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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.
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Drawing from Kenya to South Africa, Namibia to Nigeria, Malawi to Zimbabwe, this edited collection explores how digital platforms (text, audio, image and video-oriented) have reconfigured cultural production, distribution, consumption, and monetization in Africa. The book foregrounds contemporary African perspectives on how ordinary people and social media influencers are implicated in the platformization of cultural production. It calls attention to the myriad ways in which digital Africans are using restricted access to the digital to produce, distribute, circulate, and monetize cultural content at the margins of surveillance capitalism. This volume highlights how Africans are harnessing the potential of the digital in preserving, showcasing, performing, monetizing and platforming their own cultures. The major highlight of this book is the innovative and creative ways in which the young and old Africans are using popular digital technologies for a wide range of cultural productions.