"This dissertation explores audiovisual assistance programs through an examination of the largest such program: the EU’s ACPCultures+, which since 2008 has awarded over 50 million Euros to nearly 60 audiovisual training programs, distribution initiatives, and production projects in sub-Saharan Afr
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ica and the Caribbean. Using textual and policy analyses, in-depth interviews, and both digital ethnography and multi-sited ethnographic research in Brussels, Addis Ababa, and Nairobi, I analyze three case studies of projects funded by ACPCultures+ – a screenwriting course in Kenya, a pan-African video-on-demand platform, and the first Ethiopian film to screen at Cannes film festival – while tracing the circulation of the program’s aims and policies from its headquarters in Brussels to audiovisual professionals in Africa and the Caribbean. These cases show how, as ACPCultures+ grapples with media diversity in an era of globalization, it builds on postwar histories of both international development and EU cultural and audiovisual policies in ways that simultaneously enable and constrain media industries in the Global South. Ultimately, this research demonstrates how audiovisual assistance programs are an underexamined piece of the global media landscape in which Northern policies and Southern practices together can reframe debates about media and cultural hegemony and suggest new ways of conceptualizing the geographies of audiovisual industries and policy." (Abstract)
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"This dictionary offers a wide range of Arabic media entries, which have been translated and contextualised in authentic Arabic media texts, some of which have been extracted from Arabic newspapers and online Arabic media sources. Containing more than 6,500 entries with sample sentences, this dictio
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nary is a vital reference for students of Arabic translation, journalists, Arabic instructors and learners of Arabic at intermediate and advanced levels. The dictionary is structured in alphabetical order, accompanied by an Arabic index for easy access." (Publisher description)
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" Es cierto que el crítico de cine es por encima de todo un espectador, pero en palabras de François Truffaut, es «un espectador que tiene la necesidad de analizar el propio placer y describirlo». Un crítico de cine es mucho más que alguien que aconseja o desaconseja una película. Debe ser aq
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uel que ofrezca claves de comprensión del film que permita al espectador aproximarse con mayor inteligencia y con mayor capacidad de disfrute. Comprender y describir por qué una película nos agrada o no, requiere unos conocimientos que permitan fundamentar estas valoraciones. Criterios estéticos y formales propios del cine, pero también criterios culturales más amplios. De esta manera está concebido este Manual de crítica de cine, para afirmar con el mismo Truffaut, que «una película para estar lograda debe expresar simultáneamente una concepción del mundo y una concepción del cine»." (Descripción de la casa editorial)
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"El análisis hecho en esta investigación de los distintos personajes protagónicos femeninos de los cuatro relatos seleccionados [Dina Paucar, la lucho por un sueño; Por la Sarita; Las reinas de las carrefillas; Amor de Madre], me permite señalar que las representaciones femeninas que nos ofrece
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n estos productos culturales del siglo XXI evidencian continuidades importantes pero también transformaciones y rupturas respecto a los modelos femeninos asociados al marianismo y la domesticidad; transformaciones y rupturas, que permiten visibilizar una pluralidad de representaciones femeninas conviviendo en el tiempo actual y que nos hablan de contextos de tensión y de conflicto. Este hallazgo también me permite confirmar que los mandatos de género operan de manera diferenciada en tiempos y espacios sociales diferentes. No encontramos en esta investigación personajes que se ajusten íntegramente al modelo mariano, por ejemplo, aunque sí mantienen algunas características importantes de este, como la maternidad. Un hallazgo importante de esta investigación es que la maternidad permanece como un hecho importante –diría fundante- en la definición misma de la identidad femenina y de las diversas representaciones televisivas melodramáticas, sin embargo, no es la única: aparecen las saberes domésticos aprendidos desde la infancia en el hogar familiar, saberes que se transmiten de madres a hijas –costura, cocina, canto-; los estudios y el trabajo en la esfera pública como ejes importantes que complejizan las representaciones que, de las mujeres, hacen estos relatos audiovisuales. La representación de lo femenino continua presentando a estas mujeres como responsables, amorosas, maternales, sin embargo, la pasividad y la sumisión –condiciones del pasado para la heroína de los melodramas televisivos- cuando aparecen, son solo lugares de inicio de la representación que se van transformando en agencia y empoderamiento, a partir de experiencias que fortalecen a nuestras protagonistas." (Conclusiones, página 206)
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"This special issue includes seven studies that provide novel insights into the relationship between media and migration, both from a theoretical and empirical point of view. The articles cover both strands of literature discussed above and thus deal with the coverage of migration and migrants, as w
