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The first decade of the 21st century has seen a proliferation of North American and European films that focus on African politics and society. While once the continent was the setting for narratives of heroic ascendancy over self (The African Queen, 1951; The Snows of Kilimanjaro, 1952), military odds (Zulu, 1964; Khartoum, 1966) and nature (Mogambo, 1953; Hatari!,1962; Born Free, 1966; The Last Safari, 1967), this new wave of films portrays a continent blighted by transnational corruption (The Constant Gardener, 2005), genocide (Hotel Rwanda, 2004; Shooting Dogs, 2006), ‘failed states’ (Black Hawk Down, 2001), illicit transnational commerce (Blood Diamond, 2006) and the unfulfilled promises of decolonization (The Last King of Scotland, 2006). Conversely, where once Apartheid South Africa was a brutal foil for the romance of East Africa (Cry Freedom, 1987; A Dry White Season, 1989), South Africa now serves as a redeemed contrast to the rest of the continent (Red Dust, 2004; Invictus, 2009). Writing from the perspective of long-term engagement with the contexts in which the films are set, anthropologists and historians reflect on these films and assess the contemporary place Africa holds in the North American and European cinematic imagination.
In Framing a Radical African Atlantic Holger Weiss presents a critical outline and analysis of the International Trade Union Committee of Negro Workers (ITUCNW) and the attempts by the Communist International (Comintern) to establish an anticolonial political platform in the Caribbean and Sub-Saharan Africa during the interwar period. It is the first presentation about the organization and its activities, investigating the background and objectives, the establishment and expansion of a radical African (black) Atlantic network between 1930 and 1933, the crisis in 1933 when the organization was relocated from Hamburg to Paris, the attempt to reactivate the network in 1934 and 1935 and its final dissolution and liquidation in 1937-38.
Post-apartheid South African elections have borne an unmistakable racial imprint: Africans vote for one set of parties, whites support a different set of parties, and, with few exceptions, there is no crossover voting between groups. These voting tendencies have solidified the dominance of the ruling African National Congress (ANC) over South African politics and turned South African elections into 'racial censuses'. This book explores the political sources of these outcomes. It argues that although the beginnings of these patterns lie in South Africa's past, in the effects apartheid had on voters' beliefs about race and destiny and the reputations parties forged during this period, the endurance of the census reflects the ruling party's ability to use the powers of office to prevent the opposition from evolving away from its apartheid-era party label. By keeping key opposition parties 'white', the ANC has rendered them powerless, solidifying its hold on power in spite of an increasingly restive and dissatisfied electorate.
A photographic journey by one of the twentieth century’s great photographers through eight African countries on the cusp of independence post WWII. Todd Webb is largely known for his skillful photographic documentation of everyday life and architecture in cities, most notably New York and Paris, as well as his photographs of the American West. This new book showcases a different side of Webb’s work, taken from an assignment that brought him to eight African countries. In 1958, Webb was invited by the United Nations to document Togoland (now Togo), Ghana, Kenya, the Federation of Rhodesia and Nyasaland (now Zimbabwe, Zambia, and Malawi), Somaliland (now Somalia), Sudan, Tanganyika and Zanzibar (now merged as Tanzania) over a five-month assignment. Equipped with three cameras and briefed to document industrial progress, he returned with approximately fifteen hundred color negatives, but less than twenty of them were published, in black and white, by the United Nations Department of Public Information. The archive was then lost for over fifty years and was only rediscovered by the Todd Webb Archive in 2017. Todd Webb in Africa includes over 150 striking color photographs from Webb’s African United Nations assignment. This book, and an accompanying touring exhibition, provides expert insight into Webb’s images with contributions by both African and American scholars. Included essays engage the photographs in their historical and artistic moment, and provide crucial insight into the role of photography in visualizing national independence and ingrained imperialism.
