"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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"Das mehrstufige Projekt ‚Syria on the Move‘ zielt darauf ab, aus Syrien geflüchteten Jugendlichen mittels Fotografie eine Stimme zu geben, Bewusstsein und Unterstützung für syrische Geflüchtete in den Aufnahmegesellschaften zu mobilisieren sowie gegenseitiges Vertrauen innerhalb der syrisch
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en Diasporagemeinschaft zu fördern. Das Projekt lädt junge Syrerinnen und Syrer ein, ihr Leben und ihre Erfahrungen im Exil zu dokumentieren sowie ihre Ideen und Vorstellungen für die Zukunft fotografisch abzubilden und mit anderen zu teilen." (Seite 191)
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"This document describes how to enable mobile and desktop software to support a written language. The recommended implementation allows native speakers to communicate online, share knowledge and documents, and to use software and devices that would otherwise be inaccessible to them. The intended aud
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iences of this document are: indigenous communities wanting to make their language accessible on mobile devices and computers; technologists supporting the digitization of one or more languages; organizations wanting to enable language communities. This document aims to help you determine what tools you need and how to use them. It may also assist you in discovering the available tools for using your language online." (Introduction)
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"This article focuses on the Wiwa community in the Sierra Nevada de Santa Marta, Colombia. This community has been reviving its traditional music as part of an effort to reconstruct its social network. Moreover, its members have recently embraced visual arts as a versatile medium in the context of t
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he armed conflict. The local community of Siminke has started using visual tools not only to explicitly address their social and political issues on a regional level, but also to develop a new cultural space for self-expression and social (re)construction. Video and photography are being used here to preserve a cultural knowledge traditionally transmitted from generation to generation, a process disrupted by the armed conflict in the region. Methodology encompasses communicative methods such as interviews, visual analysis and photo-elicitation in order to understand and highlight the community’s internal perspective on the use of visual arts to reinforce their agency in pursuit of political goals." (Abstract)
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"Citizen science is a vast field. It covers the spectrum of research approaches and offers different methods for engaging volunteers with research in a variety of ways. Common to every citizen science project is a need to communicate with the public effectively. This to recruit and retain citizen sc
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ientists, but equally to inform, train and thank them, in the proper manner, when the project ends. It was this need which prompted Scivil, the Flemish Knowledge Centre for Citizen Science, to set up the working group on communication and participation. The working group decided to document its communication expertise in this guide for anyone who plans to initiate a citizen science project [...] In this guide we provide the building blocks to write up a communication plan for your project, and we include exercises on how to identify a target audience and reach out to schools. We also offer a set of tactics and tools, to secure the initial and continued participation of your citizen scientists. Finally, with our practical tips, you can begin the job of defining your communication plan and choosing the right tactics for effective communication in citizen science. This guide is for anyone who finds themselves communicating and engaging with citizen scientists. The content of the guide is based on studies of citizen participation and the real-life experience of science communicators." (Preface, page 4)
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"Esta guía está dirigida a todas las personas interesadas en profundizar y conocer un poco más la exposición 'Videojuegos. Los dos lados de la pantalla'. Con este documento hemos planteado diversas cuestiones, seleccionado algunas piezas y proponemos actividades para poder realizar antes o despu
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és de tu visita, por lo que se convierte en una herramienta didáctica tanto para familias, jóvenes, docentes o público general." (Página 2)
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"The advertising market in Albania is relatively small, especially in regard to the large number of media that exist in the country. The market clearly favours televisions, which receive the lion’s share of the advertising. While the print media is in continuous decline, online media’s advertisi
