"Perlas na Silangan – Perle des Ostens – werden die Philippinen genannt. Das gesellschaftspolitische Handbuch, das nunmehr bereits in vierter, vollständig überarbeiteter und aktualisierter Auflage erscheint, liefert einen kompakten Einblick in Geschichte und Gegenwart, Land und Leute. Es verdi
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chtet die Informationen und Diskussionen zu zentralen gesellschaftspolitischen Problemfeldern in zahlreichen Beiträgen – zu Landwirtschaft und Landreform, zu Arbeitsmigration und sozialer Sicherung, zu Bildung, Gesundheit und Gender, Wirtschaft, Politik, Zivilgesellschaft und vielem mehr. Geschrieben von langjährigen PhilippinenkennerInnen skizziert das Buch die Lebenswelten und politischen Kämpfe in einem Land des globalen Südens. Es soll den LeserInnen dabei behilflich sein, eigene Einblicke zu unternehmen beziehungsweise zu vertiefen und neue Erkenntnisse zu gewinnen. Darüber hinaus möchte es bei zahlreichen Menschen Interesse für die Philippinen wecken sowie eventuelle touristische Erfahrungen bereichern." (Verlagsbeschreibung)
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"This book, via an analysis of cinema, provides a discussion on some misunderstandings and assumptions about Algeria, which remains to a large extent underrepresented or misrepresented in the UK media. It is about Algerian national cinema and illuminates the ways in which the official mythologising
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of a national culture at the 'centre' of the postcolonial state has marginalised the diverse identities within the nation. 'Tahia ya didou' occupies a pivotal position between fiction and documentary, capturing the hectic modernization of the Boumediene era while reflecting back on the aftermath of historical trauma. 'La Citadelle presents' gender differences as culturally engrained and patriarchal power as secure. 'Youcef', 'Bab El-Oued City' and 'Rome plutôt que vous' present differing visions of how a Freudian melancholia in the shadow of a crushed revolt might relate to Algerian experience after Black October. 'Lettre à ma soeur' listens to the voices of the subaltern; the film is a sense of re-emergence that follows the initial insurgency of Nabila's activism, the trauma of her killing and the subsequent years of silence and self-imposed incarceration.
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"En las décadas de 1970 y 1980 varias salas limeñas se llenaban de familias que iban a ver las largas y melodramáticas producciones de cine que llegaban desde la India. Hoy esas salas ya no existen, pero eso no impide que la incidencia del cine indio se haya mantenido –dvd piratas mediante– n
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i que este atraiga a nuevos fans. Ya no se trata únicamente de espectadores pasivos: además de mirar y escuchar, muchos jóvenes de origen popular se han decidido a bailar y cantar, imitar y reinventar. Esta breve etnografía propone algunas claves de lectura para la nueva dirección que el cine de Bollywood está tomando en Perú." (Página 133)
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"This anthology aims to portray the “soft” power of Bollywood, which makes it a unique and powerful disseminator of Indian culture and values abroad. The essays in the book examine Bollywood's popularity within and outside South Asia, focusing on its role in international relations and diplomacy
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. In addition to contributions that directly engage with the notion of soft power, a number of essays in the volume testify to the attractiveness of Bollywood cinema for ethnically diverse groups across the world, probe the reasons for its appeal, and explore its audiences' identification with cinematic narratives." (Publisher description)
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"This reckoning of the academic work that has been published on Nigerian and Ghanaian video films does not include theses and dissertations, of which many have been written. I have included as many books on the subject as possible whatever their character, but in order to make the project manageable
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, when dealing with articles I have had to try to maintain various distinctions: between academic and other kinds of writing, between academic publication and web postings of lectures and conference proceedings, and between articles that have the films as a primary focus and those that merely mention them. I thank the friends and colleagues who have corrected some of my omissions, especially Carmen McCain, Sam Kafewo, Osakue Omoera and Matthias Krings, and beg forgiveness for the rest." (Abstract)
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"Arab Cultural Studies: Mapping the Fieldis the first attempt to explore ways of conceptualizing and theorizing the nascent field of Arab Cultural Studies. It reflects and engages in an interdisciplinary discussion on the different facets of Arab cultural studies, including gender, economy, history,
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epistemology, language, method, politics, literary and cultural criticism, institutionalization, popular culture, creativity and much more. The book presents a meta-narrative about how scholars have thus far thought and re-thought the field. It brings together prominent and emerging experts, writing from both Arab and Western academia, to engage with key complex, epistemic and methodological questions and to articulate in the meantime the new kinds of language and hermeneutics necessary for the appropriation of an historically conscious and coherent field of scientific enquiry into contemporary Arab media, culture and society." (Publisher description)
