"This edited collection aims to document the effects of Covid-19 on film festivals and to theorize film festivals in the age of social distancing. To some extent, this crisis begs us to consider what happens when festivals can't happen; while films have found new (temporary) channels of distribution
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(most often in the forms of digital releases), the festival format appears particularly vulnerable in pandemic times. Imperfect measures, such as the move to a digital format, cannot recapture the communal experience at the very core of festivals. Given the global nature of the pandemic and the diversity of the festival phenomenon, this book features a wide range of case studies and analytical frameworks. With contributors including established scholars and frontline festival workers, the book is conceived as both a theoretical endeavour and a practical exploration of festival organizing in pandemic times." (Publisher description)
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"This book places television in Africa in the digital context. It addresses the onslaught of multimedia platforms, digital migration and implication of this technology for society. The discussions in the chapters contained in this book encompass a wide range of issues such as digital disruption of t
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elevision news, internet television and video on demand platforms, adaptations, digital migration, business strategies and management approaches, PBS, consumption patterns, scheduling and programming, evangelical television, and many others." (Publisher description)
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"Tracing the history of Africa's relationship to film festivals and exploring the festivals' impact on the various types of people who attend festivals (the festival experts, the ordinary festival audiences, and the filmmakers), Dovey reveals what
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turns something called a "festival" into a "festival experience" for these groups." (Publisher description)
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"This special issue aims to contribute to African film scholarship, popular culture studies, and broader cultural studies in four ways. First, the issue is one of the first publications to bring together scholars of African Cinema and scholars of African video film so as to encourage conversation an
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d debate about the iconography, themes, histories, and production, distribution and exhibition contexts of African screen media (my term of preference for African audiovisual productions). Next, in specifically exploring the themes of pleasure, politics, and performance in African film and video, the issue emphasizes the dialectical relationship between pleasure and politics, and the fact that – in much African screen media – this relationship is expressed in performative ways. Beyond this, there is a historical dimension to all of the contributions to the issue, which allow for not only an awareness of the prequels and precursors to contemporary African artistic and cultural products, but also a deepening of institutional memory within the field of African screen media scholarship." (Editorial)
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