The guidelines are intended to provide information and recommendations on policy, regulation, technologies, network planning, customer awareness and business planning for the smooth transition to Digital Terrestrial Television Broadcasting (DTTB) and introduction of Mobile Television Broadcasting (M
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TV). They will help develop a well defined roadmap for transition covering national goals, strategies and key activities, helping to reach consensus on requirements and solutions, providing a mechanism to help forecast the key miles stones and a framework to help plan and coordinate the steps for the transition. The Guidelines have been prepared for Africa, taking into account the provisions of the GE06 Agreement. However they could also be applied in countries outside the GE06 planning area, but provisions of other applicable regulations, instead of GE06, should be taken into account in that case.
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"The proceedings of a conference held at the Africa Institute of South Africa in 2009, this is a major new collection of essays on the state of scholarly publishing in Africa, with a strong emphasis on the situation in South Africa. The conference was convened, and the papers published, in an attemp
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t to influence “policymakers and other relevant stakeholders in developing an enabling environment for scholarly publishing to thrive.” Containing a total of 26 papers – all of them, usefully, preceded by abstracts – content is arranged under seven sections: (i) The State of Research Publishing in Africa, (ii) The State of Scholarly Publishing in Africa, (iii) The Challenges of Book Distribution, (iv) The Impact of Information and Communication Technologies on Scholarly Publishing, (v) Alternative Publishing Models, (vi) The Politics of Peer Review in Scholarly Publishing, and (vii) Scholarly Publishing and Intellectual Property Development in Africa. While the majority of the contributors are from South Africa, other contributors include Kenyan veteran publisher Henry Chakava, James Currey of James Currey Publishers, Mary Jay, Chief Executive of the Oxford-based African Books Collective, and a number of academics from the West African region. The book is particularly strong in overviews of scholarly publishing in South Africa, covering both book and journal publishing. It offers some interesting discussions and fresh insights about alternative publishing and distribution models, with articles reporting about new initiatives and strategy approaches, and also including papers on the politics and practise of the peer review process, and on South African intellectual property rights. One or two papers, by academics from other regions of Africa, unfortunately are weak and poorly informed about the current state of scholarly publishing in Africa, for example citing literature that goes back to books and articles published in the 1970s and 1980s. However, the book can be seen as a useful companion to ‘African Scholarly Publishing Essays’, edited by Alois Mlambo, and published by African Books Collective in 2006." (Hans M. Zell, Publishing, Books & Reading in Sub-Saharan Africa, 3d ed. 2008, nr. 2581)
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"The main purpose of this review of the published academic literature on Nigerian and Ghanaian video films is to foster self-awareness in this new field of study. This literature has been produced on three continents and out of many academic disciplines; in consequence, scholars tend to make few ref
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erences to others working in the field, debates have been rare, and there has been a great deal of repetition. African Cinema studies, as it had already been constituted, has been slow to recognize and adapt to the video revolution, and film studies in African universities has suffered from the decline of those institutions. Anthropologists have done much of the groundbreaking work in describing the video phenomenon, though Nigerians from a variety of disciplines have also made valuable contributions. Theoretical analyses, cultural interpretations, reception studies, and detailed, extended readings of particular films are all on the agenda for the future."