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ng share has increased significantly, even though the role of the television in absorbing advertising funds is as strong as it has ever been. The radio continues to have its own small, but consolidated niche in this advertising market. The transparency in the media market in Albania continues to be low; both in terms of measurement of audience on one hand, and, consequently, on the criteria used to allocate advertising, on the other hand. Similarly, the strengthening of new actors in the media scene, such as advertising agencies, and partner companies of the media outlets, further complicates the range of factors that affect media outlets’ economy. As a consequence, in the absence of a powerful advertising market or the alternative tools for economically supporting the media, all of these factors to some extent affect also the editorial policy and media content served to the public." (Conclusion, page 53)
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"The volume is divided into three parts, focusing respectively on historical periodizations, categories that share formal characteristics, and structural elements involved in the production, distribution, and reception of the works themselves. In historical terms, topics range from the birth of Chin
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ese cinema at the beginning of the twentieth century to the present moment, and include discussions of several periods that have hitherto not yet received much detailed analysis—including Manchurian cinema from the 1930s and 1940s, and Mainland Chinese cinema from the Maoist period. In formal terms, topics range from familiar cinematic genres such as the opera film and the war film, to newer techno-formal configurations such as small-screen and large-screen cinemas. In structural terms, topics range acting and directing to the practices of reenactments and remakes. Neither the volume as a whole, its three main parts, nor any of its individual chapters pretends to present an encyclopedic overview of its corresponding topic. Instead, our objective is to explore the interpretive spaces that open up at the interstices of various existing conceptions of the shape of the field. It is here, we contend, that we may find the key to a richer understanding not only of a singular “Chinese cinema,” but more importantly of an eclectic body of mutually overlapping Chinese cinemas." (Publisher description)
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"Während des kriegerischen Zerfalls von Jugoslawien und der Bildung neuer Nationalstaaten entstand in der Region ein reges Dokumentarfilmschaffen, das sich den dominanten Rhetoriken der Politik entgegenstellte. Anhand dieses Filmkorpus untersucht die Studie die Bedingungen der Filmproduktion und -r
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ezeption vor dem Hintergrund der komplexen politischen Zusammenhänge und fragt nach den Möglichkeiten der gesellschaftlichen Aktivierung. Die Autorin zeigt, wie die Filme mittels innovativer formalästhetischer Strategien die Widersprüche der existierenden Verhältnisse in ihrer unüberschaubaren Vielschichtigkeit aufdeckten und so die Reflexion der Zuschauer*innen anzuregen versuchten. Ihre präzisen Analysen führen sie zu Erkenntnissen darüber, wie politisch-aktivierende Dokumentarfilme eine zukünftige Realität evozieren, die als eine ‹sich formende› gedacht werden muss. Zudem rückt die Studie ein Filmschaffen in den Blick, das bislang kaum die ihm gebührende Aufmerksamkeit erhalten hat." (Verlagsbeschreibung)
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"The book provides a succinct and comprehensive study of the history, aesthetics, and theory of sub-Saharan African cinematic productions that is grounded in the field of film studies instead of textual interpretations from other disciplines. Bringing African cinema out of the margins into the disci
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pline of mainstream film studies and showcasing the diverse cinematic expressions of the continent, the book covers:
Overview of African cinema(s): Questions our assumptions about the continent’s cinematic productions and defines the characteristics of African cinema across linguistic, geographic, and filmic divides.
History of African and African-American cinema: Spans the history of film in Africa from colonial import and ‘appropriation of the gaze’ to the quest for individuality. It also establishes parallels in the historical development of black African cinema and African-American cinema.
Aesthetics: Introduces new research on previously unexplored aesthetic dimensions such as cinematography, animation, and film music.
Theoretical Approaches: Addresses a number of theoretical approaches and critical frameworks developed by scholars in the study of African cinema.
