880 Chapters
Medium 9780861966608

Chapter 4 Cyberspace, Globalization and US Empire

NoContributor John Libbey Publishing ePub

In this chapter, I argue that the framework of media imperialism is appropriate for the study of US dominance of information and communication technology (ICT) industries in the period 1975–2000. Early media imperialism theories focused on US television exports at a time when such exports were set to decline in many local markets. Covert influences such as ownership, business models, professional values, content formatting, audience preferences, cultural hybrids and technologies, were insufficiently considered. In particular, the earlier focus on television and content may have distracted attention from the emergence of microprocessor-based computer networking technologies, their significance for the development of ICT industries, and the profound influence these have exerted on US economic and foreign policies from the 1970s. This chapter evaluates the significance of ICT for US responses to challenges to its superpower status from the 1970s. It documents the continuing dominance of US corporate power, of US-based transnational corporations (TNCs) and, among them, of ICT industries, within the global economy. It charts US dominance of most spheres of computing and telecommunications at the turn of the 21st century. With specific reference to intelligence estimates of future global trends it assesses the significance of the “Asian challenge”, specifically the challenge of Asian ICT activity to the prospects of a continuation of US hegemony.

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Medium 9781770906396

5.13 Total Eclipse of the Heart

Crissy Calhoun, Heather Vee ECW Press ePub

Stefan: C’mon, Damon. You’re better than this.

Damon: On the contrary, brother. I’m better like this.

5.13 Total Eclipse of the Heart

Original air date February 6, 2014

Written by Rebecca Sonnenshine and Holly Brix

Directed by Darren Genet

Edited by Tony Solomons Cinematography by Michael Karasick

Guest cast Christopher Marrone (Joey)

Previously on The Vampire Diaries Ian Somerhalder

Damon and his murder buddy, Enzo, have no qualms about ruining the gang’s time at the Whitmore College Bitter Ball in order to find their next victim.

Way back in “Original Sin,” Damon said to Elena, “You are my life,” and here, mere weeks later in TV time, Damon is proving just how much he meant it with his spiraling misbehavior, which Stefan predicted and which Enzo embraces. There’s a world of difference between making a fresh start and straying so far from the kind of person you once were as to make the return path near impossible. “Total Eclipse of the Heart” throws the gang together at the appropriately titled Bitter Ball on college campus to see how far they will go under duress and stress — and we get to see just how dedicated an “Elena” Katherine is.

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Medium 9780253009234

14. Karishika with Kiswahili Flavor: A Nollywood Film Retold by a Tanzanian Video Narrator

Edited by Matthias Krings and Onookome O Indiana University Press ePub

MATTHIAS KRINGS

A NIGERIAN MISE-EN-SCÈNE OF HELL FILLS THE SCREEN. WHILE Satan sends his female assistant to the world of the living, the Kiswahili voice-over announces the background to the impending drama: “Karishika was sent into a world full of evil in order to afflict people and to win them over for the devil.” A few seconds later the narrator continues: “She is called Becky Okorie, and she plays Karishika.” Now her face becomes visible, she straightens up, and the invisible Kiswahili narrator switches to direct speech in the first person: “I am here at home in Nigeria, at Lagos. I am greeting all Tanzanians who are in Dar es Salaam. May God bless you!” Meanwhile, the screen is filled with a close-up of Karishika's face, her eyes beaming in electric blue rays symbolizing her otherworldly powers, and the narrator continues: “One day, I will come, and you will see me, King Rich, with your own eyes, and I will continue to narrate Nigerian films.”

In Tanzanian video parlors, narrators are performing live translations of foreign films into Kiswahili so local audiences can follow the story. They are also ad-libbing, adding observations and personal commentary, and adapting the stories to a local hermeneutic framework. Pirated video copies of foreign films are thus subject to a profound practice of remediation. Recently, some video narrators also began selling their work as VHS cassettes and DVDS with Kiswahili voice-over. In this chapter, I will introduce one such video narrator, King Rich, who specializes in the interpretation of Nollywood films, and one of his works, the narration of Karishika – a Nigerian video film with strong Pentecostal imprint.

