"This book examines small cinemas and their presentation of society in times of crisis and conflict from an interdisciplinary and intercultural point of view. The authors concentrate on economic, social and political challenges and point to new phenomena which have been exposed by film directors. Th
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ey present essays on, among others, Basque cinema; gendered controversies in post-communist small cinemas in Slovakia and Czech Republic; ethnic stereotypes in the works of Polish filmmakers; stereotypical representation of women in Japanese avant-garde; post-communist political myths in Hungary; the separatist movements of Catalonia; people in diasporas and during migrations. In view of these timely topics, the book touches on the most serious social and political problems. The films discussed provide an excellent platform for enhancing debates on politics, gender, migration and new aesthetics in cinema at departments of history, sociology, literature and film." (Back cover)
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"Beim Stichwort „mündliches Erzählen“ denkt man hierzulande vor allem an „Märchen“, kurze und wundersame Erzählungen der Landbevölkerung vergangener Zeiten. Tatsächlich aber kannten alle Kulturen raffinierte Erzählkünste, die häufig auch Schriftliteratur und Theater inspirierten. Au
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s historischen Berichten über Erzähler und ihre Auftritte, ethnologischen Forschungen und nicht zuletzt durch zahlreiche Erzählungen der verschiedenen Kulturen entsteht eine ebenso informative wie vergnügliche Kulturgeschichte des mündlichen Erzählens. Die bezeichnenden Formen und Funktionen der vielfältigen Erzähltraditionen ergeben ein schillerndes Bild der Kommunikationsform „Erzählen“: die Interaktion zwischen Erzähler und Hörern in den Dörfern Afrikas etwa, die Improvisationstechnik der Epenerzähler Mittelasiens oder die Unterschiede zwischen männlichem und weiblichem Erzählen im islamischen Orient. Öffentliches Erzählen diente stets auch der Verständigung über Werte und Einstellungen. Die modernen Massenmedien können den interagierenden Erzähler nicht ersetzen, was verständlich macht, warum dieses „Urmedium“ neuerdings auch in der „Mediengesellschaft“ wieder eine überraschende Faszination ausübt." (Verlagsbeschreibung)
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"IREX partnered with Lore.Ai to test whether machine learning software can automatically detect news articles that contains journalists’ own opinions. This matters because impartial, fact-based news is a powerful indicator for the quality of media and the vibrancy of an information ecosystem. A te
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am of professional media evaluators trained machine learning software to find examples of news articles that contain opinions from a body of over 1,200 online Mozambican news articles. The software identified articles that contained opinions with 95% accuracy. This accuracy was achieved after only 16 rounds of training the software, and anecdotes from the team suggest that the software’s accuracy noticeably improved after only about 20 minutes of “training”. The results have promising implications to improve efficiency, scale, and consistency of traditionally manual and time-consuming media monitoring efforts, such as helping projects target resources more effectively to support journalists whose articles are flagged by the software. The process also surfaced valuable lessons about limitations of applying machine learning to monitoring, evaluation, and learning (MEL) in global development contexts, such as reinforcing human bias or the need to invest in indigenous machine learning talent to apply these tools sustainably. The experiment was implemented in Mozambique, where IREX’s Media Strengthening Program (MSP, funded by the United States Agency for International Development) supports Mozambican professional and community journalists and their media platforms to provide high quality information to citizens." (Key findings, page 1)
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"[This book] reflects on the extent to which films can play an active role in denouncing human rights abuses and exposing the struggle for visibility of different social movements and minorities. This collection explores Latin American cinema’s representations of human rights violators and oppress
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ed subjects and groups. In so doing, it aims to assess the long overdue relation between cinema and human rights in the region, thus opening new avenues to understanding cinema’s role in social transformation. In effect, the chapters relate to at least one of these three main themes: human rights, social movements and activism. They seek to demonstrate the various ways they have been depicted in contemporary Latin American films, especially in the twenty-first century. Together, the chapters reinforce the importance of examining the ways in which contemporary Latin American cinema has explored human rights issues, while offering new perspectives to the study of (trans)national and world cinemas. Moreover, they explore the main themes and concepts covered in the volume in order to reveal the different aesthetic, political, social and historical representations of human rights in cinema." (Introduction, page 2)
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"In spite of harsh censorship, conservative morals and a lack of investment, women documentarists in the Arab world have found ways to subtly negotiate dissidence in their films, something that is becoming more apparent since the ‘Arab Revolutions’. In this book, Stefanie Van de Peer traces the
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very beginnings of Arab women making documentaries in the Middle East and North Africa (MENA), from the 1970s and 1980s in Egypt and Lebanon, to the 1990s and 2000s in Morocco and Syria." (Publisher description)
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"In sintesi, ogni azione comunicativa è preceduta da una relazione sociale, che la rende esplicita, che può influire su di essa e, a sua volta, può modificare quella relazione e farne emergere un’altra, si sia coscienti o meno. Da ciò si comprende che in una società come quella contemporanea,
