"Herausgegeben aus Anlaß der gleichnamigen Retrospektive zur 31. Internationalen Leipziger Dokumentar- und Kurzfilmwoche." (Seite 2)
"A volume of essays on government and international agency policies regarding the provision of textbooks in developing countries, analysing problems and constraints, and examining the economic, social, and pedagogic questions involved in textbook writing for both primary and secondary schools and fo
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r tertiary education. The second part of the book considers the content of textbooks and the influence of textbooks in classroom practice, with examples from texts to show how they relate to the life of the audiences for whom they are written, and the relationship between textbook content and state policies or ideology." (Hans M. Zell, Publishing, Books & Reading in Sub-Saharan Africa, 3d ed. 2008, nr. 209)
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"We analyze India's experience with 'Hum Log', the first indigenous soap opera on Doordarshan, the government national television network in India. This television series was patterned after previous experiences with soap operas for development in Mexico. 'Hum Log' was immensely popular with both it
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s audience and its advertisers during the 17 months of its broadcast in 1984-85. 'Hum Log's' very high ratings (up to 90 in North India) contributed to (1) a proliferation of domestically-produced television serials on Indian television, (2) increased commercialization of the Indian television industry, and (3) a shift of talent from the Bombay movie industry into television production. Prospects for pro-development television soap operas in other Third World countries, drawing on the Indian experience, seem promising." (Introduction)
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"Many of the essays in this volume seek to interpret traditional Asian approaches to communication in the light of modern Western concepts. At one level, this might appear to compromise the integrity of the Asian approaches. However, it needs to be stressed that this is a calculated strategy on the
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part of the authors. The objective of the rediscovery of this terrain of Asian approaches to communication is to revitalize and expand the field of communication by drawing on these rich resources. In order to do this, one must first gain legitimacy for these approaches in the eyes of Western and Western-trained Asian communication scholars. It is for this reason that many of the authors in this volume have thought it fit to explicate Asian approaches in relation to Western concepts. This book, which addresses itself to the task of rediscovering a terrain for communication theory, consists of 13 essays. The opening essay argues for the compelling need to study Asian approaches to communication. It does this by pointing out how Asian approaches to the study of communication can supplement, enrich, and challenge Western approaches. It points out that the Asian approaches should no longer be ignored as they can prove to be extremely productive in widening the discourse of communication metatheory." (Introduction, page xii)
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"Twenty-eight experts examine broadcasting in 24 countries in this essay handbook. John Lent takes on Cuba and India; Benno Signitzer and Kurt Luger look at Austria; and Marvin Alisky reports on Chile, Mexico, and Peru. Other included countries are Australia, Belgium, Brazil, Canada, China, the Fede
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ral Republic of Germany, Great Britain, Hungary, Israel, Italy, Japan, Kenya, Korea, Nigeria, Saudi Arabia, the Soviet Union, Sweden, and the United States. According to the introduction, "At present no reference work exists where one can readily ascertain what the broadcast structure is in a given nation and how it came to be. By filling this void, we hope that our work will make a substantial contribution to the field of international broadcasting." This they have done. Most essays include a bibliography; information on history, regulation, economic structure, programming, new technologies, and broadcast reform; and a conclusion and/or forecast. What type of information can be found under "broadcast reform"? In Israel, for example: The reaction against the "leftist mafia," a nickname coined for broadcasters, has been strongly felt in programming and personnel appointment policies. A popular TV satirical program was taken off the air in the late 1970s in response to harsh political criticism. The television prime-time weekly news magazine, broadcast on Friday nights, was cancelled in the mid-1980s on the grounds that the Israeli people should not be exposed to "demoralizing" news on the Sabbath eve." (Jo A. Cates: Journalism - a guide to the reference literature. Englewood, Col.: Libraries Unlimited, 2nd ed. 1997 nr. 445)
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"Hinsichtlich der Anwendung von Kommunikationssatelliten in der Dritten Welt zum Zwecke zielgerichteter Entwicklungskommunikation sollen am Beispiel Indien Möglichkeiten und Grenzen des Technologieeinsatzes überprüft und entwicklungskommunikationstheoretischen Hypothesen gegenübergestellt werden
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. Aus der Falluntersuchung werden weiterführende Schlussfolgerungen abgeleitet. Dabei werden Konzepte und Strategien der Veränderung in wichtigen Sektoren der internationalen Beziehungen, gerade auch mit Blick auf die eigenständige Entwicklung von Dritte-Welt-Gesellschaften, aufgegriffen («Weltkommunikationsordnung»)." (Verlagsbeschreibung)
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"This volume is the first fully comprehensive account of film production in the Third World. Although they are usually ignored or marginalized in histories of world cinema," Third World countries now produce well over half of the world's films. Roy Armes sets out initially to place this huge output
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in a wider context, examining the forces of tradition and colonialism that have shaped the Third World--defined as those countries that have emerged from Western control but have not fully developed their economic potential or rejected the capitalist system in favor of some socialist alternative. He then considers the paradoxes of social structure and cultural life in the post-independence world, where even such basic concepts as "nation," "national culture," and "language" are problematic. The first experience of cinema for such countries has invariably been that of imported Western films, which created the audience and, in most cases, still dominate the market today. Thus, Third World film makers have had to ssert their identity against formidable outside pressures. The later sections of the book look at their output from a number of angles: in terms of the stages of overall growth and corresponding stages of cinematic development; from the point of view of regional evolution in Asia, Africa, and Latin America; and through a detailed examination of the work of some of the Third World's most striking film innovators. In addition to charting the broad outlines of filmic developments too little known in Europe and the United States, the book calls into question many of the assumptions that shape conventional film history. It stresse the role of distribution in defining and limiting production, queries simplistic notions of independent "national cinemas," and points to the need to take social and economic factors into account when considering authorship in cinema. Above all, the book celebrates the achievements of a mass of largely unknown film makers who, in difficult circumstances, have distinctively expanded our definitions of the art of cinema." (Publisher description)
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