"While Nollywood, Nigeria’s video industry, is largely separate from dominant global cultural industry networks of production inputs and distribution, it is an industry that is still globally linked in a number of ways. In this article, I investigate the nature and layout of these connections via
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interviews with those populating these networks, from key Nollywood producers to shop owners thousands of miles from Lagos. I conclude that, instead of the formal links of dominant cultural industry networks, these links are mostly via alternative global networks, forged on the flipside of – or the gaps between – the connections that link the Network Society. Some formal international institutions have a presence, but these are largely mediated through Nollywood’s situation in global cultural industry networks. I argue that this renders Nollywood as situated in an alternative media capital, central to alternative networks, while too informal to integrate into dominant networks, and it is from this position that we can best understand Nollywood’s position in global media flows." (Abstract)
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"An study among 1,564 children from Cambodia, Thailand, and the Philippines tested the increase of knowledge among viewers of the Southeast Asian programme "I Got It". Initiated by why the Goethe Institutes in Southeast Asia, this first regional knowledge programme for children was produced in 9 Asi
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an countries (Brunei, Indonesia, Cambodia, Laos, Malaysia, Myanmar, the Philippines, Thailand, and Vietnam). According to the conclusion, "the study shows that children get something out of the programme. They get more out of some episodes than others, but the tendency is clear: knowledge programmes enrich children’s lives, especially if they provide new facts and insights, give visual form to things which are not usually visible, and thereby foster a more complex understanding of familiar things." (commbox)
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"The article presents the main results of the investigation, ‘Current Situation and Prospects of Spanish Cooperation in Culture and Communication with the Rest of Ibero-America, 1997–2007’. The text offers an overview of the initiatives which took place during the period studied, by country, c
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ultural and media sectors, agents involved, and type of activity. Spain’s role in terms of cooperation in culture and communication is analysed, and a reflection on the possibility of building an Ibero-American cultural space appropriate to the new digital scene is also included. Although Ibero-America has traditionally been a privileged geopolitical space for Spanish cooperation policy, this was not developed until well into the new millennium, evolving from simplistic and rhetorical visions based on instrumental conceptions of culture and communication to a gradual recognition of the fact that cooperation is much more than the classical actions of dissemination and promotion of Spanish cultural products." (Abstract)
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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 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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"Postnationalist African cinemas convincingly interrogates the ways in which African narratives locate postcolonial identities and forms beyond essentially nationalist frameworks. It investigates how the emergence of new genres, discourses and representations, all unrelated to an overtly nationalist
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project, influences the formal choices made by contemporary directors. By foregrounding the narrative, generic, discursive, representational and aesthetic structures of films, this book shows how directors are beginning to regard film as a popular form of entertainment rather than political praxis. Tcheuyap investigates filmic genres such as comedy, dance, crime and epic alongside cultural aspects including witchcraft, sexuality, pornography and oracles." (Publisher description)
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"Esta investigación aporta a la comprensión del contexto histórico-social de la construcción del cine documental en Ecuador desde una visión que valora y entiende al cine documental como parte de la cultura visual ecuatoriana, el mundo de las imágenes, su vida social y las representaciones que
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éstas originan. La principal contribución radica en encaminar una comprensión crítica sobre la mirada que el Ecuador, como nación, construye sobre sí mismo, pues, mediante la interpretación de la representación de “lo indígena” se advierte a partir de qué visión están construyendo el mundo los hacedores de éstas imágenes, qué tipo de visión del mundo proponen esas imágenes y qué nociones sobre identidad están siendo discutidas o cuestionadas en este campo." (Editorial)
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"Be they musicals or melodramas, war movies or animation, Russian films have a long and fascinating history of addressing the major social and political events of their time. From Sergei Eisenstein’s anti-tsarist drama, Battleship Potemkin, to socialist realism, to the post-glasnost thematic explo
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sion, this volume explores the socio-political impact of the cinema of Russia and the former Soviet Union. Introductory essays establish key players and situate important genres within their cultural and industrial milieus, while reviews and case studies analyze individual titles in considerable depth." (Back cover)
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"This essay brings together four key elements of Bollywood cinema: 1. the lure of the mythological; 2. the allure of the Muslim courtesan, and Urdu, Bollywood's language of love; 3. the hegemony of melodrama; and 4. the persistence of song and dance." (Page 577)