"Depuis leur apparition apres les independances politiques, les films realises par les Africains originaires des anciennes colonies françaises subsahariennes ont ete tres peu diffuses dans les salles de l'ancienne metropole. A de tres rares exceptions pres, ils ont egalement tres peu ete vus par le
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public français. L'image de « film de festival» qui leur a ete accolee a joue un role negatif non negligeable, confirmant leur mise a l'ecart dans un ghetto pour inities. Les quelques titres cites rituellement ont piege leurs locuteurs, qui se trouvaient reduits a ces lieux et a ces histoires qu'ils racontaient, et la realite d'un autre phenomene genant s'en est trouvee occultee: le rejet massif de ces cinematographies par les instances de legitimation du Nord, accompagne d'une condescendance melee a la culpabilite post-coloniale. Si la France a bien ete le lieu de naissance de nombreux films du Sud, elle en a de facto ete egalement le cimetiere, principal lieu de diffusion et d'existence materielle et symbolique, notamment aupres d'une frange de la critique, mais sans susciter l'interet des Français ni permettre a ces films d'acceder a la reconnaissance internationale." (Resume)
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"Focusing in particular on Argentina, Brazil and Mexico, Tamara Falicov examines commonalities among Latin American film industries, such as the challenges of procuring funding, competition from Hollywood, state funding battles, and the fickle nature of audiences, as well as censorship issues, compe
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tition from television, and the transnational nature of Latin American film. She addresses production, exhibition, and distribution contexts and financing and co-production with Europe and the United States, as well as the role of film festivals in funding and circulating films both within and outside of Latin America. Newer trends such as the revival of protectionist measures like the screen quota are framed in contrast to the U.S.'s push for trade policy liberalization and issues of universal concern such as film piracy, and new technologies and the role of television in helping and hindering Latin American cinema." (Publisher description)
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"Tapping experts in an industry experiencing major disruptions, The Movie Business Book is the authoritative, comprehensive sourcebook, covering online micro-budget movies to theatrical tentpoles. This book pulls back the veil of secrecy on producing, marketing, and distributing films, including bus
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iness models, dealmaking, release windows, revenue streams, studio accounting, DIY online self-distribution and more. First-hand insider accounts serve as primary references involving negotiations, management decisions, workflow, intuition and instinct." (Publisher description)
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"ReaGilès are pre-fabricated, self-contained, education and entertainment complexes situated on 400m2 sites at local schools or public open spaces consisting of a 60-seat cinema, 30- seat computer and Internet facility, community care and policing centre. These complexes are intended to service his
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torically underserviced peri-urban black dormitory townships of South Africa and to help create jobs, especially amongst the youth, women and the disabled. The ReaGilè concept, on roll-out, has the potential to revolutionise exhibition and distribution in local film industries in ways mirroring the ground-breaking Nollywood straight-to-DVD model. The article discusses the potential of the ReaGilè concept to offer solutions to the twin crises of 1) representation stemming from existing film distribution networks that limit micro-budget filmmakers, and 2) of government departments and local municipalities' tendency towards dividing practices that objectivise the subject through frustrating development via delays, paperwork, never-ending meetings, fees, endless formalities and legalities, and red tape. The authors posit that ReaGilè has the potential to creatively disrupt and redesign formal distribution models and to fracture the narrow modernisation paradigm they deploy, replacing them with a responsive communication re/ordering and flexible distribution that restore subjectivity to the disenfranchised South African subject (the filmmaker and audience from the township)." (Abstract)
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"Indie filmmakers have discovered that web television is a fantastic way to break into the industry, creating many opportunities. This book walks you through the crucial steps on how to fund, film, market, and distribute your web series opus." (Back cover)
"The National Film and Video Censors Board (NFVCB) of Nigeria [...] has powers that go beyond film classification and censorship. This has been manifested especially through its attempt to regularize film distribution in Nigeria through the introduction of a distribution framework. Many resented thi
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s attempt by the NFVCB. They considered it as needless interference, especially since the Nigerian video film industry had grown without any assistance from the government. But the NFVCB stated that it was merely exercising its mandate. This article examines the various issues involved and seeks to throw some light on a body that has been little studied." (Abstract)
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"Welche Faktoren für die Produktion eines afrikanischen Films in Namibia nötig sind, wird in der vorliegenden Diplomarbeit analysiert. Gegenstand ist die Darstellung der Filmwirtschaft Namibias mit all ihren Aspekten, Vor- und Nachteilen. Sehr konkret wird die Entwicklung der letzten Jahre und des
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Status Quos beleuchtet. Dazu gehört zum Beispiel die Ausbildungssituation für Filmschaffende, die Finanzierungsmöglichkeiten für namibische Filmprojekte und die reale Chance einer publikumswirksamen Auswertung des fertigen Films. Neben diesen nationalen Fragen wird das internationale und deutsche Interesse beleuchtet. "Deutschland und Hollywood treffen sich in Namibia", warum ist das so? Abschließend werden in der Arbeit einige Zukunftsprognosen skizziert." (Zusammenfassung)
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"This book is an invitation—an invitation to discover the potential of a simple video camera and the power it holds to spark social change. Every day, all around the world, activists draw upon video in creative, strategic ways and use the results to ensure that silent voices are heard and importan
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t reforms are made. In this book we will show you how they do this, and how you can do it too [...] These chapters will walk you through the process of “video advocacy.” By this phrase we mean the use of video as an essential tool in social justice activism—one that can be deployed as strategically and effectively as more traditional forms of “advocacy” referring to the range of ways to exert pressure for a defi ned goal of change, including persuasion, relationship-building, lobbying, organizing, and mobilizing. We will draw on the inspiring real-life experiences of social justice video advocates worldwide—groups that have worked with the human rights organization WITNESS where I work, and a range of other wellknown and lesser-known fi gures in the activist universe. Throughout you’ll fi nd an emphasis on the emotional and empathetic aspect of video, on its humanizing ability to communicate across boundaries. We also stress the need for collaboration within organizations and among outside allies to more successfully facilitate the production and use of video." (Introduction, page xii-xiii)
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Der Band vereinigt Beiträge zur aktuellen Situation und zukünftigen Entwicklung der Medien in Osteuropa. Im Mittelpunkt stehen Situationsberichte aus Rußland, Ungarn, Polen, Tschechoslowakei, Kroatien und Bulgarien.
"Drawing on political science, economics, history, and cultural studies, Diawara provides an insider's account of the development and current status of African cinema. He discusses such issues as film production and distribution, and film aesthetics from the colonial period to the present." (Publish
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er description)
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