a. Response to “Blood Diamond”, “last kind of Scotland” and many other Hollywood representations of Africa and Africansb. Emerged in 1990s in Nigeriai. Political dictatorshipii. Economic crisis: low prices for oil and Western mandated structural adjustment policies that resulted in economic hardship for many Nigeriansiii. Unemployment of broadcasting personneliv. Decline in patronage of movie theaters as crime increased and going out a night became dangerousv. Video film that could be watched at home because it was popularvi. Technological changes: VCRs and DVDsvii. Profit motive or artistry?1. Profit motive= linked to ways in which Nigerians entrepreneurs have to innovate copyright lawsi. Social groups using new media to conserve and assert their identity would have to accept a Faustian contract, in which they would risk loosing their identity by taking up media technology, a Western form of representationi. New technologies enabling the mass production of art, music, film, etc and commercialization would decrease the value of artistic production and would serve the need of capitalism, rather than art and the creative processi. The pirate legitimate technologiesii. The technologies of reproduction: ability to store, reproduce and retrieve dataiii. And use legitimate economic networksiv. Once used to import Hollywood films and American tv shows to circulate their media, Nigerian videosv. Thus creating something new and innovative, a new form of cultural productionvi. Rather than focus on legalistic concern with piracy, focus on creative inventions and legitimate worksvii. Because the legal questions are arbitraryC103 1nd Edition Lecture 10Outline of Last Lecture I. Media Activisma. The Kayapob. Risks of the KayapoII. Terry Turner: Out of the Brazilian Rain Forest=The KayapoIII. Ethnographic Filma. The Kayapo (1987)IV. Indigenous Use of Mediaa. Kayapo use of mediab. Indigenous MediaOutline of Current LectureI. What is Nollywood?II. Nollywood FilmsIII. Indigenous Film & New Media Technologiesa. Ginsbergb. Frankfurt School TheoristIV. Piracya. Media Piracy as organizational architecture Current Lecture I. What is Nollywood?a. 2nd largest film industry in the worldb. Cranked out with consumer-grade equipmenti. Often on the streetsii. And sometimes in a matter of daysiii. Films run the gamut of genres from action films to melodramasII. Nollywood FilmsThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.a. Response to “Blood Diamond”, “last kind of Scotland” and many other Hollywoodrepresentations of Africa and Africansb. Emerged in 1990s in Nigeriai. Political dictatorshipii. Economic crisis: low prices for oil and Western mandated structural adjustment policies that resulted in economic hardship for many Nigeriansiii. Unemployment of broadcasting personneliv. Decline in patronage of movie theaters as crime increased and going out a night became dangerousv. Video film that could be watched at home because it was popularvi. Technological changes: VCRs and DVDsvii. Profit motive or artistry? 1. Profit motive= linked to ways in which Nigerians entrepreneurs have to innovate copyright lawsIII. Indigenous Film & New Media Technologiesa. Ginsbergi. Social groups using new media to conserve and assert their identity would have to accept a Faustian contract, in which they would risk loosingtheir identity by taking up media technology, a Western form of representationb. Frankfurt School Theoristi. New technologies enabling the mass production of art, music, film, etc and commercialization would decrease the value of artistic production and would serve the need of capitalism, rather than art and the creative processIV. Piracya. Media Piracy as organizational architecture i. The pirate legitimate technologiesii. The technologies of reproduction: ability to store, reproduce and retrieve dataiii. And use legitimate economic networksiv. Once used to import Hollywood films and American tv shows to circulate their media, Nigerian videosv. Thus creating something new and innovative, a new form of cultural productionvi. Rather than focus on legalistic concern with piracy, focus on creative inventions and legitimate worksvii. Because the legal questions are