Review essay: global and comparative perspectives on media and development

2021 ◽  
pp. 016344372110298
Author(s):  
Asif Akhtar
Keyword(s):  
Media Studies ◽  
Review Essay ◽  
Culture Wars ◽  
Broad Context ◽  
Television Industry ◽  
University Of Illinois ◽  
Transnational Media ◽  
Comparative Media ◽  
Media Imperialism ◽  
Media Flows

This essay reviews the works ‘Television and the Afghan Culture Wars’ (University of Illinois Press) by Wazhmah Osman and ‘Media Imperialism in India and Pakistan’ (Routledge) by Farooq Sulehria as recent contributions to the fields of global and comparative media studies. It considers the overlapping themes in these works through ruberics of media imperialism and development in terms of growth of television industry in India, Pakistan and Afghanistan in the broad context of globalization and transnational media flows.

Book review: Wazhmah Osman, Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists

2021 ◽  
pp. 097492762110458
Author(s):  
Heather Jaber
Keyword(s):  
Culture Wars ◽  
University Of Illinois

Wazhmah Osman, Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists. Champaign: University of Illinois Press, 2020, 288 pp., $28.00 (Paperback). ISBN: 978-0-252-08545-1.

Chandra Talpade Mohanty and Communication Studies

2018 ◽  
Author(s):  
Madhavi Murty
Keyword(s):  
Media Studies ◽  
Third World ◽  
Historical Materialism ◽  
Communication Studies ◽  
Cultural Communication ◽  
Ethnic Nationalism ◽  
Transnational Media ◽  
Feminist Media Studies ◽  
Feminist Perspectives ◽  
The Third World

Chandra Talpade Mohanty’s intellectual projects have consistently foregrounded a deep and rigorous critique of power—the power of capitalism, colonialism, and racialization, ethnic nationalism and heteropatriarchy—and have established the significance of feminist perspectives for struggles for economic and social justice. Her work is generative and provocative for critical cultural communication scholarship in providing methodological tools with which to think about the nexus between power and knowledge, discourse, the appropriation of the local and the particular for the formation of the global and vice versa, the formation of universals abstracted from their histories and social formations such as the “Third World Woman,” identity, and historical materialism. Hers is an intellectual project, grounded in feminism, that takes on the thorny task of carving out solidarities through critique. Her project delineates its own ideological standpoint and formulates a feminist historical materialism that strives methodologically to hold local particularities and their global implications in a tight grip. Mohanty’s work is, in fact, a provocation to formulate modes of analysis that are founded on a careful epistemological critique, such that it has often been used most productively to unravel the formulation of ethnocentric universalism. As such, Mohanty’s work has been particularly relevant for the fields of black cultural studies, feminist media studies, postcolonial communication studies, transnational media studies, race, and communication within critical cultural communication studies.

Indian films and Nigerian lovers: media and the creation of parallel modernities

Africa ◽  
1997 ◽  
Vol 67 (3) ◽  
pp. 406-440 ◽  
Author(s):  
Brian Larkin
Keyword(s):  
North Africa ◽  
Third World ◽  
The Political ◽  
The West ◽  
Love Stories ◽  
Transnational Media ◽  
Social Basis ◽  
Contemporary Life ◽  
Media Flows ◽  
Insight Into

AbstractThis article discusses the significance of Indian films in revealing a relatively ignored aspect of the transnational flow of culture. The intra-Third World circulation of Indian film offers Hausa viewers a way of imaginatively engaging with forms of tradition different from their own at the same time as conceiving of a modernity that comes without the political and ideological significance of that of the West. After discussing reasons for the popularity of Indian films in a Hausa context, it accounts for this imaginative investment of viewers by looking at narrative as a mode of social enquiry. Hausa youth explore the limits of accepted Hausa attitudes to love and sexuality through the narratives of Indian film and Hausa love stories (soyayya). This exploration has occasioned intense public debate, as soyayya authors are accused of corrupting Hausa youth by borrowing foreign modes of love and sexual relations. The article argues that this controversy indexes wider concerns about the shape and direction of contemporary Nigerian culture. Analysing soyayya books and Indian films gives insight into the local reworking and indigenising of transnational media flows that take place within and between Third World countries, disrupting the dichotomies between West and non-West, coloniser and colonised, modernity and tradition, in order to see how media create parallel modernities. Through spectacle and fantasy, romance and sexuality, Indian films provide arenas for considering what it means to be modern and what may be the place of Hausa society within that modernity. For northern Nigerians, who respond to a number of different centres, whether politically to the Nigerian state, religiously to the Middle East and North Africa, economically to the West, or culturally to the cinematic dominance of India, Indian films are just one part of the heterogeneity of everyday life. They provide a parallel modernity, a way of imaginatively engaging with the changing social basis of contemporary life that is an alternative to the pervasive influence of a secular West.

