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SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses
SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses The Ritz-Carlton, New Orleans • March 10–13, 2011 • SCMS 2011 Letter from the President Welcome to New Orleans and the fabulous Ritz-Carlton Hotel! On behalf of the Board of Directors, I would like to extend my sincere thanks to our members, professional staff, and volunteers who have put enormous time and energy into making this conference a reality. This is my final conference as SCMS President, a position I have held for the past four years. Prior to my presidency, I served two years as President-Elect, and before that, three years as Treasurer. As I look forward to my new role as Past-President, I have begun to reflect on my near decade-long involvement with the administration of the Society. Needless to say, these years have been challenging, inspiring, and expansive. We have traveled to and met in numerous cities, including Atlanta, London, Minneapolis, Vancouver, Chicago, Philadelphia, and Los Angeles. We celebrated our 50th anniversary as a scholarly association. We planned but unfortunately were unable to hold our 2009 conference at Josai University in Tokyo. We mourned the untimely death of our colleague and President-Elect Anne Friedberg while honoring her distinguished contributions to our field. We planned, developed, and launched our new website and have undertaken an ambitious and wide-ranging strategic planning process so as to better position SCMS to serve its members and our discipline today and in the future. At one of our first strategic planning sessions, Justin Wyatt, our gifted and hardworking consultant, asked me to explain to the Board why I had become involved with the work of the Society in the first place. -
Annual Meeting
Volume 97 | Number 5 Volume VOLUME 97 NOVEMBER 2017 NUMBER 5 SUPPLEMENT SIXTY-SIXTH ANNUAL MEETING November 5–9, 2017 The Baltimore Convention Center | Baltimore, Maryland USA The American Journal of Tropical Medicine and Hygiene The American Journal of Tropical astmh.org ajtmh.org #TropMed17 Supplement to The American Journal of Tropical Medicine and Hygiene ASTMH FP Cover 17.indd 1-3 10/11/17 1:48 PM Welcome to TropMed17, our yearly assembly for stimulating research, clinical advances, special lectures, guests and bonus events. Our keynote speaker this year is Dr. Paul Farmer, Co-founder and Chief Strategist of Partners In Health (PIH). In addition, Dr. Anthony Fauci, Director of the National Institute of Allergy and Infectious Diseases, will deliver a plenary session Thursday, November 9. Other highlighted speakers include Dr. Scott O’Neill, who will deliver the Fred L. Soper Lecture; Dr. Claudio F. Lanata, the Vincenzo Marcolongo Memorial Lecture; and Dr. Jane Cardosa, the Commemorative Fund Lecture. We are pleased to announce that this year’s offerings extend beyond communicating top-rated science to direct service to the global community and a number of novel events: • Get a Shot. Give a Shot.® Through Walgreens’ Get a Shot. Give a Shot.® campaign, you can not only receive your free flu shot, but also provide a lifesaving vaccine to a child in need via the UN Foundation’s Shot@Life campaign. • Under the Net. Walk in the shoes of a young girl living in a refugee camp through the virtual reality experience presented by UN Foundation’s Nothing But Nets campaign. -
The Representation of African Traditional Religion and Culture in Nigeria Popular Films
Innocent Ebere Uwah1 Оригинални научни рад Catholic Institute of West Africa UDK: 316.72:[791.23:2(669) ; 791.232(669) Port Harcourt, Nigeria THE REPRESENTATION OF AFRICAN TRADITIONAL RELIGION AND CULTURE IN NIGERIA POPULAR FILMS Abstract One of the ways by which religious rituals communicate in African society is by maintaining cohesion in the culture. They connect participants to richer meanings and larger forces of their community. Even in representational models, rituals create solidarity in the form of subjective experiences of sharing the same meaningful world which is attained by participants through the condensed nature of symbols used therein. Traditional religion is one ritual that despite the influence of westernization and scientific developments in Africa, still holds meaningful implications in people’s everyday life. Thus, from day break to evening, people have religious rituals with which they communicate with their God or gods, deities and ancestors. Also from weeks to seasons, months to years, there are festivals and rituals both in private and in public situations which the African still celebrate in connection with the ‘living dead’ or those in the ‘spirit world’. This paper by means of nuanced textual analysis of some Nigerian home based films: Things Fall Apart (1986), Igodo: The Land of the Living Dead (1999), Sango, (1998), Festival of Fire, (1999), Bless Me, (2005) traces religion to the root para- digm of African cultures as a channel to the construction of African identity. Key words: Nollywood, Religion, Representation and Culture. Introduction Like the practice of philosophy in Africa, Nollywood has significantly become in- volved in the process of Africa’s self reflection and identity construction by means of its cultural representations. -
