Dumisani Moyo – författare

This book examines audio-visual content production in Africa, highlighting the ways in which the rise of social networking platforms has combatted the marginalisation of minority languages across the continent.

Colonial languages have tended to dominate audio-visual narratives in Africa, and although postcolonial film and video production initiatives have tried to counter this, in practice they perpetuate the marginalisation of minority language groups by favouring major indigenous languages such as isiZulu in South Africa, Shona in Zimbabwe, Yoruba or Igbo in Nigeria. This book demonstrates the ways in which the internet and the accompanying boom in popularity of visual social networking applications such as YouTube, TikTok, Facebook, X, and Vimeo have disrupted dominant language video productions and traditional media marketing models. As audiences have fragmented, seeking out content produced in their own languages, traditional gatekeepers have been challenged. Drawing on studies from across the continent, the book demonstrates the varied and multifaceted ways in which minority language audio-visual content creators are using these platforms to negotiate with or contest dominant languages.

This timely investigation into the political economy of contemporary audio-visual production in minority languages in Africa will be of interest to researchers across media studies and sociolinguistics in Africa.

This book examines audio-visual content production in Africa, highlighting the ways in which the rise of social networking platforms has combatted the marginalisation of minority languages across the continent.

Colonial languages have tended to dominate audio-visual narratives in Africa, and although postcolonial film and video production initiatives have tried to counter this, in practice they perpetuate the marginalisation of minority language groups by favouring major indigenous languages such as isiZulu in South Africa, Shona in Zimbabwe, Yoruba or Igbo in Nigeria. This book demonstrates the ways in which the internet and the accompanying boom in popularity of visual social networking applications such as YouTube, TikTok, Facebook, X, and Vimeo have disrupted dominant language video productions and traditional media marketing models. As audiences have fragmented, seeking out content produced in their own languages, traditional gatekeepers have been challenged. Drawing on studies from across the continent, the book demonstrates the varied and multifaceted ways in which minority language audio-visual content creators are using these platforms to negotiate with or contest dominant languages.

This timely investigation into the political economy of contemporary audio-visual production in minority languages in Africa will be of interest to researchers across media studies and sociolinguistics in Africa.

This book advances alternative approaches to understanding media, culture and technology in two vibrant regions of the Global South. Bringing together scholars from Africa and the Caribbean, it traverses the domains of communication theory, digital technology strategy, media practice reforms, and corporate and cultural renewal. The first section tackles research and technology with new conceptual thinking from the South. The book then looks at emerging approaches to community digital networks, online diaspora entertainment, and video gaming strategies. The volume then explores reforms in policy and professional practice, including in broadcast television, online newspapers, media philanthropy, and business news reporting. Its final section examines the role of village-based folk media, the power of popular music in political opposition, and new approaches to overcoming neo-colonial propaganda and external corporate hegemony. This book therefore engages critically withthe central issues of how we communicate, produce, entertain, and build communities in 21st-century Africa and the Caribbean.

This volume presents case studies of news media employing and integrating social media into their news production practices. It links social media use to journalistic practices and news production processes in the digital age of the Global South. Critically, the chapters look at seminal cases of start-up news media whose content is informed by trends in social media, ethical considerations and participatory cultures spurred by the wide use of social media.

There has been considerable research looking at the potential of new media technologies, traditional journalism and citizen reporting. The extent to which these new media technologies and ‘citizen journalism’ have morphed or reconfigured traditional journalism practice remains debatable. Currently, there are questions around the limits of social media in journalism practice as the ethical lines continue to become blurred. It is this conundrum of the role of social media in the reconfiguration of the media, news making, production and participatory cultures that requires more investigation. Social media has also turned the logic of the political economy of media production on its head as citizens can now produce, package and distribute news and information with shoestring budgets and in authoritarian regimes with no license of practice. This new political economy means the power that special interest groups used to enjoy is increasingly slipping from their hands as citizens take back the power to appropriate social media journalism to counter hegemonic narratives. Citizens can also perform journalistic roles of investigating and whistleblowing but with a lack off, or limited, regulation. This volume seeks to explore and untangle these issues, and provides an invaluable resource for researchers across the field of journalism, mass media, and communication studies.