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Medium 9780861967131

Chapter 8 Regression and Jouissance

Harrington, Seán J. Indiana University Press ePub

While Fantasia was structured by eroticism in aid of a conscious utopia (the creation of a cross-class consumable product), the succeeding features of the pre-war era of Disney were structured by a threat levelled against the idealised image of primordial union with the figure of the mother: an unconscious utopia. This chapter begins its discussion of what would become Disney’s most affective narrative formula by clarifying the concept of the regressive, followed by analyses of Dumbo (1941) and Bambi (1942). These discussions introduce different aspects of the regressive narrative, the concluding points of which will be amalgamated in a conclusion to Part Two of this text: a conception of the Disney form as a regressive cinematic apparatus, utopian in its presentation.

The Regressive

The facets of adulthood and compliance with paternity are considered profoundly negative in the classic Disney era. This path away from the adult in favour of un-castrated childhood represents a regressive choice in the film’s narrative. Rather than orienting the narrative along the lines of the Oedipal dilemma, the viewer is brought backwards along earlier organisations of structure. This is the essence of the Disney narrative, an essence which is intrinsically transgressive in terms of patriarchy, yet seemingly too commodified and impotent to raise issue among censors or mainstream critics. It is this contradiction that exists between transgression and innocence that leads to so many of the critiques and parodies of Disney in popular culture; these critiques shall be discussed in the conclusion to this text.

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Medium 9780253020659

4 The New Eldorado in Mediterranean Music

Hakim Abderrezak Indiana University Press ePub

Stuart tannock writes, “In the rhetoric of nostalgia, one invariably finds three key ideas: first, that of a prelapsarian world (the Golden Age, the childhood Home, the Country); second, that of a ‘lapse’ (a cut, a Catastrophe, a separation or sundering, the Fall); and third, that of the present, postlapsarian world (a world felt in some way to be lacking, deficient, or oppressive).”1 Many Beurs consider “the Golden Age, the childhood Home, the Country” to be located south of the Mediterranean. Within this particular vision, it is not surprising that French nationals of Maghrebi descent should be nostalgic of a past, from which migration acts as the “cut, Catastrophe, separation or sundering, the Fall,” which irremediably leads to “a world felt in some way to be lacking, deficient, or oppressive.” As Tannock adds, “the nostalgic subject turns to the past to find/construct sources of identity, agency, or community, that are felt to be lacking, blocked, subverted, or threatened in the present.”2 Nostalgia and exile have long played an important part in raï music, but in the context of French raï music (and raï made in France) they have recently become popular tropes.3 Recently, a series of Beur Raï n’b albums have positioned North Africa as a site of wealth and abundance. In this Maghrebi-French category, the Maghreb has replaced France as the gilded Eldorado. To combat negative depictions of the Maghreb and to advance the concept of a more welcoming and competitive North Africa, three DJS recently collaborated on a multivolume collection, which includes Raï n’b fever, Raï n’b fever 2, and Raï n’b fever 3. The reputation of the hybrid Raï n’b genre has enabled the labels to invite a great variety of artists to be part of this musical initiative. Some of the most famous names in raï, R&B, and hip-hop have participated in the project. Original songs even include tracks crafted especially for this musical style, as is evidenced by the dedication made to the DJS or the mentioning of the Raï n’b genre or even of a “Maghreb United”—a special rallying motto for the artists and for listeners in need of a sense of belonging south of the Mediterranean. Intended primarily for an audience based in the French metropole, the subject matter resonates with individuals disillusioned with France and nostalgic about an actual or imagined country of origin. Some of the songs partake in an obvious conceptualization of France as an ex-center, while others treat leavism as a worse evil and Europe-bound journeys as a dead end. For France-based listeners, the lived French experience is different from the Eldorado perceived by their North African counterparts. Instead, France is synonymous with the racism, alienation, and the towering, gray housing projects that outline the country’s urban peripheries.

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