Jump The Gun Analysis

Jump the Gun is a South African based and shoot in the city of gold, Johannesburg which mainly follows the lives of three diverse characters; Gugu, Clint and Mini. This essay will be focusing on, with support and constant reference to specific scenes from the film Jump the Gun, or rather discussing how the various complex characters develop the narrative and intersect through the film. This essay will also discuss the racial and sexual identities, and how the representation of postapartheid South African identities with support from articles written by Laura Twiggs and Lesley Marx.
Gugu from Durban is shown to be a very attractive young woman who is looking to find herself and a new experience in the city of Johannesburg. We are first introduced

Twiggs says that, ‘the overall impression made by Gugu even before she has opened her mouth is that this description is inappropriate, largely because the first term (sexually constrained) is inapplicable to a woman exuding the sexuality that Gugu does. Gugu’s style and confidence of an independence and savvy distinctly at the odds of the notion of “The Third World Woman” detailed above.’ In the film, Gugu is seen using what men want and what she has to eventually get her way, or rather uses her sexuality as a means to try attract men so she can accomplish what she wishes to achieve. In the party scene, at 05:00, we see Gugu entering the party scene dressed in a black bodysuit with a short, sequined red skirt. After a juxtaposition from the life of Clint, she is seen dancing to the music played by the band onstage. It here were we as the audience, alongside Gugu, are introduced to a new character, the manager of the band. She is seen dancing freely with no expectations, until he reveals he is the manager of the live performing band. Her attention immediately gravitates towards him and beings to dance sexually for him to watch and see. This moment in the scene shows how the representation of women on screen is not without sexual desire and persuasion (Jump the Gun, 1996). Another scene to analysis the black sexuality is when we see Gugu and the manager in bed together, 12:33, naked under the bedding sheets. She is seen caressing him and having enjoyed their intimate moment of sexual, physical engagement. Gugu then proceeds to ask him when she will be able to audition for the band as a singer alongside the instrumentalists (Jump the Gun, 1996). From watching this specific moment of the film, we see Gugu has used her sexually ‘objectified’ body as a way to influence the manager to give her the