"This chapter demonstrates the critical importance of stringers and local journalists to international news production, and how much harder we need to work to understand the motivations and perspectives of these excluded groups of journalistic actors. News bureaus should restructure to cater to the
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needs of these vital subaltern journalists to create higher quality journalism, while according these journalists proper credit and compensation. Post-Colonial theory finds several applications in current news structures. It is my belief that this analogy, which I introduce in some detail, can be further developed to better understand how modern news production systems function and can diminish their appropriation from the margins and subalterns. Chronicles about stringers and local journalists serve to humanize and illuminate these journalists, in particular for readers generally unaware of the invisible actors behind their daily international news. With greater empathy and understanding, the gap between news producers and consumers narrows, and consumers, in seeing the inner workings of news production, come to understand just how much to trust what they read on the page or hear on television." (Conclusion)
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"Der Band fragt nach den multidimensionalen Zusammenhängen in der Konstruktion von Medialisierungen Afrikas. Um der Komplexität des Themas gerecht werden zu können, wird eine Thematisierung aus verschiedenen wissenschaftlichen und praktischen Perspektiven vorgenommen. Neben theoretischen Zugänge
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n zwischen Medienwissenschaft, Kulturwissenschaft, Soziologie und Ethnologie sind praktische Interventionen von Aktivist*innen oder Künstler*innen von Bedeutung, da sie Theorie relationieren können, indem sie reflexive Einblicke in Prozesse medialer Produktivität bieten und sich für unmittelbare gesellschaftliche Veränderungen einsetzen." (Verlagsbeschreibung)
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"This Is Not an Atlas gathers more than 40 counter-cartographies from all over the world. This collection shows how maps are created and transformed as a part of political struggle, for critical research or in art and education: from indigenous territories in the Amazon to the anti-eviction movement
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in San Francisco; from defending commons in Mexico to mapping refugee camps with balloons in Lebanon; from slums in Nairobi to squats in Berlin; from supporting communities in the Philippines to reporting sexual harassment in Cairo. This Is Not an Atlas seeks to inspire, to document the underrepresented, and to be a useful companion when becoming a counter-cartographer yourself." (Publisher description)
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"La obra que sigue a continuación invita a un ejercicio de relectura de los procesos de modernidad-colonialidad desde la perspectiva teórica basada en el giro decolonial. El objetivo es presentar una discusión teórica que permita comprender y dar respuesta a las relaciones culturales en conflict
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o en los contextos contemporáneos, donde la globalización y las tecnologías digitales pueden, o bien opacar, invisibilizar las diversidades culturales, o bien aflorarlas, reconocerlas y compartirlas. El recorrido por autores, obras y aportaciones de esta corriente de pensamiento con los que este texto debate, realizado, además con una gran solvencia documental y bibliográfica, proporciona al lector pautas para descubrir, en palabras del autor, “otras formas de saber” conducentes a reflexionar sobre una nueva manera de abordar el conocimiento, al ofrecer al lector la oportunidad de entrar en este campo de investigación y dialogar con esa nueva epistemología derivada de esas otras formas de saber. El libro nos lleva por el camino denominado la inflexión decolonial, para poner de manifiesto las claves del sistema mundo moderno-colonial, desde los presupuestos contenidos en la propuesta de modernidad/colonialidad para identificar los elementos de la dominación del otro." (Prólogo, página 11)
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"The fortieth anniversary of the independence of the African countries colonized by Portugal presents a valuable opportunity to reassess how colonialism has been «imagined» through the medium of the moving image. The essays collected in this volume investigate Portuguese colonialism and its filmic
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and audio-visual imaginaries both during and after the Estado Novo regime, examining political propaganda films shot during the liberation wars and exploring the questions and debates these generate. The book also highlights common aspects in the emergence of a national cinema in Angola, Mozambique and Guinea-Bissau. By reanimating (and decolonizing) the archive, it represents an important contribution to Portuguese colonial history, as well as to the history of cinema and the visual arts." (Publisher description)
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"Das Handbuch bietet erstmals einen umfassenden interdisziplinären Überblick über die postkoloniale Theorie und Forschung in den Literatur- und Kulturwissenschaften. Es verbindet die Einführung in das Thema mit einer kritischen Zwischenbilanz zu diesem internationalen Forschungsfeld. Auf einen T
