{'fraction_non_alphanumeric': 0.0265282583621684, 'fraction_numerical': 0.01845444059976932, 'mean_word_length': 5.78125, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
After the Revolution: Jerusalema and the Entrepreneurial Present

Broadly speaking, Ralph Ziman's Jerusalema (2008) belongs to an emergent tradition of South African crime films that date back to Oliver Schmitz’s 1988 film, Mapantsula, and which has recently also produced the Academy Award winning Tsotsi (Hood, 2005). Yet in significant ways it also constitutes a departure from that tradition, which since Mapantsula has demonstrated the political and/or social commitment that Fernando Solanas and Octavio Gettino in 1969 identified as central to what they called the Third Cinema (which also involves a critique of capitalism). Both Mapantsula and Tsotsi, for example, trace their protagonists' journeys from economic solipsism and social indifference towards greater moral integrity and ethical consciousness (which raise the possibility of social integration).