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Video recordings. --- YouTube (Electronic resource)

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Digital cinematography --- Video recordings --- Computer vision --- Videorecordings --- Videos --- Audio-visual materials --- Cinematography --- Digital filmmaking --- Digital moviemaking --- Data processing --- Digital techniques

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"Nollywood is often portrayed by the popular press as an unruly industry, with mysteriously fast and cheap production and shadowy distribution networks. In the first overview of Nigeria's burgeoning video film industry, Jade L. Miller reveals that this portrayal is over-simplistic and often untrue. Investigating Nollywood's complete global production and distribution chain, Nollywood Central presents a full portrait of the Nollywood industry as both highly organised and strategically structured. In doing so, it interrogates the position and rise of new cultural industry hubs, demonstrating how a creative industry can emerge, be sustainable and circulate globally even though it exists outside of formal global networks and government-supported infrastructure. Deepening understanding of this prolific industry while at the same time contributing to debates surrounding global flows of culture, this is a critical resource for students and scholars of Media and Communication Studies, Film Studies, Television Studies and African Studies."--Bloomsbury Publishing.

Motion picture industry --- Motion pictures --- Video recordings industry --- Video industry --- Video tape production industry --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- #SBIB:309H1313 --- #SBIB:309H1312 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek) --- Filmwezen: bedrijfseconomische aspecten, productie- en distributiestructuren

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What’s a Cellphilm? explores cellphone video production for its contributions to participatory visual research. There is a rich history of integrating participants’ videos into community-based research and activism. However, a reliance on camcorders and digital cameras has come under criticism for exacerbating unequal power relations between researchers and their collaborators. Using cellphones in participatory visual research suggests a new way forward by working with accessible, everyday technology and integrating existing media practices. Cellphones are everywhere these days. People use mobile technology to visually document and share their lives. This new era of democratised media practices inspired Jonathan Dockney and Keyan Tomaselli to coin the term cellphilm (cellphone + film). The term signals the coming together of different technologies on one handheld device and the emerging media culture based on people’s use of cellphones to create, share, and watch media. Chapters present practical examples of cellphilm research conducted in Canada, Hong Kong, Mexico, the Netherlands and South Africa. Together these contributions consider several important methodological questions, such as: Is cellphilming a new research method or is it re-packaged participatory video? What theories inform the analysis of cellphilms? What might the significance of frequent advancements in cellphone technology be on cellphilms? How does our existing use of cellphones inform the research process and cellphilm aesthetics? What are the ethical dimensions of cellphilm use, dissemination, and archiving? These questions are taken up from interdisciplinary perspectives by established and new academic contributors from education, Indigenous studies, communication, film and media studies.

Education. --- Education, general. --- Video recordings --- Digital media --- Cell phones. --- Production and direction. --- Social aspects. --- Cell telephones --- Cellphones --- Cellular phones --- Cellular radio --- Cellular telephones --- Mobile phones --- Mobiles (Telephones) --- Phones, Cell --- Telephones, Cell --- Wireless phones --- Radio --- Telephone --- Electronic moviemaking --- Video direction --- Video production --- Transmitter-receivers --- Direction --- Children --- Education, Primitive --- Education of children --- Human resource development --- Instruction --- Pedagogy --- Schooling --- Students --- Youth --- Civilization --- Learning and scholarship --- Mental discipline --- Schools --- Teaching --- Training --- Education --- Mass media and culture. --- Participant observation. --- Participant research --- Participatory research --- Observation (Psychology) --- Social sciences --- Culture and mass media --- Culture --- Fieldwork

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Writing on the edge analyzes texts that surround movies - so-called filmic paratexts. They include opening and closing credits, film posters, and tie-in products such as novelizations. More accessory than an actual part of the film they accompany, paratexts nevertheless serve as an essential framing device that generates expectations and guides audiences through their viewing experience. The book discusses the exchange between the extradiegetic nature of paratexts and the diegesis of the films proper - the space between the producers' attempts to advertise a product and the filmmakers' attempts to tell a story. Writing on the edge investigates cinema's manifold conventions developed to link these realms. In doing so, the book analyzes a wide range of credit sequences and promotional materials covering all periods of film history.

Credit titles (Motion pictures, television, etc.) --- Titles of motion pictures. --- Openings (Rhetoric) --- Motion picture producers and directors --- Credits of motion picture producers and directors --- Film credits of motion picture producers and directors --- Beginnings (Rhetoric) --- First lines (Rhetoric) --- Opening sentences --- Rhetoric --- Motion picture titles --- Motion pictures --- Titles, Credit (Motion pictures, television, etc.) --- Television --- Video recordings --- Credits. --- Actors --- Screenwriters --- Cinematographers --- Film criticism. --- Advertising --- Générique (Cinéma, télévision, etc.) --- Films --- Ouverture (Rhétorique) --- Producteurs et réalisateurs --- Acteurs --- Scénaristes --- Directeurs de la photographie --- Critique cinématographique --- Publicité --- Cinéma --- Credits --- Marketing --- Titres --- Filmographie --- Commercialisation --- Titles of motion pictures --- Film criticism --- Motion picture producers and directors - Credits --- Actors - Credits --- Screenwriters - Credits --- Cinematographers - Credits --- Advertising - Motion pictures --- Motion pictures - Marketing --- USA