Videos in Motion
Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/211 Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/2011 2 TABLE OF CONTENTS P. 5 INTRODUCTION. Videos in motion P. 16 CHAPTER I. Defining the field of enquiry: History, concepts and questions P. 40 SECTION I. Beyond the video boom: Informal circulation, crisis of production and processes of transnationalization in the southern Nigerian video industry P. 45 CHAPTER II. Regulating mobility, reshaping accessibility: The production crisis and the piracy scapegoat. P. 67 CHAPTER III. From Nollywood to Nollyworld: Paths of formalization of the video industry’s economy and the emergence of a new wave in Nigerian cinema P. 87 SECTION II. The “Nollywoodization” of the Nigerian video industry: Discursive constructions, processes of commoditization and the industry’s transformations. P. 93 CHAPTER IV. When the Nigerian video industry became “Nollywood”: Naming and branding in the videos’ discursive mobility. -
The Cultural Traffic of Classic Indonesian Exploitation Cinema
The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally. -
Southern Nigerian Cinema Author: Añulika Agina Toolkit: Southern Nigerian Cinema 2 by Añulika Agina
Toolkit: Southern Nigerian Cinema Author: Añulika Agina Toolkit: Southern Nigerian Cinema 2 By Añulika Agina Copyright: Genevieve Nnaji/TEN - The Entertainment Network Toolkit: Southern Nigerian Cinema 3 By Añulika Agina Toolkit: Southern Nigerian Cinema A significant amount of literature exists on the southern Nigerian cinema, which was inaugurated with the 1992 Igbo-language film, Living in Bondage. Little is known and documented about the colonial cinema of Nigeria and the period immediately after colonial rule. Although films were made in the 1970s and 1980s by filmmakers such as Eddie Ugboma, Ola Balogun and Ladi Ladebo, such films and critical analyses about them are not readily accessible. Hyginus Ekwuazi, Jonathan Haynes and Onookome Okome (see texts below) have written excellent accounts of the history of Nigerian cinema, especially of the Nollywood boom and the socio- cultural contexts that gave rise to them. The film industry in southern Nigeria is today the largest in Africa, producing over a thousand film titles per annum with locally sourced funds and distributed internationally. Foreign investment in Nigerian film is on the rise given the visibility that local productions have created at home and abroad. The government has also taken notice of the commercial viability of the industry and pledged billions of naira through the Bank of Industry to support the film business. The films receive critical acclaim and are commercial hits within Africa and among Africans in the diaspora. The sections below provide some critical texts and film titles to guide new comers to the nature and scholarship on the Nigerian film industry. The lists are by no means exhaustive; they only serve as a tip of the iceberg in the hope that interested parties can request additional information by emailing aa207@ soas.ac.uk or [email protected] Some Key Texts Ekwuazi, H. -
Habib Nuhu Phd Thesis.. (Corrected Copy).Pdf
Entrepreneurship and Institutions in Innovation systems research: Evidence from the Nigerian film industry Item Type Thesis Authors Nuhu, Habib M. Rights <a rel="license" href="http://creativecommons.org/licenses/ by-nc-nd/3.0/"><img alt="Creative Commons License" style="border-width:0" src="http://i.creativecommons.org/l/by- nc-nd/3.0/88x31.png" /></a><br />The University of Bradford theses are licenced under a <a rel="license" href="http:// creativecommons.org/licenses/by-nc-nd/3.0/">Creative Commons Licence</a>. Download date 25/09/2021 20:48:36 Link to Item http://hdl.handle.net/10454/15907 University of Bradford eThesis This thesis is hosted in Bradford Scholars – The University of Bradford Open Access repository. Visit the repository for full metadata or to contact the repository team © University of Bradford. This work is licenced for reuse under a Creative Commons Licence. ENTREPRENEURSHIP AND INSTITUTIONS IN INNOVATION SYSTEMS RESEARCH: Evidence from the Nigerian Film Industry H.M. NUHU PhD UNIVERSITY OF BRADFORD 2016 Entrepreneurship and Institutions in Innovation systems research: Evidence from the Nigerian film industry Habib Mas’ud NUHU Submitted for the Degree of Doctor of Philosophy Faculty of Management and Law University of Bradford 2016 ABSTRACT Habib Mas’ud Nuhu 2016 ENTREPRENEURSHIP AND INSTITUTIONS IN INNOVATION SYSTEMS RESEARCH: Evidence from the Nigerian Film Industry Keywords: Entrepreneurship, Innovation Systems, Institutions. As the innovation systems approach becomes increasingly transferred from developed to developing countries as a framework for achieving increased productivity, the notion of deficient institutions becomes more important. Prior research on innovation systems has adopted a broad treatment of institutions that has resulted in an omission of the impact that deficient institutions have on implementing innovation. -
