"Our project used video as a tool for enabling two Indigenous Mapuche communities in Chile, and particularly their youth, to approach and analyze local development issues and bring local perspectives to the forefront of debates on biocultural diversity conservation and equitable development. The pro
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ject brought together Canadian and Mapuche research, cultural, and Indigenous organizations using an approach that breaks down disciplinary boundaries and the hierarchies that often separate Western science from Indigenous expertise, while emphasizing co-learning and the co-production and sharing of knowledge. The project had three major activity components: 1) The Mapuche School of Filmmaking and Communication offered intensive training in digital filmmaking to Mapuche youth. This training created a space for youth to explore and analyze the challenges faced by their communities, providing them the skills to represent these through short films that meet high technical and artistic standards. Youth became knowledge collectors, interpreters, and communicators, appropriating new ICTs while rooting their films in Indigenous ways of knowing and communicating, such as storytelling and conversation with Elders. The films produced are compiled as an educational tool for the promotion of biocultural diversity. 2) Collaborative research about territory, carried out by Mapuche researchers in coordination with the Canadian team, aims at restructuring existing knowledge about the geographical, social, and cultural elements of the Lake Budi territory. Information shared by traditional knowledge holders is systematized in audiovisual and written formats. 3) Indigenous youth from Chile and Québec shared videos through an online platform, creating new knowledge through co-learning, analysis of shared challenges, and intercultural exchange." (Abstract)
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"This paper attempts to appraise African filmmaking and the content of African films from a Nigerian film audience perspective. The study specifically explores the disposition of the audience towards contemporary African filmmaking for home video and cinema entertainment as well as the content of Af
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rican films. The study used a qualitative questionnaire to determine the perspectives of residents in Lagos as members of the Nigerian film audience. The study found the perception of the content of contemporary African films, particularly home videos, to vary among the film audience. Opinion largely favoured a new orientation towards a de-emphasis on obscene scenes, rituals, fetish practices, violent crimes and display of partial or total nudity in the content of African films. The study, therefore, recommends that regulatory bodies set up in most African countries, such as the Nigerian Film and Video Censors Board, should own up to their responsibilities in terms of ensuring strict compliance of African film makers or producers with rules and regulations guiding film production, content of films and exposure guidelines." (Abstract)
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"En 1953, el cineasta boliviano Jorge Ruiz realizó el documental 'Vuelve Sebastiana' con la ayuda de Augusto Roca, Chovel, conocido como 'Pajarito' y el guión de Luis Ramiro Beltrán. Este libro es un homenaje a aquella aventura y especialmente a Sebastiana Kespi, su protagonista, y al admirado y
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valeroso pueblo Chipaya." (Página 11)
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"Web 2.0 for development (Web2forDev) is a way of employing web services to intentionally improve information-sharing and collaborative production of content for development. It is about how development actors can relate and connect to other stakeholders, produce and publish their own material, deci
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de on levels of access to information and redistribute pieces of content released by others. This publication, a result of the Web2forDev conference at the FAO headquarters in Rome in 2007, shares learning and reflections from practice and considers the ways forward for using Web 2forDev. Eight case studies are presented and discussed. For instance, one interesting experience is the Kenyan website 'Ushahidi' (meaning 'witness' in Kiswahili) as an example of 'crowdsourcing' crisis information: people who witness acts of violence report the incidents they have seen, the incidents are placed on a map-based view on the website for others to see and in most cases are verified by local groups working on the ground. At the post-election violence in Kenya in early January 2008, local radio stations used Ushahidi as an information source. It is also expected to serve in other countries as a tool from early conflict warning to tracking a crisis situation as it evolves. A practical section called "tips for trainers" provides descriptions and links to further information ("where to get started") on blogging, twitter, wikis, social networking, RSS feeds, tagging and social bookmarking. In addition, various articles discuss lessons learnt and challenges identified." (CAMECO Update 4-2009)
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"The article examines the notion of development as self-determination in the context of current politicisation of indigenous peoples’ affairs. It looks at the links between development studies, indigenous social movements, and community media practices; and more specifically between specific views
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on development, self-determination, and identity, and how these terms become embodied in specific media-making (video) practices. The article summarises two case studies of indigenous media production in a transnational context: the UNESCO-funded project Information and Communications Technologies for Intercultural Dialogue: Developing Communication Capacities of Indigenous People (ICT4ID), and the emergence and consolidation of CLACPI, a network of indigenous media producers in Latin America." (Abstract)
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"Whether discussing Maori cinema in New Zealand or activist community radio in Colombia, the contributors describe how native peoples use both traditional and new media to combat discrimination, advocate for resources and rights, and preserve their cultures, languages, and aesthetic traditions. By r
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epresenting themselves in a variety of media, Indigenous peoples are also challenging misleading mainstream and official state narratives, forging international solidarity movements, and bringing human rights violations to international attention. Global Indigenous Media addresses Indigenous self-representation across many media forms, including feature film, documentary, animation, video art, television and radio, the Internet, digital archiving, and journalism. The volume's sixteen essays reflect the dynamism of Indigenous media-making around the world. One contributor examines animated films for children produced by Indigenous-owned companies in the United States and Canada. Another explains how Indigenous media producers in Burma (Myanmar) work with NGOs and outsiders against the country's brutal regime. Still another considers how the Ticuna Indians of Brazil are positioning themselves in relation to the international community as they collaborate in creating a CD-ROM about Ticuna knowledge and rituals. In the volume's closing essay, Faye Ginsburg points out some of the problematic assumptions about globalization, media, and culture underlying the term "digital age" and claims that the age has arrived. Together the essays reveal the crucial role of Indigenous media in contemporary media at every level: local, regional, national, and international." (Back cover)
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"Girlfriend als Teil des afrikanischen Videobooms zeigt, dass die Produktion von Filmen im Videoformat eine Möglichkeit für tansanische Regisseure ist, Filme mit ihren eigenen Themen in ihrer eigenen Sprache für den ostafrikanischen Markt gewinnbringend zu vermarkten. Die Swahili-Videofilme sind
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Teil einer populären Kultur Ost-, wie Westafrikas, die ihre eigenen ästhetischen Maßstäbe setzt. Die in Girlfriend sprachlich artikulierten Themen umfassen sowohl populäre Themen wie die Hip-Hop Kultur, als auch für Tansania eher traditionelle Themen, wie die Probleme des Lebens in der Stadt sowie zwischenmenschliche Konflikte. Der Film gewährt Einblicke in die Heterogenität der Menschen Dar es Salaams, insbesondere in die verschiedenen sozialen Gruppen, wie die der Jugendlichen der Hip-Hop-Szene, der Bürgerlichen, der schicken Akademiker und der einfachen ärmlichen Immigranten aus den ländlichen Gegenden Tansanias. Diese Figuren sind im Film besonders durch ihre sprachlichen Merkmale charakterisiert, die entweder von dem Regisseur oder Autor geplant wurden oder die von den für diese Rollen ausgewählten Darsteller automatisch mitgebracht wurden. Girlfriend ist durch seine Verwendung mehrerer Sprachvarietäten ausgezeichnet und zeigt, welch wichtige Rolle die Sprache und der Dialog in tansanischen Filmen spielt. Die Sprachvarietäten Englisch, Swahili, Kiswahili cha Mitaani und Swahili-Englisch Codeswitching dienen der Einordnung der Figuren in soziale Gruppen und charakterisieren die Figuren des Films." (Zusammenfassung S. 84-85)
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"This book looks at the political economy of communication and information, media in development and social change, media theory and practice, international communication technology and communication values and ethics." (Publisher description)