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"This article makes a case for using participatory communication in research. It introduces participatory communication as a citizen-led approach to both creating and expressing knowledge; within research this means that researchers are not simply responsible for generating information and communica
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ting about it, neither are they acting alone. From this perspective the emphasis of participatory communication is on communicating rather than extracting or delivering information. Participatory methods can communicate research findings in new ways and add depth and meaning to articulations of knowledge. This knowledge can easily get ‘lost in translation’ when findings are synthesised or communicated though conventional research outputs alone." (Abstract)
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"Seit Erscheinen des Buches «Movie-mientos. Der lateinamerikanische Film: Streiflichter von unterwegs» im Jahre 2000 hat sich viel getan in der lateinamerikanischen Filmszene: Parallel zur Wirtschaftskrise, die Länder wie Argentinien durchmachten, erlebte das dortige Kino trotz finanzieller Engp
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sse eine kreative Blüte, deren Ausstrahlung weit über die Grenzen des Kontinentes hinaus ging. Auch Filmemacher anderer Länder, wie etwa der Brasilianer Fernando Meirelles («Cidade de Deus»/«City of God») oder der Mexikaner Alejandro González Iñárritu («Amores perros», erregten mit ihren zutiefst eindrucksvollen, die gesellschaftlichen Krisen und Gewaltverhältnisse ungeschönt beschreibenden und gleichzeitig künstlerisch originellen Filmen international Aufsehen. Das lateinamerikanische Kino hat sich in den letzten Jahren in rapidem Tempo globalisiert. Die Zahl der internationalen Koproduktionen mit Europa ist gestiegen. Insbesondere die Verflechtungen mit Spanien sowie, im Falle Mexikos, mit den USA haben sich weiter verfestigt, und auch in Deutschland konsolidierte sich eine kleine, aber solide Infrastruktur für Festivals, Verleih und Koproduktionen mit Lateinamerika. Etliche lateinamerikanische Regisseure arbeiten mittlerweile regelmäßig in den USA oder in Europa. Ihre Filme handeln auch, aber nicht nur von «latino-spezifischen» Themen wie Migration und kultureller Identität, sondern decken fast die ganze Bandbreite filmerischer Genres und Schauplätze ab. Lateinamerika, der Kontinent, in dem sich seit Jahrhunderten Kulturen sowohl gewaltsam als auch lustvoll und spielerisch vermischen, kreiert auch im neuen Jahrtausend eine vielstimmige und daher universelle Kinosprache." (Verlagsbeschreibung)
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"En 1953, el cineasta boliviano Jorge Ruiz realizó el documental 'Vuelve Sebastiana' con la ayuda de Augusto Roca, Chovel, conocido como 'Pajarito' y el guión de Luis Ramiro Beltrán. Este libro es un homenaje a aquella aventura y especialmente a Sebastiana Kespi, su protagonista, y al admirado y
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valeroso pueblo Chipaya." (Página 11)
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"This chapter gives an overview of the theory and practices associated with questionnaire surveys as a quantitative methodology, with specific reference to the ways in which surveys are used in media research. An application of how questionnaire surveys are used in audience research is illustrated b
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y a case study." (Page 422)
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"In summary, the present chapter analyzed the role of digital games in the growing practice of entertainment-education. We argued that serious games should not be automatically labeled as E-E digital games just because they include some social content. Connections were drawn between the social inter
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actional possibilities afforded by the technology of digital games vis-a-vis the more traditional mass-mediated E-E programs, expounding on the five key attributes of experiential game play, multimodality, interactivity, persuasive, interactive narrative, and social interaction. We concluded by noting that digital games offer tremendous generative potential for broaching alternative interventional possibilities for social change, and that scholarship on digital games would benefit from questioning the dominant psychosocial theoretical leanings that privilege linearity, causality, reductionism, and individualcenteredness." (Page 285)
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"Ashish Rajadhyaksha argues that any exploration of the social uses to which cinema is put in a place like India can only make sense if it transforms our understanding of cinema itself. Taking as his timeframe the era of celluloid, which is also marked by public experiences of spectatorship and uses
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of cinema by the state, Rajadhyaksha examines three moments of crisis for the Indian State in which cinema played a central role." (Publisher description)
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"This article reports the findings of a review and methodological critique of 96 Latin American empirical studies on television reception published between 1992 and 2007 in the most important journals of the region. The analysis compares the studies according to their theoretical approach, the resea
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rch technique used, their sample size, the type of audience members studied, the type of television content researched and the scholars mentioned the most in their references. Findings show that Cultural Studies is by far the most popular theoretical approach in Latin American audience research, and that two of the topics covered the most were television and daily life and the importance of social and cultural mediations. The article also concludes that many studies lack a solid methodological base. Morley, Orozco, Martín-Barbero, García-Canclini and Lull were the scholars mentioned the most in the reference sections. The article ends with a diagnosis of the strengths and weaknesses of current Latin American empirical research on television audiences and points out the need for more methodological rigor and more emphasis on the analysis of ideological readings and impact." (Abstract)
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"Alors que l’UNESCO a adopté, en 2005, une Convention sur la protection et la promotion de la diversité des expressions culturelles entendant ainsi soutenir la bibliodiversité, la présente étude entend démontrer que les échanges de livres, et plus précisément d’albums jeunesse, entre la
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France et l’Afrique francophone demeurent fortement déséquilibrés. Entre prédation française et difficultés d’accès aux marchés du Nord pour les éditeurs africains, des alternatives se mettent en place et portent la volonté d’un rééquilibrage des flux. Une nouvelle façon d’éditer, interculturelle et plus solidaire, fait également jour et incite à de plus respectueux échanges entres les professionnels et les cultures…pour éveiller au monde les jeunes lecteurs, citoyens de demain ?" (Note de synthèse)
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