By Anja Schwarz, Lars Eckstein
ISBN-10: 1472519426
ISBN-13: 9781472519429
Around the international South, new media applied sciences have caused new varieties of cultural creation, distribution and reception. The unfold of cassette recorders within the Seventies; the creation of analogue and electronic video codecs within the 80s and 90s; the pervasive availability of recycled machine undefined; the worldwide dissemination of the net and cellphones within the new millennium: these kinds of have revolutionised the entry of formerly marginalised populations to the cultural flows of worldwide modernity.
Yet this entry additionally engenders a pirate career of the trendy: it geese and deranges the globalised designs of estate, capitalism and personhood set through the North. Positioning itself opposed to Eurocentric evaluations by means of company lobbies, libertarian readings or classical Marxist interventions, this quantity deals a profound postcolonial revaluation of the social, epistemic and aesthetic workings of piracy. It tasks how postcolonial piracy repeatedly negotiates assorted trajectories of estate and self on the crossroads of the worldwide and the neighborhood.
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Additional info for Postcolonial Piracy: Media Distribution and Cultural Production in the Global South
Sample text
It is increasingly clear that this unhinged proliferation of urban life is enclosed in a world of media urbanism. Postcolonial cities are today also media cities,3 a tag typically reserved for the ‘global city’. Saskia Sassen and Manuel Castells have recognized that international technological networks of finance and communication produce new geographies of concentration and dispersal. Sassen (2001) argues that financial centres concentrate in certain core cities with a large, increasingly disenfranchised low-end workforce helping to provide services and back-up.
Ann Arbor: University of Michigan Press. —(2011), The Darker Side of Western Modernity: Global Futures, Decolonial Options. Durham, NC: Duke University Press. , McMurria, J. and Wang, T. (2002), Global Hollywood. London: The British Film Institute. —(2008), Global Hollywood: No. 2. London: The British Film Institute. Paradise, P. (1999), Trademark Counterfeiting, Product Piracy, and the Billion Dollar Threat to the US Economy. Westport, CT: Greenwood Press. Philip, K. (2005), ‘What Is a Technological Author?
What emerged was a materiality that disclosed popular ideas of authenticity and surface within the context of a bazaar economy well-nigh integrated in a regional global technological constellation. In the 1990s, when pirate distribution and reproduction of mainstream film and music releases were localized, the differences between the ‘original’ and its copy were twofold: the latter typically 42 Postcolonial Piracy preceded the original release and was marked by a modest cover, screen printed or even handwritten.
Postcolonial Piracy: Media Distribution and Cultural Production in the Global South by Anja Schwarz, Lars Eckstein
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