All chapters include case studies, suggestions for further reading, and screening lists to deepen the reader’s knowledge with no prior knowledge of African cinema required." (Publisher description)
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"About 10 years ago we started sending each other images, back and forth, via email. Each photograph had to respond to the one just received. We have so far exchanged over 260 photographs, sharing snippets of family life, abstraction, travels, loss and humor. When we started, we had no particular pl
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an but rather we were curious about the idea of photography as dialogue and we wanted to see how our visual conversation would develop. A similar sense of open-ended inquiry informs this special issue which does not present a single resolved idea but explores the emergent, messy and indeterminate ways that images and image-making serve to facilitate – and obscure – dialogue. It is concerned with the potential and limits of photography as a dialogical medium and proposes an idea of dialogic photography that centres around the encounters, exchanges and negotiations that happen with, through and around images." (Abstract)
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"La publicidad pareciera ser una industria con marcada paridad laboral si se la evalúa desde el punto de vista de la inclusión de las mujeres como fuerza laboral, ya que éstas representan el 49,5% de las personas empleadas. Sin embargo, el análisis al interior del rubro da cuenta de notables des
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equilibrios reflejados en fenómenos de segregación vertical y horizontal de las mujeres. Por otra parte, no existen personas transgénero trabajando actualmente en las empresas consultadas. El techo de cristal (segregación vertical) se observa claramente en la propiedad de las empresas que en un 96% pertenecen a profesionales varones y en la dirección de las mismas, donde los varones ocupan también un alto porcentaje (69%) de las posiciones jerárquicas más altas como las presidencias y las direcciones o jefaturas ejecutivas máximas (CEO). Si bien en el nivel de las direcciones, coordinaciones y jefaturas de áreas las cifras alcanzan una mayor paridad (44% mujeres y 56% varones), es aquí donde comienza a hacerse más palpable el entrecruzamiento con la segregación horizontal: los varones predominan en el Área Creativa, que es la más valorada simbólica y económicamente en la industria, mientras que las mujeres son mayoría en las áreas administrativas y de servicios al cliente (Cuentas). De la misma manera se percibe la desigualdad en lo correspondiente a la brecha salarial, ya que, aunque formalmente, según los acuerdos salariales establecidos, el Área de Cuentas y Creatividad perciben los mismos sueldos, especialmente en las posiciones más altas la práctica no pareciera ser así. Conforme surge de los testimonios de directivos y trabajadoras/os entrevistados/as, los pagos correspondientes al Área de Cuentas serían menores, y sobre la base formal de los acuerdos salariales el Área Administrativa es la peor rentada de todas." (Conclusiones, página 158)
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"La comunicación para el desarrollo representa un campo de conocimiento de considerable interés en las dinámicas y procesos del desarrollo, por lo que amerita reconocerla en el contexto peruano. En este sentido, el objetivo de esta investigación, consiste en estructurar una cartografía discipli
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nar en torno a la situación y evolución de su producción científica, los campos, subcampos temáticos que lo componen, así como los espacios y sujetos de intervención. La metodología es descriptiva, se revisaron sistemáticamente 59 informes de tesis recuperados del Repositorio Nacional de Trabajos de Investigación, de las universidades peruanas. Los resultados evidencian una alta concentración de investigación en el último quinquenio (2015-2019), concentrada en algunas universidades, más en públicas que privadas; preferentemente en ciertas regiones territoriales, más en provincias que en la capital. Las investigaciones universitarias analizadas se centran en enfoques de comunicación para el desarrollo que promueven el cambio social y personal; las estrategias de comunicación, relacionadas con las dinámicas de promoción de proyectos locales; los planes de comunicación, que intervienen en el desarrollo asociativo; y los medios comunitarios concernientes a la radiodifusión, y tratamientos informativos sobre los conflictos sociales. Se concluye que la comunicación para el desarrollo en las tesis está orientada desde una disciplina que taxativamente marca al territorio y a lo social." (Resumen)
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"This work examines the vibrant field of documentary filmmaking in Brazil from the transition to democracy in 1985 to the present. Marked by significant efforts toward the democratization of Brazil's highly unequal society, this period also witnessed the documentary's rise to unprecedented vitality
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in quantity, quality, and diversity of production-including polished auteur films as well as rough-hewn collaborative works; films made in major metropolitan regions as well as in remote parts of the Amazon; intimate first-person documentaries as well as films that dive headfirst into struggles for social justice." (Publisher description)
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"By critically examining how trauma theory and subaltern studies have previously been applied to testimonial cinema, Garibotto rereads Argentinian films produced since 1983 and calls for an alternate interpretive framework at the intersection of semiotics, theories of affect, scholarship on hegemony
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, and the ideological uses of documentary and fiction. She argues that recurrent concepts—such as trauma, mourning, memory, and subalternity—miss how testimonial films have changed over time, shifting from subaltern narratives to official, hegemonic, and iconic accounts. Her work highlights the urgent need to continue to study these types of narratives, particularly at a time when military dictatorships have become entrenched in Latin America and memory narratives proliferate worldwide. Although Argentina is Garibotto's focus, her theory can be adapted to other contexts in which narratives about recent political conflicts have shifted from alternative versions of history to official, hegemonic accounts—such as in Spanish, Chilean, Uruguayan, Brazilian, South African, and Holocaust testimonies. Garibotto's study of testimonial cinema moves us to pursue a broader ideological analysis of the links between film and historical representation." (Publisher description)
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