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Média résistance: Un écho pour les voix discordantes

Serge Bailly, Didier Beaufort

Paris: Karthala (2000), 326 pp.

Media Résistance a publié en 2000 le réçit de 23 expériences de journaux, de radios et de télévision indépendantes. Le livre entend répondre à quatre questions: comment les médias résistent aux diverses pressions par les mots, quel est leur rôle dans le renforcement de la société civi ... more

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Déontologie des médias: Institutions, pratiques et nouvelles approches dans le monde

Henri Pigeat, Jean Huteau

Paris: UNESCO (2000), 574 pp.

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Neue Medien und Öffentlichkeiten: Politik und Tele-Kommunikation in Afrika, Asien und Lateinamerika. Bd.2

Stefan Brüne (ed.)

Hamburg: Deutsches Übersee-Institut (2000), 434 pp.

"Der Band umfasst Beiträge, die sich aus der Perspektive von Entwicklungs- und Schwellenländern mit den Folgen und Politikanforderungen des kommunikationstechnologischen Fortschritts auseinandersetzen. Im Mittelpunkt stehen Fragen nach der politischen und kulturellen Bedeutung eines zunehmend plur ... more

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Stories We Tell Our People: Asian Cinema, Cultures, Values and More

Jacob Srampickal, Leela Joseph (eds.)

New Delhi: OCIC Asia (2000), 167 pp.

"This collection, sponsored by the Asian office of the International Catholic Organization for Cinema (OCIC), provides an overview for the study of cinema in Asia. It consists of articles, more or less arranged in concentric circles, addressing cinema in general, Asian cinema, and the cinema of part ... icular countries. Authors include film critics, scholars, and film makers. The first and most general section asks how the cinema teaches values, examining the process of the construction of meaning. Jacob Srampickal, one of the volume's editors, sees the cinema as a mirror of social values while Peter Malone, the international president of OCIC and a film critic from Australia, examines the hopes and failures of cinema in teaching family values. He highlights in particular questions of patriarchy, commitment, cohabitation, separation and divorce, single parenting, careerism, rebellion, peer pressure, and sexual abuse as they appear in films. Virgilio Fantuzzi, a Rome-based film educator, provides a theoretical piece on transcendence in film and introduces a number of film makers known for their transcendental style. Jose Palakeel, the dean of studies at Ruhalaya in Central India, argues that audiovisual expression is particularly apt for the construction of meanings and values. Rooting his analysis in Jungian psychology, he notes that the individual constructs meaning and values through association of images, feelings, relationships, and intuitions. The section also includes Pope John Paul II's World Communication Day message of 1995, the centenary of the cinema. Because of its general character, this first section proves less helpful than the others in the book. Several of the writers correctly remark that their topics need more space for development. They do, however, raise key issues, particularly regarding the mechanisms through which cinema influences culture and society. The second section, on Asian cinema, returns to these themes. Gaston Roberge, the founder of Chitrabani in Calcutta, specifically investigates the film as a cultural object and tries to identify how people interact with it in the context of Asian cultures and values. Aruna Vasudev, the editor of Cinemaya, an Asian cinema magazine, argues that even in the face of Hollywood blockbusters an Asian cinema has emerged with an emphasis on "the continuity of certain traditions--the family, the community, honour, emotionalism" (p. 52). He illustrates these themes and concerns with examples of film from Taiwan, the Philippines, Korea, Japan, India, and Iran. The Sri Lankan film critic Tissa Abeyasekara raises a challenge to this view, acknowledging that, while there is cinema in Asia, it may not have developed a specifically Asian aesthetic or idiom. Noting cultural differences across Asia, he admits that Asian cinema does share at least two common elements--a lack of support for the medium and a lack of integration with the rich traditions of the plastic arts across the region. The book's third section, consisting of examples and studies from the various countries of Asia, proves the richest by far, particularly for a reader less familiar with Asian cinema. Satish Bahadur, a retired member of the Film and Television Institute of India, contributes a study of the cultural and historical factors that have shaped cinema in India, discussing themes, directors, styles, and audiences. For example, Indian life has made cinema an urban phenomenon, but one rooted in the culture of the village, with city dwellers still clinging to village values. This juxtaposition also helps to explain the side-by-side existence of the Bollywood film and the socially conscious film. Roberge adds another essay here that explores some specific films and their relationship to the Indian family. Rounding out the examination of India is Manjunath Pendakur, a professor of international communication at Northwestern University (USA). His essay on Indian documentary film traces the rise of an independent film industry, competing with official government documentary production. The cinema of other Asian countries receives briefer treatment. Tadao Sato, a Japanese film critic, penetratingly explores Japanese cinema by asking whether there is something "typically Japanese." His historical overview explains the rise of certain themes and approaches to acting and film making while relating these to the history of Japan in the twentieth century. Lawrence Saldanha, a film educator in Pakistan, surveys a young Pakistani industry, noting its mixed fortunes in the face of shifting government regulation. Nicasio Cruz, a film critic, traces the rise in Filipino cinema of the action spectacle and the teen heart-throb movie. Both connect to the immense popularity (and political success) of movie stars in Filipino culture. James Reuter, a film educator on the staff of the Catholic Church communication office, asks whether there is place for God in the midst of such spectacle and vulgar romance films. Finally, William Biernatzki, the editor of Communication Research Trends, and Taewon Suh, a university lecturer, provide an overview of cinema in the Republic of Korea. They look both at the state of the industry (affected by government quotas, censorship, and the threat of piracy) and at the development of a Korean aesthetic. The editors close the volume with reprinted "testimonies" from two great Indian directors: Satyajit Ray ("Why Do I Make Films?") and Shyam Benegal ("Values Are of Primary Importance to Me")." (https://www.thefreelibrary.com) more

