"En moins de vingt ans, l'édition en sciences humaines et sociales a été considérablement bouleversée. Tout a été réinventé : le marché du livre s'est transformé, le cadre légal a été radicalement modifié, la publication et la lecture en ligne ont connu un formidable essor, l'écritur
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e même des sciences humaines s'est métamorphosée. Face à ces révolutions intellectuelles, techniques et socioéconomiques d'une ampleur inégalée, en faisant dialoguer éditeurs privés et publics, économistes, documentalistes, libraires, juristes, traducteurs, chercheurs, cet ouvrage collectif offre à celles et ceux qui se préoccupent du destin de l'édition en sciences humaines et sociales un premier bilan, à la fois clair et lucide, des changements survenus depuis le début du XXIe siècle." (Description de la maison d'édition)
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"Central Asia has been generally omitted from most academic debates, including those on the causes and consequences of widespread plagiarism and copy-and-paste behaviour among journalists. In this article I address this problem by interviewing working journalists from Kazakhstan, Kyrgyzstan, Tajikis
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tan and Uzbekistan. The article argues that plagiarism in journalism is not only thriving but also encouraged by a variety of mechanisms, such as the distribution of “ready-to-publish” media content by government press secretaries and encouragement for journalists to simply “add your name” to these materials. It finds that some journalists are proud of the fact that others plagiarise their work, saying “it indicates we are doing a superior job”, which in turn encourages further copyright breaches within the profession. This is significant, because students and early career journalists may witness such practices and conclude that plagiarism is a norm and that is how it should be, thus creating a false “model of excellence” for future journalists and the public. The results are also discussed in relation to agenda-setting theory, whereby governments predominantly control media outlets. In such a context, the public may end up only having access to news that is subsidised and approved by their governments." (Abstract)
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"[Este libro] presenta ocho capítulos que se muestran críticos frente a las posibilidades y promesas de la cultura digital, denunciando que la red ha reproducido las formas de desigualdad del mundo analógico. Los autores proponen una reflexión crítica frente a ciertos discursos que se presentan
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como democráticos y subversivos en la sociedad del e-conocimiento, pero que esconden en su funcionamiento retazos de la tiranía monopolizadora neocapitalista que ha encontrado en el ciberespacio un nuevo lugar de colonización y explotación. Muestran una visión crítica, política e ideológica desde el ámbito latinoamericano, una visión un tanto tecnopesimista en ocasiones, pero muy necesaria en el siglo xxi." (Prólogo, página 10)
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"Digital Middle East sheds a critical light on continuing changes that are closely intertwined with the adoption of information and communication technologies in the MENA region. Drawing on case studies from throughout the Middle East, the contributors explore how these digital transformations are p
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laying out in the social, cultural, political, and economic spheres, exposing the various disjunctions and discordances that have marked the advent of the digital Middle East." (Publisher description)
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"The book brings together experts from Media and Communication Studies with Postcolonial Studies scholars to illustrate how the two fields may challenge and enrich each other. Its essays introduce readers to selected topics including »Media Convergence«, »Transcultural Subjectivity«, »Hegemony
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, »Piracy« and »Media History and Colonialism«. Drawing on examples from film, literature, music, TV and the internet, the contributors investigate the transnational dimensions in today's media, engage with local and global media politics and discuss media outlets as economic agents, thus illustrating mechanisms of power in postcolonial and neo-colonial mediascapes." (Publisher description)
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"This book addresses the persistence of the optical media piracy trade in the Philippines and Vietnam. It goes beyond arguments of defective law enforcement and copyright legal systems by applying sociological perspectives to examine the socio-economic forces behind the advent of piracy in the regio
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n. Using documentary and ethnographic data, in addition to resistance and ecological theories in sociology of law and technology as the overall theoretical framework, the book investigates factors that contribute to this phenomenon and factors that impede the full formalization of the optical media trade in the two countries. These factors include the government's attitude towards the informal sector and strong resistance to tougher IPR protection, unstable and sometimes conflicting policies on technologies, burdensome business registration process and weak enforcement of business regulations, bureaucratic corruption and loopholes in law enforcement system as well as trade ties with China. In addition to that, the book highlights the social background of the actors behind the illegal business of counterfeit CDs and DVDs, thereby explaining the reasons they continue to persist in this type of trade. It invites policymakers, law enforcers, advocates of anti-piracy groups, and the general public to use a more holistic lens in understanding the persistence of copyright piracy in developing countries, shifting the blame from the moral defect of the traders to the current problematic copyright policy and enforcement structure, and the difficulty of crafting effective anti-piracy measures in a constantly evolving and advancing technological environment." (Publisher description)
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"Across the global South, new media technologies have brought about new forms of cultural production, distribution and reception. The spread of cassette recorders in the 1970s; the introduction of analogue and digital video formats in the 80s and 90s; the pervasive availability of recycled computer
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hardware; the global dissemination of the internet and mobile phones in the new millennium: all these have revolutionised the access of previously marginalised populations to the cultural flows of global modernity. Yet this access also engenders a pirate occupation of the modern: it ducks and deranges the globalised designs of property, capitalism and personhood set by the North. Positioning itself against Eurocentric critiques by corporate lobbies, libertarian readings or classical Marxist interventions, this volume offers a profound postcolonial revaluation of the social, epistemic and aesthetic workings of piracy. It projects how postcolonial piracy persistently negotiates different trajectories of property and self at the crossroads of the global and the local." (Publisher description)
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"The very rapid growth in the Indian media industries and the vibrancy of India's popular culture are making a working understanding of the Indian scene a prerequisite for any serious study of media in the twenty-first century. As one of the largest and most influential emerging economies in the wor
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ld today, India now plays a crucial role in any serious discussion of social and economic change taking place at the global level. As new commercial and political alignments take shape in the face of new global circumstances, thinkers and decision-makers are inexorably drawn towards the reality of a new India being forged in the technological and cultural flux of global media flows. Taking an innovative interdisciplinary approach to the complex field of Indian media and society, this book combines a rich descriptive account with critical analysis designed to engender informed debate amongst students, academics and other researchers." (Back cover)
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Souvent considéré comme une activité des plus nuisibles, le piratage des contenus audiovisuels n’en constitue pas moins, depuis des décennies, pour de nombreuses populations aux quatre coins du monde, un moyen majeur d’accéder aux produits des industries culturelles. Nourri d’enquêtes de
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terrain, cet ouvrage explore les enjeux que recèle ce phénomène complexe. Le point de vue adopté est multiple et international. Alors que le piratage est généralement pensé exclusivement à partir de la question du téléchargement sans paiement des droits en Amérique du Nord ou en Europe occidentale, il est ici appréhendé dans toute la variété de ses manifestations, en privilégiant les pays du Sud et de l’Est : des marchands de CDs et DVDs contrefaits de Bogotá ou Alger, jusqu’aux politiques de défense des droits de propriété artistique de Washington ou Séoul, en passant par les pratiques des adeptes moscovites des réseaux peer-to-peer.
