Feminist Interventions in Participatory Media is an edited collection that brings together feminist theory and participatory media pedagogy. It asks what, if anything, is inherently feminist about participatory media? Can participatory media practices and pedagogies be used to reanimate or enact feminist futures? And finally, what reimagined feminist pedagogies are opened up (or closed down) by participatory media across various platforms, spaces, scales, and practices? Each chapter looks at a specific example where the author(s) have used participatory media to integrate technology and feminist praxis in production and teaching. The case studies originate from sites as varied as community organizations to large scale collaborations between universities, public media, and social movements. They offer insights into the continuities and disjunctures which stem from the adoption of and adaption to participatory media technologies. In complicating and dismantling perceptions of participatory media as inherently liberatory, Feminist Interventions in Participatory Media curbs the excesses of such claims and highlights those pedagogical methods and processes that do hold liberatory potential. This collection thus provides a roadmap toward (re)imagining feminist futures, while grounding that journey in the histories, practices, and past insights of feminism and media studies.

Feminist Interventions in Participatory Media is an edited collection that brings together feminist theory and participatory media pedagogy. It asks what, if anything, is inherently feminist about participatory media? Can participatory media practices and pedagogies be used to reanimate or enact feminist futures? And finally, what reimagined feminist pedagogies are opened up (or closed down) by participatory media across various platforms, spaces, scales, and practices? Each chapter looks at a specific example where the author(s) have used participatory media to integrate technology and feminist praxis in production and teaching. The case studies originate from sites as varied as community organizations to large scale collaborations between universities, public media, and social movements. They offer insights into the continuities and disjunctures which stem from the adoption of and adaption to participatory media technologies. In complicating and dismantling perceptions of participatory media as inherently liberatory, Feminist Interventions in Participatory Media curbs the excesses of such claims and highlights those pedagogical methods and processes that do hold liberatory potential. This collection thus provides a roadmap toward (re)imagining feminist futures, while grounding that journey in the histories, practices, and past insights of feminism and media studies.

During the worst years of apartheid, the most popular show on television in South Africa - among both blacks and whites - was "The Cosby Show". Why did people living under a system built on the idea that blacks were inferior and threatening flock to a show that portrayed African Americans as comfortably mainstream? Starring Mandela and Cosby takes up this paradox, revealing the surprising impact of television on racial politics. The South African government maintained a ban on television until 1976, and, according to Ron Krabill, they were right to be wary of its potential power. The medium, he contends, created a shared space for communication in a deeply divided nation that seemed destined for civil war along racial lines. At a time when it was illegal to publish images of Nelson Mandela, Bill Cosby became the most recognizable black man in the country - and, Krabill argues, his presence in the living rooms of white South Africans helped lay the groundwork for Mandela's release and ascension to power. Weaving together South Africa's political history and a social history of television, Krabill challenges conventional understandings of globalization, offering up new insights into the relationship between politics and the media.

During the worst years of apartheid, the most popular show on television in South Africa--among both Black and White South Africans--was "The Cosby Show." Why did people living under a system built on the idea that Black people were inferior and threatening flock to a show that portrayed African Americans as comfortably mainstream? "Starring Mandela and Cosby" takes up this paradox, revealing the surprising impact of television on racial politics.
The South African government maintained a ban on television until 1976, and according to Ron Krabill, they were right to be wary of its potential power. The medium, he contends, created a shared space for communication in a deeply divided nation that seemed destined for civil war along racial lines. At a time when it was illegal to publish images of Nelson Mandela, Bill Cosby became the most recognizable Black man in the country, and, Krabill argues, his presence in the living rooms of white South Africans helped lay the groundwork for Mandela's release and ascension to power.
Weaving together South Africa's political history and a social history of television, Krabill challenges conventional understandings of globalization, offering up new insights into the relationship between politics and the media.