ID 206 the Role of Technological Advancement in African Cinema
Proceedings of the International Conference on Industrial Engineering and Operations Management Pretoria / Johannesburg, South Africa, October 29 – November 1, 2018 The Role of Technological Advancement in African Cinema: A Case Study of Nollywood Fortunate Tatenda Mauyakufa Department of Quality and Operations Management University of Johannesburg Johannesburg, South Africa [email protected] Anup Pradhan Department of Quality and Operations Management University of Johannesburg Johannesburg, South Africa [email protected] Abstract The advancement of technology has created new opportunities for amateur and auteur in filmmaking. The technological innovation is continuously transforming the film industry, thus enabling the application of re-imaging and re-engineering in the films to enhance the quality of films. Nollywood, a Nigerian film industry, is heavily being impacted by the technological advancement which is using digital technologies and High-Definition cameras. This has led to film studios and film companies mushrooming across the country and its borders. Presently, Nigeria is considered as one of the most competitive film industry in the world, and thus has become an African icon. For Africa, this has greatly resulted in a shared commodified culture. This paper discusses the role of technological advancement in the film industry and investigate all viable prospects for today’s tech-savvy filmmakers for the development of African cinema. Keywords Nollywood, digital, technology advancement, African cinema 1. Introduction Film is an artistic product of science and technology that brings out the filmmaker’s story and fantasies in a motion picture. The history of film is based on the technological advancement for quality. According to Wang (2011), the Lumière Family is considered as the inventor of film - develop from silent film to sound film, black and white to color, followed by wide-screen, digital, huge-screen, and 3D films, even the revolutionary VR film. -
Critical Study on History of International Cinema
Critical Study on History of International Cinema *Dr. B. P. Mahesh Chandra Guru Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri Karnataka India ** Dr.M.S.Sapna ***M.Prabhudevand **** Mr.M.Dileep Kumar India ABSTRACT The history of film began in the 1820s when the British Royal Society of Surgeons made pioneering efforts. In 1878 Edward Muybridge, an American photographer, did make a series of photographs of a running horse by using a series of cameras with glass plate film and fast exposure. By 1893, Thomas A. Edison‟s assistant, W.K.L.Dickson, developed a camera that made short 35mm films.In 1894, the Limiere brothers developed a device that not only took motion pictures but projected them as well in France. The first use of animation in movies was in 1899, with the production of the short film. The use of different camera speeds also appeared around 1900 in the films of Robert W. Paul and Hepworth.The technique of single frame animation was further developed in 1907 by Edwin S. Porter in the Teddy Bears. D.W. Griffith had the highest standing among American directors in the industry because of creative ventures. The years of the First World War were a complex transitional period for the film industry. By the 1920s, the United States had emerged as a prominent film making country. By the middle of the 19th century a variety of peephole toys and coin machines such as Zoetrope and Mutoscope appeared in arcade parlors throughout United States and Europe. By 1930, the film industry considerably improved its technical resources for reproducing sound. -
Time Travelers Camporee a Compilation of Resources
