Download Free The Postcolonial Cultural Industry Book in PDF and EPUB Free Download. You can read online The Postcolonial Cultural Industry and write the review.

The Postcolonial Cultural Industry makes a timely intervention into the field of postcolonial studies by unpacking its relation to the cultural industry. It unearths the role of literary prizes, the adaptation industry and the marketing of ethnic bestsellers as new globalization strategies that connect postcolonial artworks to the market place.
The Postcolonial Cultural Industry makes a timely intervention into the field of postcolonial studies by unpacking its relation to the cultural industry. It unearths the role of literary prizes, the adaptation industry and the marketing of ethnic bestsellers as new globalization strategies that connect postcolonial artworks to the market place.
Studies of race and media are dominated by textual approaches that explore the politics of representation. But there is little understanding of how and why representations of race in the media take the shape that they do. How, one might ask, is race created by cultural industries? In this important new book, Anamik Saha encourages readers to focus on the production of representations of racial and ethnic minorities in film, television, music and the arts. His interdisciplinary approach combines critical media studies and media industries research with postcolonial studies and critical race perspectives to reveal how political economic forces and legacies of empire shape industrial cultural production and, in turn, media discourses around race. Race and the Cultural Industries is required reading for students and scholars of media and cultural studies, as well as anyone interested in why historical representations of 'the Other' persist in the media and how they are to be challenged.
Through a wide-ranging study of labour in the cultural industries, this book critically evaluates how various sociological traditions - including critical theory, governmentality and liberal-democratic approaches - have sought to theorize the creative cultural worker, in art, music, media and design-based occupations.
Carrigan here examines the aesthetic portrayal of tourism in postcolonial literatures. Looking at the cultural and ecological effects of mass tourism development in states that are still grappling with the legacies of 'western' colonialism, he argues that postcolonial writers provide blueprints toward sustainable tourism futures.
Exploring the connection between culture and broader goals of human development, this research focuses on cultural and creative industries in what is commonly referred to as 'developing countries'. Christiaan De Beukelaer offers a thorough exploration of how the concepts of cultural and creative industries are constructed and implemented across African countries and evaluates various policy implications of his findings. Combining an empirical study of the cultural industries of Africa with an understanding towards broader insights regarding global implications of the European debate surrounding creative industries, De Beukelaer's work will greatly benefit our thinking on cultural policy.
Taking up the roles that Salman Rushdie himself has assumed as a cultural broker, gatekeeper, and mediator in various spheres of public production, Ana Cristina Mendes situates his work in terms of the contemporary production, circulation, and consumption of postcolonial texts within the workings of the cultural industries. Mendes pays particular attention to Rushdie as a public performer across various creative platforms, not only as a novelist and short story writer, but also as a public intellectual, reviewer, and film critic. Mendes argues that how a postcolonial author becomes personally and professionally enmeshed in the dealings of the cultural industries is of particular relevance at a time when the market is strictly regulated by a few multinational corporations. She contends that marginality should not be construed exclusively as a basis for understanding Rushdie’s work, since a critical grounding in marginality will predictably involve a reproduction of the traditional postcolonial binaries of oppressor/oppressed and colonizer/colonized that the writer subverts. Rather, she seeks to expand existing interpretations of Rushdie’s work, itineraries, and frameworks in order to take into account the actual conditions of postcolonial cultural production and circulation within a marketplace that is global in both orientation and effects.
An effective tool for reading postcolonial con/texts, ideology also provides a matrix to grasp the world, enabling collective political action. This interdisciplinary volume reflects that each position is subject to asymmetrical power relations, with critiques of ideological manifestations occurring in intersecting cultural, social, and political configurations.
The act of remaking one's history into a heritage, a conscientiously crafted narrative placed over the past, is a thriving industry in almost every postcolonial culture. This is surprising, given the tainted role of heritage in so much of colonialism's history. Yet the postcolonial state, like its European predecessor of the eighteenth and nineteenth centuries, deploys heritage institutions and instruments, museums, courts of law, and universities to empower itself with unity, longevity, exaltation of value, origin, and destiny. Bringing the eye of a philosopher, the pen of an essayist, and the experience of a public intellectual to the study of heritage, Daniel Herwitz reveals the febrile pitch at which heritage is staked. In this absorbing book, he travels to South Africa and unpacks its controversial and robust confrontations with the colonial and apartheid past. He visits India and reads in its modern art the gesture of a newly minted heritage idealizing the precolonial world as the source of Indian modernity. He traverses the United States and finds in its heritage of incessant invention, small town exceptionalism, and settler destiny a key to contemporary American media-driven politics. Showing how destabilizing, ambivalent, and potentially dangerous heritage is as a producer of contemporary social, aesthetic, and political realities, Herwitz captures its perfect embodiment of the struggle to seize culture and society at moments of profound social change.