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Jean Hartley, born in Kenya, is acknowledged as being the first to legitimise fixing for wildlife film crews. Over the last 25 years, she has worked on over a thousand films, the vast majority being about wildlife and nature. She features five of the great film makers who all started their careers in Kenya in the1950s, legends whom she is proud to call personal friends. Watching all of their films, and many more, she became fascinated by the history of film making in Kenya and determined to find out when it all started. In this insightful book, she traces the roots of wildlife film back a hundred years, drawing on accounts of the original film makers and the professional hunters who guided those early safaris. She tracks the changes from those grainy, speeded up, silent films through to the technologically perfect High Definition and 3D films that are being made today.
The spread of empires in the nineteenth century brought more than new territories and populations under Western sway. Animals were also swept up in the net of imperialism, as jungles and veldts became colonial ranches and plantations. A booming trade in animals turned many strange and dangerous species into prized commodities. Tigers from India, pythons from Malaya, and gorillas from the Congo found their way—sometimes by shady means—to the zoos of major U.S. cities, where they created a sensation. Zoos were among the most popular attractions in the United States for much of the twentieth century. Stoking the public’s fascination, savvy zookeepers, animal traders, and zoo directors regaled visitors with stories of the fierce behavior of these creatures in their native habitats, as well as daring tales of their capture. Yet as tropical animals became increasingly familiar to the American public, they became ever more rare in the wild. Tracing the history of U.S. zoos and the global trade and trafficking in animals that supplied them, Daniel Bender examines how Americans learned to view faraway places and peoples through the lens of the exotic creatures on display. Over time, as the zoo’s mission shifted from offering entertainment to providing a refuge for endangered species, conservation parks replaced pens and cages. The Animal Game recounts Americans’ ongoing, often conflicted relationship with zoos, decried as anachronistic prisons by animal rights activists even as they remain popular centers of education and preservation.
Kenya has a rich and complex history. Due to the vast discoveries of prehistoric archaeological remains, Kenya is one of the few places in the world with the largest and most complete record of human’s cultural development. Furthermore, the country’s strategic location astride the Indian Ocean and the East African littoral attracted numerous foreigners such as the Arabs, Persians, Portuguese, Americans, British, Chinese, French, and Germans. Additionally, immigrants from throughout Africa and beyond have settled in Kenya to escape conflict or political persecution, while others wanted an opportunity to begin a new life. As a result of being a gateway to the world, the country traditionally has been one of the most important business, cultural, diplomatic, and political centers in Africa. Still, Kenya, like many other countries throughout the world, has been plagued by an increasing array of complex economic, political, and social challenges. Historical Dictionary of Kenya, Fourth Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on important personalities as well as aspects of the country’s politics, economy, foreign relations, religion, and culture. This book is an excellent resource for students, researchers, and anyone wanting to know more about Kenya.
This volume presents psychobiographical research in non-WEIRD—Western, Educated, Industrialized, Rich and Democratic—contexts and samples, focusing on culture, transcultural and transdisciplinary work. It creates a platform for researchers, scholars and scientists from diverse backgrounds to put forth new theoretical and methodological stances in psychobiography, thereby making the field more inclusive, diverse and equitable. The chapters in this volume investigate the role of context across the life course of non-WEIRD psychological subjects, as well as the interplay between them and their environments across the life span. They further elucidate cognitive, affective and behavioural aspects of individuals with non-WEIRD backgrounds. The volume provides a broad and at the same time in-depth perspective into psychobiography beyond the usual contexts and therefore has new and original learnings to offer across disciplines and cultures. It is a breakthrough in terms of its transcultural and transdisciplinary insights into lives lived in different contexts in the world. "Every person is in certain respects (a) like all other persons, (b) like some other persons, (c) like no other persons. This book is a challenging and fascinating exploration of extending psychobiography beyond its origins in Europe and America to women and men of different races and social and economic classes from Africa, Asia, and around the world. At its best, psychobiography can increase people's awareness of their own subjective experience and that of others, contributing to movements for social, cultural and political change." William McKinley Runyan, Professor Emeritus & Professor of the Graduate School, School of Social Welfare, U. of California Berkeley Beyond Weird is beyond needed. The book triumphantly fills the gap created by a dearth of studies of people other than Western, educated, European and American men. James William Anderson, PhD, Professor of Clinical Psychiatry and Behavioral Sciences, Northwestern University, Chicago.
In recent decades historians and film scholars have intensified their study of colonial cinema in Africa. Yet the vastness of the continent, the number of European powers involved and irregular record keeping has made uncovering the connections between imagery, imperialism and indigenous peoples difficult. This volume takes up the challenge, tracing production and exhibition patterns to show how motion pictures were introduced on the continent during the "Scramble for Africa" and the subsequent era of consolidation. The author describes how early actualities, expeditionary footage, ethnographic documentaries and missionary films were made in the African interior and examines the rise of mass black spectatorship. While Africans in the first two decades of the 20th century were sidelined as cinema consumers because of colonial restrictions, social and political changes in the subsequent interwar period--wrought by large-scale mining in southern Africa--led to a rethinking of colonial film policy by missionaries, mining concerns and colonial officials. By World War II, cinema had come to black Africa.
In African Ecomedia, Cajetan Iheka examines the ecological footprint of media in Africa alongside the representation of environmental issues in visual culture. Iheka shows how, through visual media such as film, photography, and sculpture, African artists deliver a unique perspective on the socioecological costs of media production, from mineral and oil extraction to the politics of animal conservation. Among other works, he examines Pieter Hugo's photography of electronic waste recycling in Ghana and Idrissou Mora-Kpai's documentary on the deleterious consequences of uranium mining in Niger. These works highlight not only the exploitation of African workers and the vast scope of environmental degradation but also the resourcefulness and creativity of African media makers. They point to the unsustainability of current practices while acknowledging our planet's finite natural resources. In foregrounding Africa's centrality to the production and disposal of media technology, Iheka shows the important place visual media has in raising awareness of and documenting ecological disaster even as it remains complicit in it.
In this extraordinary memoir we look at Africa's wonders through the eyes of a visionary, live through hair-raising adventure and personal sorrow, and also bear witness to a natural world now largely lost from view.