"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
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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 description)
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"An introduction to the Philippine media, with emphasis on its popular culture aspects - film, radio and television in particular. The various readings present an overview of development; discusses practical economic aspects; makes critical analyses from sociological, political, economic and aesthet
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ic viewpoints; and assesses the various possible roles of the media in a developing country like the Philippines. There are notes and an index. The editor is Chairman of Communication Arts at De La Salle University and a documentary film maker." (Eleanor Blum, Frances G. Wilhoit: Mass media bibliography. 3rd ed. Urbana: University of Illinois Press, 1990 Nr. 104)
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"The 'Uncensored War' gives a richly detailed account of what Americans read and watched about Vietnam. Hallin draws on the complete body of the New York Times coverage from 1961 to 1965, a sample of hundreds of television reports from 1965-73, including television coverage filmed by the Defense Dep
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artment in the early years of the war, and interviews with many of the journalists who reported it, to give a powerful critique of the conventional wisdom, both conservative and liberal, about the media and Vietnam. Far from being a consistent adversary of government policy in Vietnam, Hallin shows, the media were closely tied to official perspectives throughout the war, though divisions in the government itself and contradictions in its public relations policies caused every administration, at certain times, to lose its ability to "manage" the news effectively. As for television, it neither showed the "literal horror of war," nor did it play a leading role in the collapse of support: it presented a highly idealized picture of the war in the early years, and shifted toward a more critical view only after public unhappiness and elite divisions over the war were well advanced." (Publisher description)
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"A compilation of articles by Malaysian academicians and public relations professionals from the public and private sectors, intended both as a text and as a survey for the interested layman. In two parts: the first deals with public relations in several types of business, in government and in some
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of its more general aspects; the second contains a history of the Institute, its goals, code, membership, and other specific features." (Eleanor Blum, Frances G. Wilhoit: Mass media bibliography. 3rd ed. Urbana: University of Illinois Press, 1990 Nr. 1595)
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"A survey of press laws in Indonesia, Malaysia, the Philippines, Singapore, and Thailand, this handbook presents the information in two parts: (1) a descriptive survey of the press system for each country, and (2) transcripts of the national laws. A final chapter compares the five national systems.
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The first chapter is a philosophical discussion of press systems. ASEAN is the acronym for the Association of Southeast Asian Nations, founded in 1967." (Eleanor Blum, Frances G. Wilhoit: Mass media bibliography. 3rd ed. Urbana: University of Illinois Press, 1990 Nr. 346)
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"An in-depth look at the "state of the art" of book publishing in the Third World which examines not only the nuts and bolts but also its status as an important part of the knowledge distribution system. The first 50 pages discuss the status of textbook publishing, copyright, and distribution; the r
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est of the book takes a country-and-region approach, covering Africa as a whole and more specifically Ghana, Kenya and Egypt; India; China; the Philippines; an overview of Latin America and of Brazil in particular; the role of U.S. publishers and textbooks; and finally, the modernization of publishing in Japan." (Eleanor Blum, Frances G. Wilhoit: Mass media bibliography. 3rd ed. Urbana: University of Illinois Press, 1990 Nr. 985)
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