1 Time Travelers Camporee A Compilation of Resources Scouts, Ventures, Leaders & Parents…. This is a rather large file (over 80 pages). We have included a “Table of Contents” page to let you know the page numbers of each topic for quick reference. The purpose of this resources to aid the patrols, crews (& adults) in their selection of “Patrol Time Period” Themes. There are numerous amounts of valuable information that can be used to pinpoint a period of time or a specific theme /subject matter (or individual).Of course, ideas are endless, but we just hope that your unit can benefit from the resources below…… This file also goes along with the “Time Traveler” theme as it gives you all a look into a wide variety of subjects, people throughout history. The Scouts & Ventures could possibly use some of this information while working on some of their Think Tank entries. There are more events/topics that are not covered than covered in this file. However, due to time constraints & well, we had to get busy on the actual Camporee planning itself, we weren’t able to cover every event during time. Who knows ? You might just learn a thing or two ! 2 TIME TRAVELERS CAMPOREE PATROL & VENTURE CREW TIME PERIOD SELECTION “RESOURCES” Page Contents 4 Chronological Timeline of A Short History of Earth 5-17 World Timeline (1492- Present) 18 Pre-Historic Times 18 Fall of the Roman Empire/ Fall of Rome 18 Middle Ages (5th-15th Century) 19 The Renaissance (14-17th Century) 19 Industrial Revolution (1760-1820/1840) 19 The American Revolutionary War (1775-1783) 19 Rocky Mountain Rendezvous (1825-1840) 20 American Civil War (1861-1865) 20 The Great Depression (1929-1939) 20 History of Scouting Timeline 20-23 World Scouting (Feb. -
Cosmopolitan India Bollywood and the Citizens of the World
Ateliers d'anthropologie 41 (2015) Entre cosmopolitisme, trajectoires et subjectivités ................................................................................................................................................................................................................................................................................................ Rosa Maria Perez Cosmopolitan India Bollywood and the citizens of the world ................................................................................................................................................................................................................................................................................................ Avertissement Le contenu de ce site relève de la législation française sur la propriété intellectuelle et est la propriété exclusive de l'éditeur. Les œuvres figurant sur ce site peuvent être consultées et reproduites sur un support papier ou numérique sous réserve qu'elles soient strictement réservées à un usage soit personnel, soit scientifique ou pédagogique excluant toute exploitation commerciale. La reproduction devra obligatoirement mentionner l'éditeur, le nom de la revue, l'auteur et la référence du document. Toute autre reproduction est interdite sauf accord préalable de l'éditeur, en dehors des cas prévus par la législation en vigueur en France. Revues.org est un portail de revues en sciences humaines et sociales développé par le Cléo, Centre pour l'édition électronique ouverte (CNRS, EHESS, UP, UAPV). -
Nollywood in the Diaspora: an Exploratory Study on Transnational Aesthetics
Universiteit Gent Academiejaar 2009-2010 Nollywood in the Diaspora: An exploratory study on transnational aesthetics Sophie Samyn Master Kunstwetenschappen Masterproef Vakgroep Kunst-, Muziek- en Theaterwetenschap, optie Theaterwetenschap (Podium- en Mediale Kunsten) Promotor: Prof. Dr. Christel Stalpaert Co-promotor: Dr. Karel Arnaut i CONTENT Preface 1 Acknowledgments 2 1. INTRODUCTION 3 1.1 Introduction 3 1.2 Methodology 4 1.2.1 Research purpose and method 4 1.2.1.1 Research purpose, relevance and structure 4 1.2.1.2 Research subjects 5 1.2.1.3 Research method 8 1.2.1.4 Source-criticism 8 1.2.2 Theoretical frame 9 1.3 Empirical context 14 1.3.1 Nollywood 14 1.3.1.1 Cinematographic production 14 1.3.1.2 Film consumption: Cinema, TV and the home video 15 1.3.1.3 Nigerian home video 16 a. Development of the industry 16 b. Production: making film with minimal budgets 17 c. Distribution: a never seen spread on the continent 19 d. Content and form: African film made by Africans 22 e. Transnational dimension of Nollywood 25 1.3.2 Nigerian Diaspora 27 1.3.2.1 Pre-colonial migration 27 a. Hausa migration 27 b. Religious migration 28 c. Slave trade 28 1.3.2.2 Nigerian migration in 20th – 21st century 28 a. Context 28 b. Prostitution 30 c. Bad reputation 31 d. Causes of migration 32 e. Diasporic communities 34 ii f. Nollywood in the diaspora 36 2. CASE STUDIES: Nollywood made in Europe 39 2.1 Transnational subjects 40 2.1.1 Pioneers: Tony Akinyemi and Leonard Ajayi-Odhekiran 40 2.1.2 The show must go on: Isaac izoya 43 2.1.3 Spiritual and social outreach: John Osas Omoregie 46 2.1.4 Satire: Azubuike Erinugha 48 2.2 Nature of the transnational practice 52 2.2.1 Aim 52 2.2.1.1 Celebrate Nigerian contemporary culture 52 2.2.1.2 Inform and educate the people 53 2.2.1.3 Promote integration 55 2.2.2 Film 56 2.2.2.1 Nollywood 57 2.2.2.2 Realism vs.