"The essays explore the role and function of image making to highlight the ways in which the images "speak" and what visual languages mean for the construction of Islamic subjectivities, the distribution of power, and the formation of identity and belonging. Visual Culture in the Modern Middle East
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addresses aspects of the visual in the Islamic world, including the presentation of Islam on television; on the internet and other digital media; in banners, posters, murals, and graffiti; and in the satirical press, cartoons, and children's books." (Publisher description)
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"The article analyses the turnaround in guidelines occurring in public policies for culture in Brazil. This is placed in the context of the transition from the government of Luiz Inácio Lula da Silva to the Dilma Rousseff administration, including the end of the cycle of shared leadership between M
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inisters Gilberto Gil (2003-8) and Juca Ferreira (2008-10) and the beginning of Ana de Hollanda's administration of the Ministry of Culture. The analysis starts with evaluation of the inaugural speeches of Ministers Gil and Ana de Hollanda as moments for the enunciation of their differing strategic perspectives. It focuses on the consequences of their contrasting views in three spheres: (1) creative economy; (2) copyright; (3) the Alive Culture program. The article concludes that, in a continuing government program, Brazil is undergoing a reversal of cultural policy with large-scale implications." (Abstract)
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"This book is the first to present an organized study of the key concepts that underlie and motivate the field of creative industries. Written by a world-leading team of experts, it presents readers with compact accounts of the history of terms, the debates and tensions associated with their usage,
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and examples of how they apply to the creative industries around the world." (Publisher description)
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"Proposing the novel concept of the "literary NGO," this study combines interviews with contemporary East African writers with an analysis of their professional activities and the cultural funding sector to make an original contribution to African literary criticism and cultural studies." (Publisher
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description)
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"A diario, los medios de comunicación difunden una parte de la multiplicidad de prácticas, experiencias y expresiones artÃsticas, urbanas, populares, rurales y masivas de la sociedad. De esa manera, se reafirman como una "institución paradigmática" (Thompson, 1998), con poder para construir una
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realidad y producir sentidos, a base de las versiones o representaciones que dan sobre los acontecimientos y que se muestran como noticias. Esta investigación, que nace como un aporte entre el CIESPAL y el Ministerio Coordinador de Patrimonio, analiza la construcción de la noticia cultural para, a partir de ella, entender cómo los medios de comunicación del paÃs producen determinadas representaciones sobre cultura. EspecÃficamente, este trabajo centra su exploración en una muestra de periódicos y de telediarios, de Quito y Guayaquil, que está difundiendo información cultural cotidiana." (Descripción de la casa editorial)
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"Este es un ensayo tentativo, exploratorio, que quiere proponer de manera asequible algunas rutas de exploración de las consecuencias que la presencia de la Internet, las distintas tecnologÃas de información y comunicación y en general las nuevas formas de comunicación, plantean a las personas
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y a las sociedades. No es un ejercicio académico mayor, sino una aproximación algo populista, que espera motivar una conversación más amplia y, al mismo tiempo, más intensa, sobre los temas aquà discutidos [...] Algunas partes de este libro se basan en entradas de mi blog (evillan.blogspot.com), o han sido escritas para proyectos no realizados." (Prefacio, página 9)
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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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"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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"Ce livre présente un répertoire de vingt-six concepts qui décrivent de manière synthetique les enjeux théoriques et critiques autour de la création hypermédiatique, plus spécifiquement les oeuvres artistiques et littéraires conçues pour une diffusion sur Internet. Il accompagne une exposi
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tion virtuelle du même nom, produite et diffusée par le Laboratoire NT2 de l'UQAM." (Introduction)
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"The aim of this book is to explore digital media and intercultural interaction at an arts college in Tanzania through innovative forms of ethnographic representation. The book and the series website weave together visual and aural narratives, interviews and observations, life stories and video docu
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mentaries, art performances and productions. It paints a vivid portrayal of everyday life in East Africa's only institute for practical art training, while tracing the rich cultural history of a state that has mixed tribalism, nationalism, Pan-Africanism, and cosmopolitanism in astonishingly creative ways. While following the anthropological tradition of thick description, Digital Drama employs a more artistic and accessible style of writing. Dramatic, ethnographic details are interspersed with theoretical reflections and postulations to explain and make sense of the unfolding narratives. The accompanying Web site visualizes and sensualizes the stories narrated in the book, unfolding a dramatic world of African dance, music, theater, and digital culture." (Back cover)
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"For Palestine's diaspora and exiled communities, the internet has become an important medium for the formation of Palestinian national and transnational identity. Miriyam Aouragh looks at the internet as both a space and an instrument for linking Palestinian diasporas in Palestine, Jordan and Leban
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on. She closely examines the uses and limits of internet technology under conditions of war, along with the ways in which virtual participation enables the generation of new ideals for political reconciliation and self-determination. Through the internet, participants reconstruct a virtual 'Palestinian homeland', gain a space for recovering the past, for overcoming issues of mobility, and for generating social change. This book provides a new angle on those affected by the Israeli-Palestine conflict, and furthers understanding about the connection between electronic media, politics and national identity more widely." (Publisher description)
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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 etnografÃa propone algunas claves de lectura para la nueva dirección que el cine de Bollywood está tomando en Perú." (Página 133)
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"Based on the study estimates, the total contribution of CBIs to the Bhutanese economy in 2008 was 5.5% of GDP or Nu.3,009 million; 10.1% of total employment or 25,215 persons; 4.0% of total exports or Nu. 912.4 million; 6.9% of total imports or Nu.1,604.8 million. The contribution of CBIs to GDP wa
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s only Nu. 648.8 million or 2.8% in 2001, but it increased almost fivefold by 2008. In other words, CBIs grew at a rapid pace of about 21.3% per annum, outperforming the national economy, which grew at 9.0% during the period. Interestingly, each of four CBI groups surpassed the national growth rate during this period. The core and interdependent CBIs grew the fastest at 123% per annum, followed by the non-dedicated support industries at 14.5%. The high rate of growth of core CBIs during this period is due to the low base of growth. Prior to the year 2000, the main core CBIs such as printing press, literature, films, TV and cable TV, IT and IT-enabled services hardly existed. Their significant growth took place only after the year 2000. Given the unique structure of the Bhutanese economy and the differing growth among CBI groups, the partial CBIs are relatively more significant in Bhutan. The core and partial CBIs accounted for an overwhelming 75% of the total CBI share of GDP in 2008. This is because many of the core and partial CBIs flourished due to economic liberalisation, which became more systemic, especially after 2005. This is also due to the promotion of cultural tourism. The core CBIs accounted for about 34%, partial contributed 41%, non-dedicated support industries accounted for 14%, and the interdependent CBIs 11% of the total value added of CBIs. The relatively small share of the interdependent CBIs is due to the weak manufacturing base in Bhutan." (Executive summary, page 5-6)
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