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The period from the 1970s to the present day has produced an extraordinarily rich and diverse body of Caribbean writing that has been widely acclaimed. Caribbean Literature in Transition, 1970-2020 traces the region's contemporary writings across the established genres of prose, poetry, fiction and drama into emerging areas of creative non-fiction, memoir and speculative fiction with a particular attention on challenging the narrow canon of Anglophone male writers. It maps shifts and continuities between late twentieth century and early twenty-first century Caribbean literature in terms of innovations in literary form and style, the changing role and place of the writer, and shifts in our understandings of what constitutes the political terrain of the literary and its sites of struggle. Whilst reaching across language divides and multiple diasporas, it shows how contemporary Caribbean Literature has focused its attentions on social complexity and ongoing marginalizations in its continued preoccupations with identity, belonging and freedoms.
This text is an examination of the social evolution of the colonial Caribbean, from the formal end of slavery to the middle of the 20th century. It focuses on social and ethnic groups, classes, gender interrelations, and the development of cultural and intellectual traditions.
First Published in 1991. Routledge is an imprint of Taylor & Francis, an informa company.
This book advances alternative approaches to understanding media, culture and technology in two vibrant regions of the Global South. Bringing together scholars from Africa and the Caribbean, it traverses the domains of communication theory, digital technology strategy, media practice reforms, and corporate and cultural renewal. The first section tackles research and technology with new conceptual thinking from the South. The book then looks at emerging approaches to community digital networks, online diaspora entertainment, and video gaming strategies. The volume then explores reforms in policy and professional practice, including in broadcast television, online newspapers, media philanthropy, and business news reporting. Its final section examines the role of village-based folk media, the power of popular music in political opposition, and new approaches to overcoming neo-colonial propaganda and external corporate hegemony. This book therefore engages critically with the central issues of how we communicate, produce, entertain, and build communities in 21st-century Africa and the Caribbean.
Focusing on the Anglophone Caribbean, The Making of a Caribbean Avant-Garde describes the rise and gradual consolidation of the visual arts avant-garde, which came to local and international attention in the 1990s. The book is centered on the critical and aesthetic strategies employed by this avant-garde to repudiate the previous generation’s commitment to modernism and anti-colonialism. In three sections, it highlights the many converging factors, which have pushed this avant-garde to the forefront of the region’s contemporary scene, and places it all in the context of growing dissatisfaction with the post-colonial state and its cultural policies. This generational transition has manifested itself not only in a departure from “traditional” in favor of “new” media (i.e., installation, performance, and video rather than painting and sculpture), but also in the advancement of a “postnationalist postmodernism,” which reaches for diasporic and cosmopolitan frames of reference. Section one outlines the features of a preceding “Creole modernism” and explains the different guises of postnationalism in the region’s contemporary art. In section two, its momentum is connected to the proliferation of independent art spaces and transnational networks, which connect artists across and beyond the region and open up possibilities unavailable to earlier generations. Section three demonstrates the impact of this conceptual and organizational evolution on the selection and exhibition of Caribbean art in the metropole.
In this media history of the Caribbean, Alejandra Bronfman traces how technology, culture, and politics developed in a region that was "wired" earlier and more widely than many other parts of the Americas. Haiti, Cuba, and Jamaica acquired radio and broadcasting in the early stages of the global expansion of telecommunications technologies. Imperial histories helped forge these material connections through which the United States, Great Britain, and the islands created a virtual laboratory for experiments in audiopolitics and listening practices. As radio became an established medium worldwide, it burgeoned in the Caribbean because the region was a hub for intense foreign and domestic commercial and military activities. Attending to everyday life, infrastructure, and sounded histories during the waxing of an American empire and the waning of British influence in the Caribbean, Bronfman does not allow the notion of empire to stand solely for domination. By the time of the Cold War, broadcasting had become a ubiquitous phenomenon that rendered sound and voice central to political mobilization in the Caribbean nations throwing off what remained of their imperial tethers.
Drawing on 15 months of ethnographic research in one of the most under-developed regions in the Caribbean island of Trinidad, this book describes the uses and consequences of social media for its residents. Jolynna Sinanan argues that this semi-urban town is a place in-between: somewhere city dwellers look down on and villagers look up to. The complex identity of the town is expressed through uses of social media, with significant results for understanding social media more generally. Not elevating oneself above others is one of the core values of the town, and social media becomes a tool for social visibility; that is, the process of how social norms come to be and how they are negotiated. Carnival logic and high-impact visuality is pervasive in uses of social media, even if Carnival is not embraced by all Trinidadians in the town and results in presenting oneself and association with different groups in varying ways. The study also has surprising results in how residents are explicitly non-activist and align themselves with everyday values of maintaining good relationships in a small town, rather than espousing more worldly or cosmopolitan values.