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ell as the effects of such coverage." (Page 696)
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"Cet ouvrage est le premier à traiter l'ensemble de la production cinématographique berbère. Des histoires qui nous viennent des mythes, de l’histoire contemporaine, des personnages dramatiques ou comiques, qui participent à la représentation et à l’auto-perception d’être Imazighen/Berb
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ères, sont présentés et analysés sous la plume de spécialistes et de jeunes chercheurs en études berbères." (Description de la maison d'édition)
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"[...] Lamentablemente, en nuestro país, las teorías asociadas al mercadeo y la publicidad social son escasas, y los teóricos que se pueden asociar a estas propuestas son, por lo mismo, bastante limitados. En contraposición, y muy a pesar de que Colombia cuente con pocos investigadores, las camp
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añas de publicidad y mercadeo social que se han puesto en marcha han sido bastante prolíficas, y por demás exitosas. Las necesidades sociales de un país en vía de desarrollo requieren que se implemente una variedad relevante de campañas, muchas de las cuales han recibido premios internacionales, o simplemente han recibido el reconocimiento de una gran parte de la población colombiana. Desde esta perspectiva, no podemos olvidar campañas como: la caspa y la adicción a la droga, las estrellas negras, sin preservativos ni pío, la tengo viva, inteligencia vial, algunos animales no usan casco, ríos de luz, entre muchas otras. Por estas razones, un texto como este en el que se describen diferentes teorías de la publicidad y el mercadeo social, intenta aportar al vacío existente en materia de conceptualización. Además, no solo se trata de una publicación cien por ciento teórica, pues también se pueden encontrar algunas investigaciones con resultados empíricos, resultado de trabajo de campo en diferentes ámbitos del mercadeo social y la publicidad social. Estos aportes empíricos permiten contrastar las prácticas sociales con los desarrollos teóricos y con la aplicación de cada uno de los conceptos más versátiles de estos procesos teórico conceptuales. Además de los enfoques teóricos y prácticos, este libro aborda una cantidad interesante de conceptos que le permitirán al lector conocer los últimos términos que se manejan hoy por hoy en el contexto empresarial y universitario. El mercadeo con causa, el marketing social corporativo, el greenwashing, los sweatshops, stakeholders, sostenibilidad, los adoptantes objetivos, los agentes de cambio, son solo algunos de los conceptos que se podrán encontrar en esta publicación y permitirán a los lectores enriquecer los conocimientos que sobre publicidad y mercadeo social tengan." (Introducción, páginas 7-8)
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"Analyzing Media Messages, Fourth Edition provides a comprehensive guide to conducting content analysis research. It establishes a formal definition of quantitative content analysis; gives step-by-step instructions on designing a content analysis study; and explores in depth several recurring questi
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ons that arise in such areas as measurement, sampling, reliability, data analysis, and the use of digital technology in the content analysis process. The fourth edition maintains the concise, accessible approach of the first three editions while offering updated discussions and examples. It examines in greater detail the use of computers to analyze content and how that process varies from human coding of content, incorporating more literature about technology and content analysis throughout. Updated topics include sampling in the digital age, computerized content analysis as practiced today, and incorporating social media in content analysis. Each chapter contains useful objectives and chapter summaries to cement core concepts." (Publisher description)
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"This chronological timeline sets out some of the key dates, events, and landmarks in the development of indigenous publishing in Sub-Saharan Africa. It also includes details of the major conferences, meetings or seminars on African publishing, held in Africa or at venues elsewhere, since 1968. An e
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arlier version of this chronology first appeared in The African Publishing Companion: A Resource Guide, and has now been updated through to the period up to 2019, and considerably expanded to also include publication of a number of benchmark studies, conference proceedings, journals, and reference resources on the African book world." (Abstract)
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"This paper sets out to challenge the dominant narrative of the creative economy as a new option for developing countries. The much-vaunted growth rates proclaimed by UNCTAD’s Creative Economy Programme have slowed, and are seen to apply to a particular kind of manufactured good, as well as being
