By Matthias Krings
Why might a Hollywood movie turn into a Nigerian video remake, a Tanzanian comedian publication, or a Congolese song video? Matthias Krings explores the myriad methods Africans reply to the relentless onslaught of world tradition. He seeks out locations the place they've got tailored pervasive cultural types to their very own reasons as picture novels, comedian books, songs, posters, or even rip-off letters. those African appropriations display the large scope of cultural mediation that's attribute of our hyperlinked age. Krings argues that there's now not an "original" or "faithful copy," yet in basic terms never-ending variations that thrive within the fertile flooring of African renowned culture.
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Extra resources for African Appropriations: Cultural Difference, Mimesis, and Media
The Babule adepts and their followers claimed this success as their own and as proof of the power of their spirits. According to Fuglestad (1983), two further events must have contributed to a growing conviction among the peasants that the tables were beginning to turn: the death of the chef de canton, Gado Namailaya, who was the most proximate 34 a fr ica n a ppropr i ations symbol of colonial rule and who died in March 1927, and the assault on the military post of Tessaoua in June of the same year, which went unatoned.
Likewise, witches, whose activities were felt to have increased immensely since the advent of colonial rule, were experienced as agencies of dangerous and amoral power that needed to be contained for the common good. In my view, this suggests that despite its political effects, the so-called Babule movement is not to be regarded as a political revolt but rather a “doctrine of resistance and hope” (Worsley 1957: 26), which included utopian attempts at building a new society based on a radically different social order in the face of social crisis.
Chapter 3 focuses on four African remediations of a single American film—James Cameron’s Titanic of 1997. The film, itself being the most recent, expensive, and successful version of a story that has been told through various genres and media of Western mass culture many times before, was immensely popular among African audiences, who saw it via legal screenings or pirated videos. I suggest that Cameron’s “original copy”—that is, the film’s mise-en-scène which sets the stage for high melodrama to play out openly the conflict between collective social norms and the individualistic and potentially antisocial force of love—accounts for at least half of the film’s appeal to African audiences.