"Publications for academia need to be different from those for grassroots movements: while the former need to satisfy the needs of the target audience to increase knowledge, grassroots movements need to be made aware of needs and at the same time indicated ways of solving them." (GIZ Library Bonn)
"Bibliography of 408 briefly annotated articles published in the journal 'Intercom'." (commbox)
"The catalog lists all films on Brazilian Indians in the German Collection "Institut für den Wissenschaftlichen Film" (Göttingen, Germany). Information about each silent, 16 mm film includes a summary of its content, translation of title into Portuguese, director, duration, color, and date. Arrang
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ed by subject with an index of Indian tribes and a bibliography." (Ann Hartness, Brazil in Reference Books 1965-1989. Scarecrow Press, 1991)
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"No mere calendar, this encyclopedic chronology of freedom of the press covers all time periods from prehistory to the present. Although the arrangement is chronological, with chapters such as "Printing in a World of Irreverence, 1500 Through 1599," a detailed subject and name index makes it fully a
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ccessible. Brief entries describe pivotal events and court decisions in North America, South America, Europe, Asia, Africa, and Australia. A selected bibliography presents about 200 important books on press freedom. Aimed at teachers and students, this volume is a valuable ready reference source and highlights other areas ripe for research. See also McCoy's Freedom of the Press: An Annotated Bibliography (1968; supplement 1993) and Freedom of the Press: A Bibliocyclopedia (1979). Ingelhart also authored Freedom for the College Student Press (Greenwood, 1985) and Press Law and Press Freedom for High School Publications (Greenwood, 1986)." (Jo A. Cates: Journalism - a guide to the reference literature. Englewood, Col.: Libraries Unlimited, 2nd ed. 1997 nr. 136)
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"Seven chapters by individual authors who survey Brazilian cinematic history in rough chronological order and by schools of filmmakers or genres. Includes a selective filmography (pp. 455-507). Well indexed by names of persons and by film titles. Each chapter concludes with notes and bibliography."
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(Latin America and the Caribbean: A Critical Guide to Research Sources. Ed. Paula H. Covington. New York et al.: Greenwood Press, 1992, nr. 4331)
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"An annotated bibliography which deal with Brazilian cinema. Limited to only Brazilian imprints about Brazilian cinema but scope includes titles in which film may only be treated slightly. It is arranged in chronological order, 1911-1986, and indexed by author, title, and subject." (Ann Hartness, Br
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azil in Reference Books 1965-1989. Scarecrow Press, 1991)
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"This volume is the first fully comprehensive account of film production in the Third World. Although they are usually ignored or marginalized in histories of world cinema," Third World countries now produce well over half of the world's films. Roy Armes sets out initially to place this huge output
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in a wider context, examining the forces of tradition and colonialism that have shaped the Third World--defined as those countries that have emerged from Western control but have not fully developed their economic potential or rejected the capitalist system in favor of some socialist alternative. He then considers the paradoxes of social structure and cultural life in the post-independence world, where even such basic concepts as "nation," "national culture," and "language" are problematic. The first experience of cinema for such countries has invariably been that of imported Western films, which created the audience and, in most cases, still dominate the market today. Thus, Third World film makers have had to ssert their identity against formidable outside pressures. The later sections of the book look at their output from a number of angles: in terms of the stages of overall growth and corresponding stages of cinematic development; from the point of view of regional evolution in Asia, Africa, and Latin America; and through a detailed examination of the work of some of the Third World's most striking film innovators. In addition to charting the broad outlines of filmic developments too little known in Europe and the United States, the book calls into question many of the assumptions that shape conventional film history. It stresse the role of distribution in defining and limiting production, queries simplistic notions of independent "national cinemas," and points to the need to take social and economic factors into account when considering authorship in cinema. Above all, the book celebrates the achievements of a mass of largely unknown film makers who, in difficult circumstances, have distinctively expanded our definitions of the art of cinema." (Publisher description)
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"En plus d'une série d'essais sur des aspects importants du cinéma brésilien, cet ouvrage comprend une chronologie, un dictionnaire biographique des cinéastes, des informations de base sur 200 films brésiliens, 1912-1986, de nombreuses illustrations et une bibliographie." (Ann Hartness, Brazil
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in Reference Books 1965-1989)
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