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overwhelmingly dominated by Asia, and especially China. This paper tries to unpick the dominant creative economy model of entrepreneurship, creative human capital and open market opportunity and suggests that – other than in East Asia – it is business as usual for the Global North. The creative economy not only fails to deliver its promise of development but has profound consequences for local cultures, caught up in an ever more global web of exploitation driven by the new digital platforms. We need to return to the earlier concerns of ‘culture and development’ now fully aware of the downsides, as well as the potential, of cultural economies in an uncertain global landscape." (Page 1)
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"Visual metaphors stand at the border between text and image, as they are linguistic figures that visualize the spoken. Based on this assumption and on the existing knowledge on the discourse analytical method of metaphor analysis, Part One of the article develops a method of visual metaphor analysi
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s (VMA). Part Two uses this method to examine the metaphors of peace found in the acclaimed movie Mango Dreams, the winner of the Peace on Earth Film Festival 2017. The film by John Upchurch tells a story of Dr. Amit Singh, whose family was killed by Muslims during the partition of India and who is suffering from the onset of dementia. In order to confront his fading memories and in pursuit of peace, he commences on a journey to his childhood home in what today is Pakistan. On his travel, he is aided by Muslim rickshaw driver Salim, whose wife was raped and murdered by Hindus. During the long journey across India in a rickshaw, the two form a close friendship and help each other find the peace they have been searching for. Based on our visual metaphor analysis (VMA) of the film, as well as an interview with the director, the article demonstrates how metaphors are employed to visualize a positive concept of peace, particularly HOME, JOURNEY, and BRIDGE, which has a specific temporal, spatial, and moral dimension. In contrast to much of the international relations research on visualization of peace and conflict, the conceptualizations of peace in Mango Dreams metaphorically envision positive peace, instead of the more familiar conceptualization of negative peace, through a representation of PEACE not only in terms of a place (HOME) or process (JOURNEY) but as practice (BRIDGE)." (Abstract)
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"Since the beginnings of African cinema, the realm of beauty on screen has been treated with suspicion by directors and critics alike. James S. Williams explores an exciting new generation of African directors, including Abderrahmane Sissako, Mahamat-Saleh Haroun, Fanta Regina Nacro, Alain Gomis, Ne
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wton I. Aduaka, Jean-Pierre Bekolo and Mati Diop, who have begun to reassess and embrace the concept of cinematic beauty by not reducing it to ideological critique or the old ideals of pan-Africanism. Locating the aesthetic within a range of critical fields - the rupturing of narrative spectacle and violence by montage, the archives of the everyday in the "afropolis", the plurivocal mysteries of sound and language, male intimacy and desire, the borderzones of migration and transcultural drift - this study reveals the possibility for new, non-conceptual kinds of beauty in African cinema: abstract, material, migrant, erotic, convulsive, queer. Through close readings of key works such as Life on Earth (1998), The Night of Truth (2004), Bamako (2006), Daratt (Dry Season) (2006), A Screaming Man (2010), Tey (Today) (2012), The Pirogue (2012), Mille soleils (2013) and Timbuktu (2014), Williams argues that contemporary African filmmakers are proposing propitious, ethical forms of relationality and intersubjectivity. These stimulate new modes of cultural resistance and transformation that serve to redefine the transnational and the cosmopolitan as well as the very notion of the political in postcolonial art cinema." (Publisher description)
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"Der landesinterne Konflikt in Kolumbien und die damit einhergehende Gewalt sind seit deren Ausbruch in den 1940er Jahren zentraler Gegenstand des kolumbianischen Kinos. Unter dem Einfluss sich wandelnder Gewaltdiskurse und Produktionsbedingungen entwerfen die kolumbianischen Filmemacher_innen viels
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chichtige Porträts der kolumbianischen Gesellschaft und liefern neue Ansätze zur Reflexion und Bewertung der Gewalt in Kolumbien. Anne Burkhardts diskursanalytisch fundierte Untersuchung von 17 ausgewählten Filmen, darunter einige Klassiker des kolumbianischen Kinos, wird ergänzt um die erste umfassende Darstellung der kolumbianischen Filmgeschichte in deutscher Sprache." (Verlagsbeschreibung)
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"Alena Strohmaier diskutiert in diesem Open-Access-Buch die komplexen Konfigurationen von Diaspora, deren soziopolitische und kulturelle Aspekte und unternimmt eine theoretische Dimensionierung des Begriffs, indem sie diesen als sowohl räumliche als auch filmische Kategorie versteht. Als Bindeglied
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zwischen den beiden Theorietraditionen dient ihr dabei die Kategorie des Raums, die als ästhetische Kategorie gleichermaßen konstitutiv für filmische Artefakte ist, wie sie es als sozialgeografische für die Diaspora ist. Die Autorin zeigt am Beispiel des zeitgenössischen iranischen Diasporafilms, wie die Theorie des Films mit dem Konzept der Diaspora jenseits essentialistischer Vorstellungen von ethnischen, kulturellen oder religiösen Zugehörigkeiten zusammenzudenken ist." (Verlagsbeschreibung)