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Espelhos míticos da cultura de massa: Cinema, TV e quadrinhos na Índia

Lúcia Fabrini de Almeida

São Paulo: Annablume (1999), iii, 106 pp.

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Entertainment-Education: A Communication Strategy for Social Change

Arvind Singhal, Everett M. Rogers

Mahwah: Lawrence Erlbaum Associates (1999), 265 pp.

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Public Service Broadcasting in Asia: Surviving in the New Information Age

Singapore: Asian Media Information and Communication Centre (AMIC) (1999), 168 pp.

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Image Journeys: Audio-Visual Media and Cultural Change in India

Christiane Brosius, Melissa Butcher (eds.)

New Delhi; Thousand Oaks; London: Sage (1999), 338 pp.

"This volume examines the influence of audio-visual media in cultural change in India. The essays focus on: the dynamics of network change; the relationships between image and viewer; and the journey of images between points of reading in contemporary India that are mediated through television, cine ... more

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The Art of Facilitating Participation: Releasing the Power of Grassroots Communication

Shirley A. White (ed.)

Thousand Oaks: Sage (1999), 367 pp.

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Mass Media and Cultural Identity: Ethnic Reporting in Asia

Anura Goonasekera, Youichi Ito

London: Pluto Press (1999), 305 pp.

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Compassion Fatigue: How the Media Sell Disease, Famine, War and Death

Susan D. Moeller

New York; London: Routledge (1999), 390 pp.

"From outbreaks of the flesh eating viruses Ebola and Strep A, to death camps in Bosnia and massacres in Rwanda, the media seem to careen from one trauma to another, in a breathless tour of poverty, disease and death. First we're horrified, but each time they turn up the pitch, show us one image mor ... more

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Efficacy in Letter-Writing to an Entertainment-Education Radio Serial

Sweety Law, Arvind Singhal

International Communication Gazette, volume 61, issue 5 (1999), pp. 355-372

"The influence of efficacy, both self and collective, in the adoption of prosocial behaviors has not been examined in the context of large-scale communication campaigns that use mass media interventions. Our purpose is to identify efficacious dimensions in letter-writers' communication to an enterta ... more

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Children and Media: Image, Education, Participation

Cecilia von Feilitzen, Ulla Carlsson (eds.)

Göteborg: UNESCO International Clearinghouse on Children, Youth and Media (1999), 483 pp.

"This yearbook compiles research findings on children and youth and media violence from the perspective of the United Nations Convention on the Rights of the Child. The thematic focus of this yearbook is on what is being done to combat gratuitous media violence. It presents information on media educ ... more

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Media Regulations for the New Times

Venkat Iyer (ed.)

Singapore: Asian Media Information and Communication Centre (AMIC) (1999), x, 167 pp.

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Encyclopedia of Indian Cinema

Ashish Rajadhyaksha, Paul Willemen

New Delhi: Oxford University Press; National Film Archive of India, 2nd ed. (1999), 658 pp.

"Most of the facts in this book are gleaned from available sources, representing the most reliable ones we could find for each of India’s cinemas (the sources are listed below). Many of these are what we earlier called, somewhat dismissively, ‘official’. Given the nature of the Indian film ind ... more

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