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heorieteil und die lexikalische Darstellung von postkolonialen Grundbegriffen folgen Artikel zur Literatur-, Kultur- und Mediengeschichte des Kolonialismus und Postkolonialismus in den betroffenen Kulturräumen sowie ein Anhang mit historischen Überblicken zu einzelnen Ländern und weiterführenden Informationen. Das Handbuch richtet sich an wissenschaftliche Leserinnen und Leser und bietet Ansatzpunkte für künftige Forschung, soll aber auch für Studierende und interessierte Laien eine verlässliche Basis zur Auseinandersetzung mit der europäischen Kolonialgeschichte, ihren kulturellen Resonanzen und ihrer postkolonialen Aufarbeitung in Literatur und Kultur bereitstellen." (Verlagsbeschreibung)
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"This volume examines the lived experiences of Africans and their interaction with different kinds of media: old and new, state and private, elite and popular, global and national, material and virtual. By offering a comparative, critical and largely qualitative account of audiences and users across
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a range of national contexts in different regions of Africa, the book examines media through the voices and perspectives of those engaging with it rather than reducing audiences and users to numbers and statistics, ready to be exploited as potential target markets or as political constituencies. The critical, qualitative research perspective adopted in this book enables us to gain a better understanding of how African viewers, listeners and users make sense of a range of media forms; what role these play in their everyday lives and what audience and user engagement can tell us about how citizens perceive the state, how they imagine themselves in the wider world and how they relate to each other. The book argues that the experiences of audiences and engagements of users with a range of media—newspapers, radio, television, magazines, internet, mobile phones, social media—are always grounded in particular contexts, worldviews and knowledge systems of life and wisdom: ‘It is akin to the tortoise. The tortoise never leaves its shell behind. It carries it wherever it goes’ (Chivaura 2006: 221). African media audiences and users carry their contexts and cultural repertoires in the same way a tortoise carries its shell. Thus far, the bulk of academic research on media and communication in Africa has addressed the policy and regulatory aspects as well as the relation between media institutions and the state (Willems 2014a). While studies on media, democratization and press freedom are invaluable, the ways in which ordinary people make sense of, and relate to, media in their everyday lives are largely left beyond consideration. As Barber (1997: 357) has pointed out, ‘[w]hat has not yet been sufficiently explored is the possibility that specific African audiences have distinctive, conventional modes and styles of making meaning, just as performers/speakers do. We need to ask how audiences do their work of interpretation’." (Page 4)
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"In your text, treat Africa as if it were one country“ (Wainaina, 2012) – was der kenianische Autor und Gründer des Literaturmagazins Kwani Binyavanga Wainaina in seiner satirischen Gebrauchsanweisung How to Write about Africa SchriftstellerInnen empfiehlt, wird in Medienbeiträgen zu Afrika be
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ständig umgesetzt. Wenngleich die Berichterstattung zum afrikanischen Kontinent und ihre Kontextbedingungen, zumindest im deutschsprachigen Raum, keineswegs intensiv erforscht sind, besteht zu ihrer Ausgestaltung ein wissenschaftlicher Common Sense: Der Kontinent wird medial undifferenziert als homogene Einheit voller Probleme dargestellt, die eurozentristische Berichterstattung konzentriert sich vorwiegend auf die „4Ks“ – Kriege, Korruption, Krankheiten und Katastrophen. Das alltägliche Leben wird dabei meist ebenso ausgeblendet wie positive Entwicklungen, die von AfrikanerInnen initiiert wurden. Vielmehr werden diese als passive HilfeempfängerInnen gezeichnet, die auf ihre Rettung durch den helfenden Westen warten." (Editorial, Seite 2)
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"Im Folgenden gebe ich zunächst einen kurzen historischen Überblick über die bedeutsamen Genres und Momente der angolanischen Fotografiegeschichte, bevor ich mich ausgewählten Beispielen der rezenten künstlerischen Fotografie intensiver widme. Beides ist wichtig, um zu verstehen, wie in Angola
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bis heute ein kolonialer Blick konstruiert und späterhin dekolonisiert wurde. Hier sind zwei historische Momente bedeutsam: die Zeit nach der Unabhängigkeit von Portugal nach 1975 und die ersten zehn Jahre nach dem Ende des Bürgerkriegs im Jahr 2002." (Seite 15)
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"The book brings together experts from Media and Communication Studies with Postcolonial Studies scholars to illustrate how the two fields may challenge and enrich each other. Its essays introduce readers to selected topics including »Media Convergence«, »Transcultural Subjectivity«, »Hegemony