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"Cet ouvrage se propose d’initier le lecteur aux enjeux humains et techniques de l’archivage de la Toile, de la collecte à l’analyse en passant par la création et le partage de corpus ou encore le cadre législatif. Il étudie de manière pragmatique cet archivage, en essayant de rendre palp
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able à la fois sa fabrique (technique, institutionnelle, juridique), la relation que ses acteurs entretiennent avec les publics et les évolutions qu’ont connues les collectes en une vingtaine d’années. Ce livre s’intéresse également à la manière dont les archives du Web, outre leur rôle patrimonial, peuvent aujourd’hui être exploitées par différents acteurs, notamment à des fins de recherche." (Présentation)
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"Bringing theory and practice together, 'African Cinema and Human Rights' argues that moving images have a significant role to play in advancing the causes of justice and fairness. The contributors to this volume identify three key ways in which film can achieve these goals: documenting human rights
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abuses and thereby supporting the claims of victims and goals of truth and reconciliation within larger communities; legitimating, and consequently solidifying, an expanded scope for human rights; and promoting the realization of social and economic rights. Including the voices of African scholars, scholar-filmmakers, African directors Jean-Marie Teno and Gaston Kaboré, and researchers whose work focuses on transnational cinema, this volume explores overall perspectives, and differences of perspective, pertaining to Africa, human rights, and human rights filmmaking alongside specific case studies of individual films and areas of human rights violations." (Publisher description)
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"The media sector in Kyrgyzstan is heavily dominated by the government through both ownership and funding. The government funds a large pool of state-owned media companies, including newspapers, radio broadcasters and the public service operator KTRK. According to our estimates, the government spent
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some US$ 7.6m in the media in 2018, more than 75% of which was accounted for by the state budget allocation for KTRK. On top of that, in a move aimed at gaining loyalty of media outlets, it is believed that the government is using state-owned companies, mainly banks and mining firms, or other public institutions, to fund more media. The value of these contributions is not publicly available. According to our calculations, and interviews with experts and journalists carried out for this report, we estimate the value of government funding in the media to be upwards of US$ 10m, which is equivalent to roughly half the value of the advertising market in Kyrgyzstan. Such an overly dominant position of the government in the media harms the country’s journalism in many ways. First, most of the media that relies on government cash is biased in its reporting. KTRK, one of the most influential broadcasters in Kyrgyzstan thanks partly to its nationwide coverage, is a devoted promoter of state policies and rarely provides alternative points of view. More than a third of KTRK’s airtime is filled with state propaganda, recent studies showed. Second, the government’s intervention in the media has a distorting effect on the market, discouraging investments and stymieing innovation and experimentation. Besides government funding, a major source of revenue for the media is the informal financing, comprising ad hoc contributions made by people or companies to media outlets as a way to buy their allegiance [...] Philanthropy remains the sole source of support for independent media. However, its contribution is a pittance compared to the other sources of media funding. The philanthropy funding in the Kyrgyz media during the past decade, some US$ 6.1m, is less than two-thirds of the state spending in one year alone." (Page 4)
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"Auch wenn die deutsche Kolonialgeschichte mittlerweile öffentliche Aufmerksamkeit erfährt, wird die Herrschaft, die Deutschland in seinen "Schutzgebieten" in Afrika, China und der Südsee ausübte, oft immer noch als eher harmlose historische Episode abgetan. Der langjährige Afrika-Korrespondent
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Bartholomäus Grill zeigt, welche immensen Schäden der Kolonialismus und die ihm zugrunde liegende Herrenmenschen-Ideologie angerichtet haben. In einer Mischung aus Analyse und Reportage beschreibt er historische Zusammenhänge sowie die brutale Praxis des Kolonialismus und begibt sich gleichzeitig auf Spurensuche vor Ort. An den deutschen Kolonien zeigt Grill auf, wie stark der europäische Kolonialismus Realitäten und Denkmuster bis heute prägt: Ebenso wie die koloniale Gewalterfahrung in den ehemals beherrschten Gebieten bis heute nachwirkt, lassen sich auch im öffentlichen Diskurs in Deutschland stereotype Wahrnehmungen und rassistische Weltbilder nachweisen, in denen Vorstellungen aus der Kolonialzeit heute noch aufscheinen. Grill plädiert dafür, sich mit diesem kolonialen Blick auseinanderzusetzen und den postkolonialen Diskurs des globalen Südens anzunehmen." (Verlagsbeschreibung)
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