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"This publication is the first independent, large-scale study of music, film and software piracy in the developing world, with a focus on Brazil, India, Russia, South Africa, Mexico and Bolivia. Based on three years of work by some thirty-five researchers, the study tells two overarching stories: on
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e tracing the explosive growth of piracy as digital technologies became cheap and ubiquitous around the world, and another following the growth of industry lobbies that have reshaped laws and law enforcement around copyright protection. The report argues that enforcement efforts have largely failed, and that the problem of piracy is better addressed as a failure of affordable access to media in legal markets." (Back cover)
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"Stealing Empire poses the question, "What possibilities for agency exist in the age of corporate globalisation?" Using the work of Antonio Negri and Michael Hardt as a point of entry, Adam Haupt delves into varied terrain to locate answers in this ground-breaking inquiry. He explores arguments abou
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t copyright via peer-to-peer (P2P) platforms such as Napster, free speech struggles, debates about access to information and open content licenses, and develops a politically incisive analysis of counterdiscourses produced by South African hip-hop artists. From empire stealing through their commodification of countercultures to the stealing empire activities of file-sharers, culture jammers and hip-hop activists, this book tells the story of people defining themselves as active, creative agents in a consumerist society." (Publisher description)
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"In this groundbreaking work, Brian Larkin provides a history and ethnography of media in Nigeria, asking what media theory looks like when Nigeria rather than a European nation or the United States is taken as the starting point. Concentrating on the Muslim city of Kano in the north of Nigeria, Lar
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kin charts how the material qualities of technologies and the cultural ambitions they represent feed into the everyday experiences of urban Nigeria. Media technologies were introduced to Nigeria by colonial regimes as part of an attempt to shape political subjects and create modern, urban Africans. Larkin considers the introduction of media along with electric plants and railroads as part of the wider infrastructural project of colonial and postcolonial urbanism. Focusing on radio networks, mobile cinema units, and the building of cinema theaters, he argues that what media come to be in Kano is the outcome of technology's encounter with the social formations of northern Nigeria and with norms shaped by colonialism, postcolonial nationalism, and Islam. Larkin examines how media technologies produce the modes of leisure and cultural forms of urban Africa by analyzing the circulation of Hindi films to Muslim Nigeria, the leisure practices of Hausa cinemagoers in Kano, and the dynamic emergence of Nigerian video films. His analysis highlights the diverse, unexpected media forms and practices that thrive in urban Africa." (Publisher description)
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"This unique dossier was assembled by the activist Copy South Research Group, a loosely-affiliated group of researchers based in a number of countries across the South and the North who seek to research the inner workings of the global copyright system and its effects on the Global South. The dossie
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r contains more than 50 articles examining many dimensions of the issue of copyright across the Global South, such as access, culture, economics, libraries, education, software, the Internet, the public domain, and resistance. The dossier is addressed to readers who want to learn more about the global role of copyright and, in particular, its sometimes negative role in the Global South. The articles critically analyze and assess a wide range of copyright-related issues that impact on the daily lives, and future lives, of those who live in the countries of the South. It aims to do so in a manner which the editors hope will bring these questions ‘alive’, show the direct human stakes of the many debates, “and make the issues accessible to those who want to go beyond the platitudes, half-truths, and serious distortions that often plague discussions of this topic." (Hans M. Zell, Publishing, Books & Reading in Sub-Saharan Africa, 3d ed. 2008, nr. 1815)
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"Lawrence Lessig shows us that while new technologies always lead to new laws, never before have the big cultural monopolists used the fear created by new technologies, specifically the Internet, to shrink the public domain of ideas, even as the same corporations use the same technologies to control
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more and more what we can and can do with culture. As more and more culture becomes digitized, more and more becomes controllable, even as laws are being toughened at the behest of the big media groups. Whats at stake is our freedom freedom to create, freedom to build, and ultimately, freedom to imagine." (Publisher description)
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