"This book addresses the issues raised by digital platforms in the Global South, with an emphasis on the cultural stakes involved. It brings together an interdisciplinary team of researchers - including political economists, socio-economists, geographers, media sociologists or anthropologists - who
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each explore these issues through an insightful case study at a local, national, regional or international scale. While studying the strategies of some of the main US-based Big Tech platforms or video streaming platforms towards the Global South, the chapters also consider the often-neglected active role local or regional actors play in the expansion of those Western digital players, and highlight the existence of a constellation of local or regional platforms that have emerged in Africa, Asia, Latin America or the Middle East. In addition to analysing the complex relationships of competition, collaboration or dependence between these diverse actors, this volume examines the ways in which the rise of these digital platforms has generated new forms of cultural entrepreneurship and participated in the reconfiguring of the conditions in which cultural contents are produced and circulated in the Global South." (Publisher description)
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"The handbook presents key contributions from scholars worldwide, providing a comprehensive exploration of current trends in media industries from diverse perspectives. Within the framework of understanding contemporary and future trajectories in media markets and industries, the volume delves into
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their influence on media organization and delivery, along with broader societal and market implications. Encompassing research at the crossroads of economics, management, political economy, and production studies, the handbook emphasizes the necessity for a robust interdisciplinary dialogue. Beyond scrutinizing present and forthcoming industry developments, the handbook addresses pivotal issues pertaining to media economics research methods and pedagogy." (Publisher description)
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"The book traces communication in Nigeria back to pre-colonial indigenous communication, through the development of telecommunication, broadcasting networks, the press, the Nigerian flm industry (‘Nollywood’) and on to the digital era. At a time when Western voices still dominate the academic li
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terature on communication in Africa, this book is noteworthy in drawing almost exclusively on the expertise of Nigeria-based authors, critiquing the discipline from their own lens and providing an important contribution to the decolonisation of communication studies. The authors provide a holistic analysis of the sector, encompassing print journalism, broadcast journalism, public relations, advertising, flm, development communication, organisational communication and strategic communication. Analysis of the role of digital technologies is woven throughout the book, concluding with a fnal section theorising the future of communication studies in Nigeria in light of the digital media revolution." (Publisher description)
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"The book goes beyond critiques of the marginality of African approaches in media and communication studies to offer scholars the theoretical and empirical toolkit needed to start building critical corpora of African scholarship and theory that places the everyday worlds, needs and uses of Africans
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first. Decoloniality demands new epistemological interventions in African media, culture and communication, and this book is an important interlocutor in this space. In a globally interconnected world, changing patterns of authority and power pose new challenges to the ways in which media institutions are constituted and managed, as well as how communication and media policy is negotiated and the manner in which citizens engage with increasing media opportunities. The handbook focuses on the interrelationships of the local and the global and the concomitant consequences for media practice, education and citizen engagement in today’s Africa." (Publisher description)
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"Transnational Media: Concepts and Cases provides a clear and engaging overview of media communication from a global and a region-based perspective. Rather than focusing on just complex theories and industry-specific analyses, this unique book offers an inclusive, comparative approach to both journa
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lism and entertainment media--introducing readers to the essential concepts, systems, transnational influences, and power dynamics that shape global media flow. Broad coverage of different media forms from Asia, Africa, the Americas, Europe, and Oceania offers country-based and transnational perspectives while highlighting examples of media trends in television, radio, film, journalism, social media, music, and others." (Publisher description)
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"Der US-amerikanische Streamingdienst kauft sich in Afrikas wichtigste Filmindustrie ein. Ob das anspruchsvollen afrikanischen Filmemachern mehr Geld und mehr Zuschauer bringt, ist jedoch fraglich." (Einleitung)
"Ce dossier se concentre sur ces transformations plus récentes afin d’analyser leur impact sur l’économie et la politique de la production et de la distribution audiovisuelle en Afrique, tout en mettant en question les cadres théoriques et méthodologiques que nous adoptons en tant que cherch
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eurs pour les étudier. Dans cette optique, le Nigeria reste un cas d’étude incontournable à même d’influencer le débat sur les transformations du secteur audiovisuel à l’échelle continentale. Pour cette raison, une section de ce numéro est entièrement dédiée aux transformations récentes de l’industrie audiovisuelle de ce pays et à une réflexion critique sur les approches utilisées pour les analyser, grâce aux contributions de trois chercheurs qui ont fortement marqué les études sur ces phénomènes au cours des dernières années : Jonathan Haynes, Akin Adesokan et Moradewun Adejunmobi. Cette réflexion critique prolonge un débat que les textes du dossier (par Anouk Batard, Abdalla Uba Adamu, Julie Dénommée et Brian Larkin) permettent à la fois d’encadrer et de dépasser, grâce à des propositions théoriques et méthodologiques innovantes, ainsi que par la richesse des données empiriques analysées." (Page 12)
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"Haynes describes the major Nigerian film genres and how they relate to Nigerian society—its values, desires, anxieties, and social tensions—as the country and its movies have developed together over the turbulent past two decades. As he shows, Nollywood is a form of popular culture; it produces
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a flood of stories, repeating the ones that mean the most to its broad audience. He interprets these generic stories and the cast of mythic figures within them: the long-suffering wives, the business tricksters, the Bible-wielding pastors, the kings in their traditional regalia, the glamorous young professionals, the emigrants stranded in New York or London, and all the rest." (Publisher description)
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"Nollywood is often portrayed by the popular press as an unruly industry, with mysteriously fast and cheap production and shadowy distribution networks. In the first overview of Nigeria's burgeoning video film industry, Jade L. Miller reveals that this portrayal is over-simplistic and often untrue.
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Investigating Nollywood's complete global production and distribution chain, Nollywood Central presents a full portrait of the Nollywood industry as both highly organised and strategically structured. In doing so, it interrogates the position and rise of new cultural industry hubs, demonstrating how a creative industry can emerge, be sustainable and circulate globally even though it exists outside of formal global networks and government-supported infrastructure." (Back cover)
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"While Nollywood, Nigeria’s video industry, is largely separate from dominant global cultural industry networks of production inputs and distribution, it is an industry that is still globally linked in a number of ways. In this article, I investigate the nature and layout of these connections via
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interviews with those populating these networks, from key Nollywood producers to shop owners thousands of miles from Lagos. I conclude that, instead of the formal links of dominant cultural industry networks, these links are mostly via alternative global networks, forged on the flipside of – or the gaps between – the connections that link the Network Society. Some formal international institutions have a presence, but these are largely mediated through Nollywood’s situation in global cultural industry networks. I argue that this renders Nollywood as situated in an alternative media capital, central to alternative networks, while too informal to integrate into dominant networks, and it is from this position that we can best understand Nollywood’s position in global media flows." (Abstract)
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