Francophone African Women Documentary Filmmakers is groundbreaking edited collection which explores the contributions of Francophone African women to the field of documentary filmmaking. Rich in its scope and critical vision it constitutes a timely contribution to cutting-edge scholarly debates on African cinemas. Featuring 10 chapters from prominent film scholars, it explores the distinctive documentary work and contributions of Francophone African women filmmakers since the 1960s. It focuses documentaries by North African and Sub-Saharan women filmmakers, including the pioneering work of Safi Faye in Kaddu Beykat, Rama Thiaw's The Revolution Will Not be Televised, Katy Lena Ndiaye's Le Cercle des noyes and En attendant les hommes, Dalila Ennadre's Fama: Heroism Without Glory and Leila Kitani's Nos lieux interdits. Shunned from costly fictional- 35mm-filmmaking, Francophone African Women Documentary Filmmakers examines how these women engaged and experimented with documentary filmmaking in personal, evocative ways that countered the officially sanctioned, nationalist practice of show and teach/promote.

Francophone African Women Documentary Filmmakers is groundbreaking edited collection which explores the contributions of Francophone African women to the field of documentary filmmaking. Rich in its scope and critical vision it constitutes a timely contribution to cutting-edge scholarly debates on African cinemas. Featuring 10 chapters from prominent film scholars, it explores the distinctive documentary work and contributions of Francophone African women filmmakers since the 1960s. It focuses documentaries by North African and Sub-Saharan women filmmakers, including the pioneering work of Safi Faye in Kaddu Beykat, Rama Thiaw's The Revolution Will Not be Televised, Katy Lena Ndiaye's Le Cercle des noyes and En attendant les hommes, Dalila Ennadre's Fama: Heroism Without Glory and Leila Kitani's Nos lieux interdits. Shunned from costly fictional- 35mm-filmmaking, Francophone African Women Documentary Filmmakers examines how these women engaged and experimented with documentary filmmaking in personal, evocative ways that countered the officially sanctioned, nationalist practice of show and teach/promote.

This book constitutes the refereed proceedings of the 6th International Conference on Active Media Technology, AMT 2010, held in Toronto, Canada, in August 2010. The 52 revised full papers and 2 invited talks were carefully reviewed and selected for inclusion of the book. They are grouped in topcial sections on active computer systems and intelligent interfaces; adaptive Web sysetms and information foraging agents; AMT for semantic Web and Web 2.0; data mining, ontology mining and Web reasoning; e-commerce and Web services; entertainment and social applications of active media; evaluation of active media and AMT based systems; intelligent information retrieval; machine learning and human-centered robotics; multi-agent systems; multi-modal processing, detection, recognition, and expression analysis; semantic computing for active media and AMT-based systems; smart digital media; Web-based social networks; and Web mining, wisdom Web and Web intelligence.

How do we make culture and how does culture make us?

"Canadian Cultural Poesis" takes a comprehensive approach toward Canadian culture from a variety of provocative perspectives. Centred on the notion of culture as social identity, it offers original essays on cultural issues of urgent concern to Canadians: gender, technology, cultural ethnicity, and regionalism. From a broad range of disciplines, contributors consider these issues in the contexts of media, individual and national identity, language, and cultural dissent.

Providing an excellent introduction to current debates in Canadian culture, "Canadian Cultural Poesis" will appeal not only to readers looking for an overview of Canadian culture but also to those interested in cultural studies and interdisciplinarity, as well as scholars in film, art, literature, sociology, communication, and womens studies. This book offers new insights into how we make and are made by Canadian culture, each essay contributing to this poetics, inventing new ways to welcome cultural differences of all kinds fo the Canadian cultural community.

Critical Approaches to African Cinema Discourse utilizes an interdisciplinary approach to lay bare the diversity and essence of African cinema discourse. It is an anthology of historical reflections, critical essays, and interviews by film critics, historians, theorists, and filmmakers that signifies a dialogue and engagement apropos the ideology and cultural politics of film production in Africa. The contributors are extremely concerned, not only with the history of African cinema, but with its future and its potential. This book, then, is not limited to the expansion of the discourse on African cinema, but tries to approach the definition of the critical canon within the exigencies and manifestations of art and African sociopolitical practices. The authors view these practices as an investment in a cultural imperative stemming from the quest to delineate how critical methodologies are derived from and shape contemporary historical and cultural practices. Hence, the contributions are less about the usual constrictive method of analysis and more about illustrating manifestations of an interrogative critical methodology that is certainly an offspring of an indigenous African critical cum cinematic culture and paradigms.