.”
To make the video and stills look similar, both had to be color corrected. Njiokiktjien’s
35mm stills also had to be cropped to fit the video format. “There were sometimes
painful choices,” she notes.
The two journalists also struggled with pacing the subtitles. In an early version, the
subtitles were too long for the viewer to digest, and stretched over several images.
They cut them back so that each image or piece of footage had its own subtitle.
Publications such as The Telegraph Magazine in Britain, Vrij Nederland in the
Netherlands, l’Espresso in Italy and Mail & Guardian in South Africa published their
article in print and also showed “Afrikaner Blood” on their Web sites or iPad editions.
Photographer Vincent Laforet, chair of the World Press Photo multimedia jury, called
the award-winning work “an incredibly well-crafted and nuanced piece with a very
cohesive structure and refined execution.”
Njiokiktjien and van Gelder have now formed their own production company in
order to produce more multimedia stories.
© Ilvy Nj IokIktjIeN aNd elles vaN Gelder
Above: Though van Gelder and Njiokiktjien recorded hours of interviews with Jooste,
they chose to make the boys the central focus of the story. Below: Working side by side,
they would decide on the fly what to record, and whether to record it in video or in
still photos with sound.