Mass Mediating Diaspora: Iranian Exile Culture in Los Angeles

1996 ◽  
Vol 5 (2) ◽  
pp. 317-331
Author(s):  
David Kazanjian ◽  
Anahid Kassabian
Keyword(s):  
Los Angeles ◽  
Mass Media ◽  
Media Studies ◽  
Media Coverage ◽  
International Media ◽  
Surplus Labor ◽  
Media Technologies ◽  
Transnational Media ◽  
Literature History ◽  
The One

In this most recent era of transnational movements of labor, commodity, capital, and information, distinctions among cultures and conditions of exile, diaspora, nationality, ethnicity, and race are both elusive and in need of elucidation. That need is particularly strong when such cultures and conditions are articulated in and through mass media. Studies of globalization and transnational media corporations in communications and media studies have rarely examined the continuing legacies of colonialism and imperialism. In turn, studies of postcoloniality, whose strongest disciplinary connections have been to literature, history, and anthropology, have been noticeably reluctant to address the realm of mass-mediated culture. Yet postcoloniality is routinely animated by the political economy and representational practices of mass-media technologies. Consider how the following mass mediated representations weave a tangled web of postcolonial relations. On the one hand, the nuclear bomb-toting terrorists of the “Crimson Jihad” in the recent blockbuster movie True Lies represent “peoples of the ‘Middle East’ ” by violently condensing Armenians, Turks, Lebanese, and Azeris along with, for example, Palestinians, Libyans, and Iranians. On the other hand, Armenian and Azeri war tactics in Karabakh are partly driven by international media coverage while that same war is consumed through mass media in Long Island and Los Angeles. To complicate the picture even further, Los Angeles-based institutions of mass media are driven by that city’s surplus labor pool of working-class immigrants from the “South.”

Queer Television

2019 ◽  
Author(s):  
Hollis Griffin
Keyword(s):  
Media Studies ◽  
Sexual Minorities ◽  
Gender And Sexuality ◽  
Television Studies ◽  
Television Programs ◽  
Television Industry ◽  
Rigorous Research ◽  
The Social ◽  
Production Practices ◽  
The Relationship

People use the term “queer television” to refer to a number of different things: representations of sexual minorities on television programs, as well as programming that is associated with, has a strong following among, or is created by sexual minorities. It is also a term that names a way of studying television to better understand how it participates in the social construction of sex, gender, and sexuality. Queer television studies encompasses a variety of different topics, including how sexuality is represented in television programs, how it operates in particular genres, the ways in which it informs viewer interpretations, how it figures into the business and production practices of the television industry, and how activists engage with it in order to advocate for social justice. Scholars of queer television are interested in how sexuality relates to the pleasures of watching television as well as how sexuality relates to the power relations perpetuated by television (e.g., valuing some identity groups over others, etc.). For that reason, research on queer television that emerges from cinema and media studies is qualitative in nature. Because “pleasure” and understandings of power hierarchies can be subjective, scholars of queer television studies often “take a stand.” Doing so makes research in the area a purposefully political endeavor. The scholars who practice it see meaningful information about the medium and the world around it emerging from careful, rigorous research on the relationship between television and sexuality.

Comparative media studies in the isolation ofCandida albicans from pregnant women

1962 ◽  
Vol 17 (3) ◽  
pp. 269-280 ◽  
Author(s):  
Andrew G. Smith ◽  
Hans D. Taubert ◽  
Charles M. Towns
Keyword(s):  
Pregnant Women ◽  
Media Studies ◽  
Comparative Media ◽  
Ofcandida Albicans

Shattered spaces of migrant childhood: Camps, borders and uncertain status

2020 ◽  
Vol 35 (5) ◽  
pp. 480-486
Author(s):  
Łukasz Albański
Keyword(s):  
Review Essay ◽  
Legal Status ◽  
Broad Context ◽  
Legal Recognition ◽  
Durable Solutions

This review essay discusses how migrant childhood is inextricably spatial, and therefore tied up with the material and discursive dimensions of places such as camps and borders. The focus is on the issue of how marginalized political subjects as migrant minors claim their rights through space, because unaccompanied and undocumented minors live in a state of limbo that can persist indefinitely. It means that in many cases they live as unaccompanied or undocumented minors across borders without full legal recognition, experiencing permanent temporariness and uncertainty. This tenuous life in the shadows is marked as fully ambiguous and too often without leading to durable solutions towards permanent legal status. The Jungle and Lives in Limbo offer significant insights into the discussion about migrating children in a broad context of such places as borders and camps.

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