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"It has not been uncommon in the history of Jesus in film for commercial movies of Jesus' life to be conscripted for Christian evangelism around the world. Cecil B. DeMille's The King of Kings (1927), John Krish and Peter Sykes' Jesus (1979), better known today as The Jesus Film, and Mel Gibson's Th
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e Passion of the Christ (2004) are but three notable examples. Each of those movies, however, was first produced in America for American audiences. In the case of Karunamayudu (1978), a Telugu commercial movie of Jesus' life, the target audience was South Indian viewers raised on a steady diet of mythological and social films and immersed in a pluralistic religious environment unlike any Western society at the time. In this essay I explain how and why this film, with its unique production history, was co-opted by evangelicals for Christian witness in India." (Abstract)
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"Teaching Visual Literacy in the Primary Classroom shows how everyday Literacy sessions can be made more exciting, dynamic and effective by using a wide range of media and visual texts in the primary classroom. In addition to a wealth of practical teaching ideas, the book outlines the vital importan
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ce of visual texts and shows how children can enjoy developing essential literacy skills through studying picture books, film, television and comic books. Designed to take account of the renewed Framework for Literacy, each chapter offers a complete guide to teaching this required area of literacy. Aimed at those who want to deliver high quality and stimulating Literacy sessions, each chapter contains a range of detailed practical activities and resources which can be easily implemented into existing Literacy teaching with minimal preparation. In addition, each chapter gives clear, informative yet accessible insights into the theory behind visual literacy." (Publisher description)
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"Bongo Flava is a Tanzanian category of contemporary urban youth music related to four simultaneous developments: democratization, privatization, globalization and media digitalization. Stylistically, it comprises Hiphop and R&B as well as other styles which have been appropriated by local artists w
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ho rap or sing mostly in Swahili. This article explores this cultural phenomenon in the context of social upward mobility. From its very beginning, Bongo Flava has been regarded as a mouthpiece for the youth and the ordinary people. At the same time it has always been seen as a means to escape poverty and to achieve a better life. The narrative of the meteoric rise is derived from American Hip Hop imagination, as well as from local success stories. However, there are many players in the field of Bongo Flava with whom the aspiring artists have to cope. These include studios, producers, distributors, radio presenters, the press, the audience etc., but also their fellow artists from other crews and formations. This article looks at the social side of Bongo Flava, the bonds that are built, developed, or, eventually, broken up, as well as larger networks that exist between the artists and other players in the field, and the ways the artists use them for their goal of making their way up. It also examines how the artists cope with difficulties such as corruption, jealousy and greed in their social lives. It is argued that the experience acquired in the field of Bongo Flava can be seen as a form of capital that can be employed for other purposes too. This includes experiences with studios, the media, as well as stage experience and selfpromotion. However, it is also shown that gatekeepers in the radio and TV have a strong influence on artists' success, often disadvantaging the career path of independent artists, at least those with little financial resources. The study is based on field research in Tanzania from 2001 to 2011." (Abstract)
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"While the scholarship on communication theory has evolved over many years in Africa it is still work in progress. This discourse has been anchored in society's cultural milieu. The import of this is that the debate has evolved without incorporating the realities of Africa. Consequently, theories of
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communication and of the mass media are an ill fit on the continent. As communication scholarship in Africa matures, it requires examining how the realities of the continent can contribute to the development of a theory that best matches this environment. Some of these realities include the evolution of African governance, its culture, and the progression of communication as a discipline. While this article does not make the leap to propose what such a theory would look like, it seeks to raise some of these realities as a starting point for further discussion." (Abstract)
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