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chiamata a rispondere alla sfida di imparare a vivere insieme in contesti multiculturali, diventa prioritario, per le scienze della comunicazione, mettere in evidenza il rapporto che esiste tra comunicazione e relazione sociale ed agire di conseguenza. Nel passaggio successivo si è approfondito il pensiero donatiano sulla comunicazione, sottolineando alcuni tra i punti in cui l’autore presenta uno sguardo originale: intendere la comunicazione come un’azione reciproca (rel/azione), tra coscienze (soggetti agenti), che accade all’interno di una relazione pre-esistente, dando vita ad una nuova relazione emergente (terzo), potendo produrre beni relazionale e processi di morfogenesi (cambiamento) sociale." (Conclusioni, pagina 225-226)
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"This Yearbook is divided into three parts. The first is an introduction chapter, containing a comparative synthesis of fiction in the Obitel countries. This comparison is made from a quantitative and qualitative point of view, which makes possible to observe the development of fiction in each count
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ry, highlighting their main productions, as well as the theme of the year. The second part consists in 11 chapters, one for each country, with an internal structure of fixed topics, but with new additions every year. The sections that compound each chapter are the following: 1) Country’s audiovisual context: this section presents general information about the audiovisual sector regarding the production of television fiction, such as history, trends and relevant events. 2) Analysis of premiere fictions: it is made through quantitative tables that show specific data about national and Ibero-American TV fictions released in each country. In this section the ten most watched titles of the year are highlighted. Since 2017, the Yearbook also brings the five most watched national productions of the year in an effort to enhance and deepen the issue of national identities in each country. 3) Transmedia reception: this section presents and exemplifies what channels offer to the audience fiction on the internet, as well the description of the audience’s behavior when watching, consuming and interacting with their fictions through websites, social networks and other platforms. 4) Highlights of the year: the most important productions not only in terms of audience (rating), but also for their sociocultural impact and for generating innovation in television fiction production or reception. 5) Theme of the year, which this year is Ibero-American TV fiction on video on demand platforms. This theme converges with the interests of Obitel, which for years has been following the trajectory of Ibero-American television fiction by rapidly changing scenarios. Multiple screens, transmissions, new formats, pay TV, UGC, among other topics, have been monitored and analyzed theoretically by each Obitel country research group. In this Yearbook, the proposal is to discuss production on video on demand platforms (VoD), addressing new forms of distribution and consumption. The objective was to verify the panorama of VoD production and consumption in the Obitel countries and the presence of national fiction on these platforms. In order to do so, we attempted to identify the reconfigurations that are occurring in the television scenario of each country in the face of new platforms of production, distribution and audiovisual consumption. Such reconfigurations take place from production to reception, from narrative forms to business models, to debates on legislation and regulation." (Pages 21-22)
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"This article considers the impact of online distribution on the long-term availability and preservation of African cinema. It examines the case of Electronic Media Network’s (M-Net) African Film Library (AFL), a video-on-demand (VOD) library of classic African films that was launched in 2012, but
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taken offline by 2013. The article argues that this short-lived project represents a pivotal moment in the way we think about African film archiving and distribution, in which new technologies and consequently disintermediated business models promised to facilitate the circulation of African films in a manner that was socially beneficial, but which in reality resulted in monopolistic control of the content that presented a serious threat to its long-term preservation. The article goes on to argue that the AFL case encapsulates the entire discourse surrounding the shift to online distribution, in which a ‘cybertopian’ narrative of a disintermediated and thus democratized film culture quickly gives way to a reality in which content is more tightly controlled by an increasingly narrow and powerful set of private stakeholders, ultimately threatening the preservation of any content that is vulnerable to the shifting demands of the market." (Abstract)
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"Pretty Liar" explores the rise of language and gender politics on Lebanese television to tell the untold story of the co-evolution of Lebanese television and its audiences and how the civil war of 1975-1991 affected that co-evolution. The shift in public interest in television has been widely ackno
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wledged and interpreted within an institutional context as a victory of the neo-liberal entrepreneurship of a new, agile brand over the government inefficiency of Lebanon's national station, Télé Liban. Yet, the role of the Lebanese Civil War in reshaping national television and broadcasting in Arab media following the emergence of the Lebanese Broadcasting Company in 1985 has been unexplored. Based on empirical data and grounded in theory by Arab and global researchers, "Pretty Liar" offers textual analyses of five Lebanese fictional series, three major and several additional periodicals, and nine literary works, and provides context from unscripted interviews with television administrators, anchors, actors, and freelance contributors, print journalists, and audience members. Khazaal seeks to offer new insight into how entertainment television became a site for politics and political resistance, feminism, and the cradle for post-war Lebanon due to the shift in practices and standards of legitimacy." (Publisher description)
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"Das Ziel dieses Artikels ist es: 1) den Kontext der Einführung des Kinos in Kamerun zu beschreiben und 2) die Produktion und Nutzung deutscher Kinofilme in Kamerun zu erfassen und zu analysieren. Wir werden uns insbesondere mit der Frage der Entstehung des Kinos in Kamerun während der deutschen K