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, »Piracy« and »Media History and Colonialism«. Drawing on examples from film, literature, music, TV and the internet, the contributors investigate the transnational dimensions in today's media, engage with local and global media politics and discuss media outlets as economic agents, thus illustrating mechanisms of power in postcolonial and neo-colonial mediascapes." (Publisher description)
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"The role of communication in planned social change is portrayed as a linear conduit for inducing pro-development behavior change in the "undeveloped" world. Later versions of social change communication started incorporating culture and participation into multicultural participatory development pro
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grams. This essay suggests that development discourses, including their later incarnations incorporating culture and participation, serve as vehicles for capitalist market promotion. These new forms of planned social change communication, scripted in the narratives of local empowerment, community-based participation, and entrepreneurship, work to systematically erase subaltern communities. Building on the theoretical framework of the culture-Centered approach (CCA), I examine the ways in which dialogues with the margins of development discourse resist these dominant conceptual categories of development. The subaltern, standing in for the popular, resists neoliberal interventions through her active participation in popular politics." (Abstract)
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"Cinema and Development in West Africa shows how the film industry in Francophone West African countries played an important role in executing strategies of nation building during the transition from French rule to the early postcolonial period. James E. Genova sees the construction of African ident
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ities and economic development as the major themes in the political literature and cultural production of the time. Focusing on film both as industry and aesthetic genre, he demonstrates its unique place in economic development and provides a comprehensive history of filmmaking in the region during the transition from colonies to sovereign states." (Publisher description)
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"To the colonized, the term 'research' is conflated with European colonialism; the ways in which academic research has been implicated in the throes of imperialism remains a painful memory. This essential volume explores intersections of imperialism and research - specifically, the ways in which imp
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erialism is embedded in disciplines of knowledge and tradition as 'regimes of truth.' Concepts such as 'discovery' and 'claiming' are discussed and an argument presented that the decolonization of research methods will help to reclaim control over indigenous ways of knowing and being. This eagerly awaited second edition includes substantial revisions, with important additions on new indigenous literature and the role of research in indigenous struggles for social justice." (Back cover)
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"This collection of essays foregrounds the work of filmmakers in theorizing and comparing postcolonial conditions, recasting debates in both cinema and postcolonial studies. Postcolonial cinema is presented, not as a rigid category, but as an optic through which to address questions of postcolonial
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historiography, geography, subjectivity, and epistemology. Current circumstances of migration and immigration, militarization, economic exploitation, racial and religious conflict, enactments of citizenship, and cultural self-representation have deep roots in colonial/postcolonial/neocolonial histories. Contributors deeply engage the tense asymmetries bequeathed to the contemporary world by the multiple,diverse, and overlapping histories of European, Soviet, U.S., and multi-national imperial ventures. With interdisciplinary expertise, they discover and explore the conceptual temporalities and spatialities of postcoloniality, with an emphasis on the politics of form, the 'postcolonial aesthetics' through which filmmakers challenge themselves and their viewers to move beyond national and imperial imaginaries." (Publisher description)
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"Popular Media, Democracy and Development in Africa examines the role that popular media could play to encourage political debate, provide information for development, or critique the very definitions of 'democracy' and 'development'. Drawing on diverse case studies from various regions of the Afric
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an continent, essays employ a range of theoretical and methodological approaches to ask critical questions about the potential of popular media to contribute to democratic culture, provide sites of resistance, or, conversely, act as agents for the spread of Americanized entertainment culture to the detriment of local traditions. A wide variety of media formats and platforms are discussed, ranging from radio and television to the Internet, mobile phones, street posters, film and music." (Publisher description)
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