In this exciting new volume from the Society for Economic Anthropology, Cynthia Werner and Duran Bell bring together a group of distinguished anthropologists and economists to discuss the complex ways in which different cultures imbue material objects with symbolic qualities whose value cannot be reduced to material or monetary equivalents. Objects with sacred or symbolic qualities are valued quite differently than mundane objects, and the contributors to this volume set out to unravel how and why. In the first of three sections, the authors consider the extent to which sacred objects can or cannot be exchanged between individuals (e.g., ancestral objects, land, dreaming stories). In the next section, contributors discuss the value and power of markets, money, and credit. They consider theoretical models for understanding money transactions, competing currencies, and the power of credit among marginalized groups around the globe. The last section examines the ways in which contemporary people bestow symbolic value on some objects (e.g., family heirlooms, pre-Columbian artifacts, fashion goods) and finally how some individuals themselves are valued in monetary and symbolic ways. With its emphasis on the interplay of cultural and economic values, this volume will be a vital resource for economists and economic anthropologists. Published in cooperation with the Society for Economic Anthropology. Visit their web page.

African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. Beginning in1969 the biennial Festival panafricain du cin\u00e9ma et de la t\u00e9l\u00e9vision de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras. These \u201cNollywood\u201d films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema.Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a unique comparison of these two main African cinema modes.

This volume is a multidisciplinary contribution to Sephardic studies, including chapters by some of the best-known authorities in the field, interspersed with those of young scholars who have begun making their mark in current research. The text aims to enrich this emerging field through historical linguistic studies as well as investigations based on contemporary movements, recent literary creations, and the issues involved in contemporary revival. The chapters presented in this collection include a selection of papers originally presented at the symposium "Sepharad as Imagined Community: Language, History and Religion from the Early Modern Period to the 21st Century," as well as pioneering contributions by other key scholars. Two notable additions include innovative explorations of Judeo-Spanish on the Internet.

African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. Beginning in 1969 the biennial Festival panafricain du cinema et de la television de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras. These "Nollywood" films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema. Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a comparison of these two main African cinema modes. Contributors: Ralph A. Austen and Mahir Saul, Jonathan Haynes, Onookome Okome, Birgit Meyer, Abdalla Uba Adamu, Matthias Krings, Vincent Bouchard, Laura Fair, Jane Bryce, Peter Rist, Stefan Sereda, Lindsey Green-Simms, and Cornelius Moore

West African Challenge to Empire examines the anticolonial war in the Volta and Bani region in 1915-16. It was the largest challenge that the French ever faced in their West African colonial empire, and one of the largest armed oppositions to colonialism anywhere in Africa. How such a movement could be organized in the face of European technological superiority despite the fact that this region is generally described as having consisted of rival villages and descent groups is a puzzle. In this jointly written book the two authors provide a detailed political and military history of this event based on archival research and ethnographic fieldwork. Using cultural and sociological analysis, it probes the origins of the movement, its internal organization, its strategy, and the reasons for its initial success and why it spread. In 2001 the authors of West African Challenge to Empire were awarded the Amaury Talbot Prize for African Anthropology by the Royal Anthropological Institute.