"The purpose of producing a second edition of the World Communication Report was pragmatic: the aim was to provide a reference work for decision-makers, planners, researchers, students, media professionals and the general public. In view of the scope of the subjects covered and the rapid outdating o...f certain features, this Report makes no attempt to be exhaustive, but brings out the convergence between information technology, information and communication and their applications in the various media (written press, news agencies, radio and television) and provides statistics on the changes observed in this field. It also attempts to highlight the major problems connected with the development of new information and communication technologies, such as the regulation of networks, media attitudes to violence and access of women to the media. The question that lies at the heart of this report may be summed up as follows: how are we to reinvent our patterns of thought and knowledge in the context of the technological multimedia revolution, which is proving both profound and irreversible?" (Preface)
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"Bourgault investigates three principal influences: the pre-colonial legacy of the oral tradition, the presence of an alienated managerial class, and the domination of African nations by systems based on political patronage. The first two chapters provide the theoretical framework. Subsequent chapte...rs look at the management of the electronic media, radio and television broadcasting in content and practice, the history of print media, and the discourse style found in the press. This work provides a wealth of historical information on media systems, particularly those of the former anglophone and francophone countries, together with recent developments in satellite communication, small-systems technology, and the current move toward decentralization and privatization. Bourgault also considers the political shifts affecting Africa in the 1990s and offers a radical blueprint for more responsive and informative media in the sub-Saharan area." (Publisher)
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"The primary objective of this book is to present a wide range of community radio projects, not so that the “ideal” model can be identified, but in the hope that the book will serve as a useful tool for community broadcasters and potential community broadcasters looking to create or adapt models... of community radio that are suited to the specific conditions they face. This objective of facilitating an international exchange of experiences and ideas has been AMARC’s primary motivator since the first World Conference of Community Radio Broadcasters took place in 1983. The use of radio as a tool for cultural and political change, while a growing phenomena, is not new. Indeed, the first participatory community radio stations surfaced almost simultaneously in Colombia and the United States over forty years ago. Since that time, innumerable participatory radio projects have attempted to promote community-led change in a variety of ways. Some of these projects have attempted to foster this change by providing formal education in areas such as literacy and mathematics, or by promoting agricultural techniques suited to a particular vision of development defined by the central government. This type of project has been common in the Third World, especially in Africa and Asia. Sri Lanka’s Mahaweli Community Radio (chapter 13) is one example of such a project. Other projects have been more political and have attempted to support the organisational and cultural initiatives of marginalised communities. These are the projects that tend to involve listeners in a participatory process. Haiti’s Radio Soleil (chapter 9) and Zoom Black Magic Liberation Radio in the United States (chapter 10) are two examples. Following the tradition of participatory communication, most of the chapters in this book are not written by impartial observers but by people with first-hand knowledge of community radio and with direct experience in the projects they write about." (Introduction)
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"Cette recherche propose un bilan statistique de la production litteraire africaine et une analyse des conditions materielles et economiques de production et de circulation des textes, tous deux revises a la lumiere des facteurs sociologiques et ideologiques qui les influencent." (Résumé)
"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 ...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)
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"Instead of describing typical systems in their entirety ...," says Head in his foreword, "I decided to organize the text on the basis of the common problems faced by all systems" to show the basic, universal demands and dilemmas they all must face as each interacts with its particular national sett...ing. His purpose is to enable students, after allowances for limitations imposed by national settings, to appraise the system critically by comparing reality with the ideal possibilities. Thus, he discusses, in terms of the various systems, their origins, their politics of both ownership and access, their laws, regulation, economics, facilities, programming and programs, audience research, transborder broadcasting, and broadcasting and freedom. Although intended as a text, this has much wider uses." (Eleanor Blum, Frances G. Wilhoit: Mass media bibliography. 3rd ed. Urbana: University of Illinois Press, 1990 Nr. 652)
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