Rezension zu: Franziska Torma : Eine Naturschutzkampagne in der Ära Adenauer. Bernhard Grzimeks A... more Rezension zu: Franziska Torma : Eine Naturschutzkampagne in der Ära Adenauer. Bernhard Grzimeks Afrikafilme in den Medien der 50er Jahre. Martin Meidenbauer Verlag, München 2004, ISBN 3-89975-034-9, 213 Seiten, 36,90 Euro
Rwanda and the Media: Genocide as cinematic narrative and transnational media event. In this pape... more Rwanda and the Media: Genocide as cinematic narrative and transnational media event. In this paper eight films on the Rwandan genocide are analysed, all of which were produced by African or Euro-American producers ten years after the fact. Special emphasis is placed on the examination of the transmitters – such as: photographs, radio broadcasts, testimonies of contemporary witnesses, documents and equipment – which were utilized by the producers to lend their films authenticity. At best these films present a convincing critique of the colonial and postcolonial hegemonic structures by way of a critical examination of the media. On the other hand, the films of a mainstream or Hollywood brand mostly just reproduced classical Western stereotypes which echo the „heart of darkness“.
Rezension zu: Franziska Torma : Eine Naturschutzkampagne in der Ära Adenauer. Bernhard Grzimeks A... more Rezension zu: Franziska Torma : Eine Naturschutzkampagne in der Ära Adenauer. Bernhard Grzimeks Afrikafilme in den Medien der 50er Jahre. Martin Meidenbauer Verlag, München 2004, ISBN 3-89975-034-9, 213 Seiten, 36,90 Euro
Rwanda and the Media: Genocide as cinematic narrative and transnational media event. In this pape... more Rwanda and the Media: Genocide as cinematic narrative and transnational media event. In this paper eight films on the Rwandan genocide are analysed, all of which were produced by African or Euro-American producers ten years after the fact. Special emphasis is placed on the examination of the transmitters – such as: photographs, radio broadcasts, testimonies of contemporary witnesses, documents and equipment – which were utilized by the producers to lend their films authenticity. At best these films present a convincing critique of the colonial and postcolonial hegemonic structures by way of a critical examination of the media. On the other hand, the films of a mainstream or Hollywood brand mostly just reproduced classical Western stereotypes which echo the „heart of darkness“.
Uploads
Papers