Since the publication of the first edition of this book in 1977, Africa has established itself as the most popular introductory text for African studies courses in North America. This third edition has been completely revised and brought up to date since the 1986 edition, reflecting changes in African society and politics, and in the scholarship available on this vast and complex continent. Contents I. Introduction 1. Africa: Problems and Perspectives. Phyllis M. Martin and Patrick O'Meara 2. The Contemporary Map of Africa. Michael L. McNulty II. The African Past 3. Prehistoric Africa. Kathy D. Schick 4. Aspects of Early African History. John Lamphear and Toyin Falola 5. Islam and African Societies. John H. Hanson 6. Africa and Europe before 1900. Curtis A. Keim 7. The Colonial Era. Sheldon Gellar 8. Decolonization, Independence, and the Failure of Politics. Edmond J. Keller III. Society and Culture 9. Social Organization in Africa. John C. McCall 10. Economic Life in African Villages and Towns. Mahir Saul 11. African Systems of Thought. Ivan Karp 12. African Art. Patrick McNaughton and Diane Pelrine 13. African Music Performed. Ruth M. Stone 14. Popular Culture in Urban Africa. Dele Jegede 15. African Literature. Eileen Julien 16. Social Change in Contemporary Africa. Claire Robertson 17. Law and Society in Contemporary Africa. Takyiwaa Manuh IV. Economics and Politics 18. African Politics since Independence. N. Brian Winchester 19. Economic Change in Contemporary Africa. Sara Berry 20. The African Development Crisis. Richard Stryker and Stephen N. Ndegwa 21. South Africa. C. R. D. Halisi and Patrick O'Meara Africana Resources for Undergraduates: A Bibliographic Essay. Nancy J. Schmidt
Africa’s Media Image in the 21st Century is the first book in over twenty years to examine the international media’s coverage of sub-Saharan Africa. It brings together leading researchers and prominent journalists to explore representation of the continent, and the production of that image, especially by international news media. The book highlights factors that have transformed the global media system, changing whose perspectives are told and the forms of media that empower new voices. Case studies consider questions such as: how has new media changed whose views are represented? Does Chinese or diaspora media offer alternative perspectives for viewing the continent? How do foreign correspondents interact with their audiences in a social media age? What is the contemporary role of charity groups and PR firms in shaping news content? They also examine how recent high profile events and issues been covered by the international media, from the Ebola crisis, and Boko Haram to debates surrounding the "Africa Rising" narrative and neo-imperialism. The book makes a substantial contribution by moving the academic discussion beyond the traditional critiques of journalistic stereotyping, Afro-pessimism, and ‘darkest Africa’ news coverage. It explores the news outlets, international power dynamics, and technologies that shape and reshape the contemporary image of Africa and Africans in journalism and global culture.
This book considers the ways that representations of Africa have contributed to the changing nature of British national identity. Using interviews, photo archives, media coverage, advertisements, and web material, the book focuses on major Africa campaigns: the abolition of slavery, anti-apartheid, 'Drop the Debt', and 'Make Poverty History'. Using a hybrid theoretical framework, the book argues that the representation of Africa has been mainly about imagining virtuous Britishness rather than generating detailed understandings of Africa. The book develops this argument through a historical review of 200 years of Africa campaigning. It also looks more closely at recent and contemporary campaigning, opening up new issues and possibilities for campaigning: the increasing use of consumer identities, electronic media, and aspects of globalisation. This book will be of interest to anyone interested in postcolonial politics, relations between Britain and Africa, and development studies.
This edited volume presents intersectionality in its various configurations and interconnections across the African continent and around the world as a concept. These chapters identify and discuss intersectionalities of identity and their interplay within precolonial, colonial, and neo-colonial constructs that develop unique and often conflicting interconnections. Scholars in this book address issues in cultural, feminist, Pan African, and postcolonial studies from interdisciplinary and traditional disciplines, including the Arts, Humanities, and Social Sciences. While Intersectionality as a framework for race, gender, and class is often applied in African-American studies, there is a dearth of work in its application to Africa and the Diaspora. This book presents a diverse set of chapters that compare, contrast, and complicate identity constructions within Africa and the Diaspora utilizing the social sciences, the arts in film and fashion, and political economies to analyze and highlight often invisible distinctions of African identity and the resulting lived experiences. These chapters provide a discussion of intersectionality’s role in understanding Africa and the Diaspora and the intricate interconnections across its people, places, history, present, and future.