"Cinema in Ghana- History, Ideology and Popular Culture, is an attempt to start a dialogue about national cinema in Ghana. The primary purpose of this thesis is not simply to provide a historical account of cinema in Ghana, but rather to question and dialogue with the history in order to locate the
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texts and contexts that inform a national cinema here. The thesis takes as a point of departure the broader political, cultural and aesthetic nuances of filmmaking in Africa and then focuses on the specific case of Ghana. The literature available on cinema in Africa suggest heterogeneous and complex practices which implicate serious political and cultural discourses, but also offer the mundane entertainment value often associated with popular cultural products. Cinema in Ghana begins by questioning African cinema, and opens up complex discourses of identity, ownership, cultural mediation, industrial and economic practices and the influence of globalisation on the iconography of African films. To understand African cinema is to interrogate issues of ideology, narrative, aesthetics, the economics of ownership and the role or social value of the cinematic product. This thesis is an attempt to identify a national cinema in Ghana as a microcosm of cinema in Africa." (Abstract, page 4)
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"The German empire that emerges from the volume edited by Michael Perraudin and Jürgen Zimmerer is one very much embedded in a broader European colonial discourse. Just like any other empire, Germany believed itself to be a "better" empire, more benevolent, more efficient, more civilized. Yet we le
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arn that in spite of these propositions the German was a very violent, indeed genocidal, empire, whose brutal deeds were matched in its racist and aggressive representations. And we learn that while Germany's academic and political elite has sought to confront the colonial past, its general public remains for the most part detached and uninterested. While the volume gives a rich and variegated overview of the cultural processes that relate to German colonialism, the individual essays are rather short, and some of them lack the evidence and stringency of argument that one would expect of a full-fledged essay. The short introduction to the volume outlines the individual contributions, but it does not provide a theoretical framework that reflects on the culturalist approach of the volume or the claim posited in the title of a nexus between German colonialism and "German identity." A more comprehensive treatment of these overarching questions in the introduction would significantly have improved this extensive and insightful collection." (www.h-net.org/reviews/showrev.php?id=32217)
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El presente libro está constituido por diecisiete ponencias y/o artículos que se presentaron en el coloquio "El cine que fue: 100 años de cine chileno".
"This essay brings together four key elements of Bollywood cinema: 1. the lure of the mythological; 2. the allure of the Muslim courtesan, and Urdu, Bollywood's language of love; 3. the hegemony of melodrama; and 4. the persistence of song and dance." (Page 577)
"The media intervention programs and training initiatives for Arabs reflect hegemonies and dependencies. Taking into consideration the absence of a public cinema infrastructure in the Arab World and thus the lack of institutional representation or backing for film-makers leads one to question to wha
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t degree the director can control her/his story. Or in other words, to what extent the films, which are read as national works, can reflect debates or atmospheres in their country of origin at all? The decoding of films, not only from the Middle East, is in many cases national, as the case of Paradise Now showed. Critics’ reactions to Waltz with Bashir suggest that the reading of the film is connected to the actual political experience within the region versus political assumptions about it, a rather regional reading. An aspect entirely missing in the Western decoding process of films from the Middle East is the question who was involved in the encoding. The critics, who translate the film to the wider audience, focus on the films’ subjects or manipulations, rather than on the economic and institutional backing of the creation and thus interests behind it. After completing the film it is solely the director who has to defend the work as a statement from and about her/his country. Regardless of formal ownership and the involvement of co-producing states these films are marketed as documents from and about the country in which the story takes place. The majority of co-productions by directors from the Middle East, like the majority of films produced at all, get little attention. It is the films with international recognition, be it by box office numbers or debates that are remembered. One could easily assume that Paradise Now will become part of a Palestinian collective memory. Yet, without physical archives in the Arab countries, and Palestine not even being a state, how long will the co-produced movies be accessible as part of cultural heritage? In French and German archives the film rolls will be stored and made accessible, it is in Europe where Arabs will still have to look for their cultural memory in the distant future." (Conclusion, page 11-12)
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"Con la intención de que los sistemas de bibliotecas públicas de la región iberoamericana cuenten con instrumentos para diagnosticar, reflexionar y actuar sobre la transformación de su realidad, el Centro Regional para el Fomento del Libro en América Latina y el Caribe (CERLALC) presenta este d
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ocumento con recomendaciones básicas para el diseño y aplicación de censos de bibliotecas públicas, acompañado de un cuestionario modelo. El interés fundamental es impulsar en Iberoamérica los censos como requisito importante para la planeación de procesos sistemáticos y continuos de mejoramiento de los sistemas de bibliotecas públicas." (Presentación, página 9)
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"Postnationalist African cinemas convincingly interrogates the ways in which African narratives locate postcolonial identities and forms beyond essentially nationalist frameworks. It investigates how the emergence of new genres, discourses and representations, all unrelated to an overtly nationalist
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project, influences the formal choices made by contemporary directors. By foregrounding the narrative, generic, discursive, representational and aesthetic structures of films, this book shows how directors are beginning to regard film as a popular form of entertainment rather than political praxis. Tcheuyap investigates filmic genres such as comedy, dance, crime and epic alongside cultural aspects including witchcraft, sexuality, pornography and oracles." (Publisher description)
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"Be they musicals or melodramas, war movies or animation, Russian films have a long and fascinating history of addressing the major social and political events of their time. From Sergei Eisenstein’s anti-tsarist drama, Battleship Potemkin, to socialist realism, to the post-glasnost thematic explo
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sion, this volume explores the socio-political impact of the cinema of Russia and the former Soviet Union. Introductory essays establish key players and situate important genres within their cultural and industrial milieus, while reviews and case studies analyze individual titles in considerable depth." (Back cover)
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"Das Buch ist nicht als allumfassendes, wissenschaftliches Fachbuch zu verstehen. Vielmehr ist es ein Buch für die tägliche Praxis. Es vermittelt Grundlagenwissen aus den Bereichen Marketing, Medien und der Kommunikation mit dem Kunden (u.a. aus dem NLP). Darüber hinaus finden Sie eine Vielzahl v
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on Praxisbeispielen sowie hilfreiche Tipps für das tägliche Geschäft." (Verlagsbeschreibung)
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"A través de un estudio sistemático basado en el monitoreo de las producciones de ficción televisiva, este anuario presenta y analiza datos de producción, circulación, distribución y consumo de programas de ficción exhibidos en el 2010 y presenta una síntesis comparativa de lo que fue el añ
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o en términos de ficción televisiva." (Contratapa)
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