"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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"The book covers three main themes: 1. the relationship of interdependence between culture, education and communication; 2. the need for participatory processes in sustainable development, and 3. the crucial importance of culturally appropriate communication systems and approaches to education and t
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raining. These themes are discussed from a general, rather theoretical perspective in the first two chapters. The rest of the book has these themes recurring in discussions of specific development strategies, perception studies, and the various media used for development." (https://www.ircwash.org/resources)
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"Contains the papers of a national seminar on the Nigerian Copyright Law held in Lagos in March, 1988. The papers cover a wide area of issues relating to copyright and intellectual property, and as they affect authors/books, the film industry, broadcasting, and the visual arts. Part 1 presents an in
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troduction to Nigerian copyright law and its relevance to social change; part 2 focuses on the international dimensions of copyright protection and sanctions, while part 3 deals with various aspects of Nigerian copyright law, copyright exceptions, legal action for infringement of copyright, and copyright and licensing. The final part 4 focuses on the administration and practice of copyright, with papers on the need for an effective infrastructure to administer copyright, reprography and intellectual property, intellectual property and book piracy, copyright and emerging trends in technology, and the implications of copyright law for performing artists." (Hans M. Zell, Publishing, Books & Reading in Sub-Saharan Africa, 3d ed. 2008, nr. 1821)
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"In a short, perturbed, and self-righteous preface, Oduko writes, "After having continual battles with students for shoddy reporting of their research and professional projects year-in, year-out, I realised that the only way to enforce a permanent ceasefire was to put down in black-and-white a refer
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ence material." Unfortunately, distracting typographical errors also abound in black-and-white in the preface, contents, and listings. The first four chapters focus on research proposals and qualitative and quantitative research methods. Users are advised to skip to chapters 6-11, indexes to communication research studies at Nigerian universities: respectively, Bayero University, Kano (1981-1990); the University of Nigeria, Nsukka (1980-1990); the University of Maiduguri (1986-1990); the University of Jos (1980-1990); and the University of Ibadan (1980-1990). Chapter 5 is a subject index of research. Samples of research projects range from "Press Freedom Under Military Regimes in Nigeria from 1966-1988" to "Appraisal of News Reporters' Dressing." In spite of its obvious and distracting drawbacks, this is a very rich source of information on the press in Africa. See also Communication Studies in Africa: A Bibliography (Nairobi, Kenya: African Council for Communication Education, 1994), an unannotated bibliography covering major issues in journalism in Africa from l950 to 1990." (Jo A. Cates: Journalism - a guide to the reference literature. Englewood, Col.: Libraries Unlimited, 2nd ed. 1997 nr. 86)
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"Founded in 1945, the history of Gaskiya Corporation has always been closely associated with the development of book and newspaper publishing in Northern Nigeria, including the establishment of the oldest surviving Hausa-language newspaper, Gaskiya ta fi kwabo. In the 1940s and 1950s the Corporation
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published a total of sixteen weeklies in Hausa and in other Nigerian languages. In 1948 it began the publication of the national daily The Nigerian Citizen. The first part of the book contains historical articles on the Gaskiya Corporation and on publishing in Zaria and Northern Nigeria, by contributors including R.M. East, Husaini Hayatu, Neil Skinner, and Lindsay Barrett. Part two offers biographical information on 26 past and present personalities in the Gaskiya Corporation. Subsequent chapters describe the present [1991] structure and planned future development of the Corporation." (Hans M. Zell, Publishing, Books & Reading in Sub-Saharan Africa, 3d ed. 2008, nr. 794)
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"Comprehensive study of popular theater forms. Describes experiences of theater workshops in Cameroon and Zimbabwe, as well as development-oriented theater projects in Nicaragua, India Philippines, and Bangladesh. The main section examines four dance-based projects between 1982 and 1986 in which the
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author was involved as an "animator." "For anyone seeking an overview of the subject, Mlama's study is a valuable resource. Despite her personal involvement, she treats the subject in a detached manner and frequently refers to failures and problems as well." (E + Z, vol. 37, nr. 1, 1996, page 25)
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"Describes eight mission presses in Ghana and surveys the history of the Christian presses in Ghana. It charts their establishment, achievements, relations with other publishers, and discusses the problems which they face." (Hans M. Zell, Publishing, Books & Reading in Sub-Saharan Africa, 3d ed. 200
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8, nr. 1706)
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"Ein Bild sagt mehr als 1000 Worte. Das stimmt, aber leider nur in ganz wenigen Bereichen, wo die Gestalt, die oberflächliche Beschaffenheit der Dinge im Brennpunkt der Betrachtung steht. Meist ist es aber andersherum, Worte sind viel aussagekräftiger und als Kommunikationsmittel viel universeller
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als Bilder. Und erst die richtige Kombination von Wort und Bild ist dem einzelnen Medium überlegen, und das gilt in Schriftkulturen ebenso wie in der Kommunikation mit Analphabeten. Die wahren Potentiale der Bildkommunikation werden meistens überschätzt und andererseits nur selten voll ausgeschöpft. Hier setzt dieses Buch an, und versucht Aufklärung in historischer und universeller Sichtweise. Das Verständnis der europäischen Mediengeschichte soll es leichter machen, sich in die noch überwiegend orale Welt Afrikas zu versetzen und eine systematische Beschreibung der Möglichkeiten und Grenzen der Bildkommunikation setzt den allgemeinen theoretischen Rahmen. Entsprechend einer situationsfunktionalen Herangehensweise werden danach Grundfragen der Kommunikation mit Analphabeten angesprochen und die Rahmenbedingungen der Kommunikationssituation von Programmen und Projekten der ländlichen Entwicklung in Afrika beschrieben. Darauf aufbauend folgen zwei zentrale Beispiele, wie bildgestützte Kommunikation schon erfolgreich in Afrika entwickelt und eingesetzt wurde. Deren kritische Betrachtung und vergleichende Analyse führt dann zusammen mit den angewandten Grundlagen zu praktischen Empfehlungen." (Verlagsbeschreibung für die zweite Aufl. 2000)
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"Written by one of Nigeria’s most distinguished and most widely published novelists – and for many years now Director of the Nigerian Book Foundation – Chukwuemeka Ike here shares his wide experience as a writer of both fiction and non-fiction, using an informal and conversational style. The b
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ook is designed to lend a helping hand to aspiring writers and to assist them to become published. Part 1 of the book is devoted to writing fiction (creating characters, plots, organizing a story, style, etc.), and part 2 deals with non-fiction (articles, essays, book reviews, biography, textbooks, etc.). The final part provides advice how to find a publisher and how to safeguard the author’s interest, and also looks at the prospects for authors contemplating the self-publishing route." (Hans M. Zell, Publishing, Books & Reading in Sub-Saharan Africa, 3d ed. 2008, nr. 2510)
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