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olonialzeit beschäftigen und mit seinen Pionieren." (Seite 1)
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"The overall aim of the workshop was to promote discussion among the archives on their respective practices, to reflect on the practice of interviewing with the involved historians and, last but not least, to find ways to make better use of the interviews available in the archives [...] The first pa
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rt of this reader contains the self-portrayals of the archives involved in the network and presentations of their contemporary witness projects, while the second part features reports from the historians on their practice, including reflections on their approaches. The appendix contains detailed overviews of the archived interviews of contemporary witnesses. Together with the texts, they are intended to give an impression of the interesting interviews that can already be found in the Ecology Archives and to arouse curiosity about their scientific use." (Editorial, page 4)
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"Religion, Media, and Marginality in Modern Africa is one of the first volumes to put new media and old media into significant conversation with one another, and also offers a rare comparison between Christianity and Islam in Africa. The contributors find many previously unacknowledged correspondenc
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es among different media and between the two faiths. In the process they challenge the technological determinism-the notion that certain types of media generate particular forms of religious expression-that haunts many studies. In evaluating how media usage and religious commitment intersect in the social, cultural, and political landscapes of modern Africa, this collection will contribute to the development of new paradigms for media and religious studies." (Publisher description)
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"The informal practices revealed in this book include emotion-driven exchanges (from gifts or favours to tribute for services), values-based practices of solidarity and belonging enacting multiple identities, interest-driven know-how (from informal welfare to informal employment and entrepreneurship
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, often not seen or appreciated as expertise), and power-driven forms of co-optation and control. The paradox – or not – of the invisibility of these informal practices is their ubiquity. Expertly practised by insiders but often hidden from outsiders, informal practices are, as this book shows, deeply rooted all over the world. Fostering informal ties with ‘godfathers’ in Montenegro, ‘dear brothers’ in Finland and ‘little cousins’ in Switzerland – known locally as kumstvo, Hyvä veli, and Vetterliwirtschaft – as well as Klüngel (solidarity) in Cologne, Germany, compadrazgo (reciprocity) in Chile, or blat (networks of favours) in Russia, can make a world of difference to your well-being. Yet just like family relations, social ties not only enable but also limit individual decisions, behaviour and rights, as is revealed in the entries on janteloven (aversion to individuality) in Denmark, Norway and Sweden, or krugovaia poruka (joint responsibility) in Russia and Europe. The Global Informality Project (GIP) assembles pioneering research into the grey areas of informality, known yet unarticulated, enabling yet constraining, moral to ‘us’ yet immoral to ‘them’, divisive and hard to measure or integrate into policy. While typically unmentioned in official discourse, these practices are deeply woven into the fabric of society and are as pervasive as the usage of the terms, or language games, associated with them: pulling strings in the UK, red envelopes in China, pot du vin in France, l’argent du carburant paid to customs officials in sub-Saharan Africa, coffee money (duit kopi) paid to traffic policemen in Malaysia, and many others (Blundo, Olivier de Sardan, 2007: 132). While they may be taken for granted and familiar, such practices can also be uncomfortable to discuss and difficult to study." (Preface, page vii-viii)
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"The study is divided into five chapters. Chapter one begins with the biography of the principal author of our study, Marshall McLuhan. It discusses those who influenced him and presents his methodology of writing. Chapter two consist of two parts. The first part explains his key concepts while the
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second part deals with the three communication ages. Chapter three focuses on McLuhan’s nineteen predictions about the media in the digital age. Chapter four presents how three communication scholars interpret McLuhan today and make a thematic synthesis of their opinions. Chapter five dwells on the critical appraisal of McLuhan and presents the clarifications by two scholars – Logan and Grosswiler." (Introduction, page 12)
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"Increasing number of reports, initiatives and efforts are focused on addressing women’s ability to enjoy universal, acceptable, affordable, unconditional, open, meaningful and/or equal access to information, the internet and ICTs. These include, but are not limited to, the recent work of civil so
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ciety organisations, research institutions, various private sector organisations and intergovernmental organisations. There is also a widely acknowledged need for more gender-disaggregated data to accurately measure “gender digital divides”. But there also needs to be more locally relevant data (as opposed to aggregated data at a global level) to better understand underlying local factors and circumstances that hinder women of specifc regions in the global South from accessing and using ICTs, the internet and/or information. But why access is important perhaps also needs to be interrogated from a feminist perspective, which entails not taking for granted that access to ICTs is necessarily a positive and empowering development. What is also relevant is to view the dynamics of race, caste, region (urban-rural), ableism, age and other factors, in relation to gender and access." (Conclusion, page 98)
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