Popular memory of generations of South African theatre, television and film audiences: Chris Vorster’s Franz Marx: Uit Die Perd Se Bek (2022) and Marius Weyers (2023)1

South African film scholarship is boosted by an increase in publications that demonstrate scholarly rigour as well as accessibility for popular audiences. One such publication is Richard Green and Keyan Tomaselli’s Richard Green in South African Film (2023), which addresses the generation of theory in praxis and analysis. Another is Ted Botha’s Hollywood on the Veld , about South African film producer I. W. Schlesinger, which offers insights into the history and politics of the South African film industry, with Schlesinger at the centre of fact and legend. Previously, Martin Botha and Deborah Steinmair’s hardcover Jans Rautenbach: Dromer, Baanbreker en Auteur ( Dreamer, Trailblazer and Auteur ) focused on a single filmmaker, their work and their world. And then there is Tomaselli’s examination of producer Anant Singh’s autobiographical account, which details a distinctly different experience in South African cinema. Joining the company of these documenters of creativity and industry is Chris Vorster, whose two recent publications, Franz Marx: Uit die Perd se Bek ( From the Horse’s Mouth ) and Marius Weyers , are reviewed here in tandem.