Cultural Heritage and Popular Cultures: The Revolution Won't Be Televised And Its Global Reception

REFERENCES

• Adejunmobi, M. (2014). Evolving Nollywood templates for minor transnational film. Black Camera, 5, 74–94.
   Google Scholar
• Appadurai, A. (2000). Grassroots globalization and the research imagination. Public Culture, 12, 1–19.
   Web of Science ®Google Scholar
• Ardizzoni, M. (2016). Matrix activism: Global practices of resistance. London, UK: Routledge.
   Google Scholar
• Armes, R. (2006). African filmmaking: North and South of the Sahara. Edinburgh: Edinburgh University Press.
   Google Scholar
• Aterianus-Owanga, A. (2011). Quand l'indigénisation du rap réinvente les langages du politique. Les pratiques musicales urbaines: Des nouvelles voix(es) démocratiques au Gabon ? In Émulations. Revue des jeunes chercheurs en sciences sociales, 9 Presses Universitaires de Louvain. Retrieved from http://www.revue-emulations.net/archives/n9/aterianus.
   Google Scholar
• Bâ, S. M. (2010). Affective power/formal knowledge: Diaspora, African cinema, and the film festivals outside Africa. Film International, 8(47), 54–69.
   Google Scholar
• Ba, M. (2016). Écrire et créer avec les villes en mouvement: Dakar, du mouvement Set Setal à Y'en a marre (1989–2012). Dakar: From the Set Setal to the Y'en a marre movements (1989–2011). Itinéraires, Littérature, textes, cultures, 1, 1–13. doi:10.4000/itineraires.3335
   Google Scholar
• Barnett, C. (2006). Disseminating Africa: Burdens of representation and the African Writers Series. New Formations, 57, 74–94.
   Google Scholar
• Branch, A., & Mampilly, Z. (2015). Africa uprising: Popular protest and political change. London, UK: Zed Books.
   Google Scholar
• Bryson, D. (2014). The rise of a new Senegalese cultural philosophy? African Studies Quarterly, 14(3), 33–56.
   Google Scholar
• Diawara, M. (1993). New York and Ouagadougou: The homes of African cinema. Sight and Sound, 3(11), 24–26.
   Web of Science ®Google Scholar
• Diawara, M. (1994). On tracking world cinema: African cinema at film festivals. Public Culture, 6, 385–396.
   Web of Science ®Google Scholar
• Diawara, M. (2010). African film: New forms of aesthetics and politics. Berlin: Haus der Kulturen der Welt, Prestel.
   Google Scholar
• Diop, M. (2013). Mille soleils/A thousand suns. France: Anna Sanders Films.
   Google Scholar
• Dovey, L. (2009). African film and literature: Adapting violence to the screen. New York, NY: Columbia University Press.
   Google Scholar
• Dovey, L. (2015). Curating Africa in the age of film festivals. New York, NY: Palgrave Macmillan.
   Google Scholar
• Downing, J. (2008). Social movement theories and alternative media: An evaluation and critique. Communication, Culture & Critique, 1, 40–50.
   Google Scholar
• Ekine, S. (2012). The never-ending revolution: Perspectives from the African blogosphere. In F. Manji & S. Ekine (Eds.), African awakening: The emerging revolutions (pp. 19–33). Cape Town: Pambazuka Press.
   Google Scholar
• Enwezor, O. (2008). Contribution to “The twenty-first century and the mega shows: A curators' roundtable.” Moderated by Chika Okeke-Agulu. Nka: Journal of Contemporary African Art, 22, 152–188.
   Google Scholar
• Estrella, S. (2017). The revolution won't be televised, dir. by Rama Thiaw (review). African Studies Review, 60, 248–250. Retrieved from https://muse.jhu.edu/article/655379/pdf
   Google Scholar
• Lobato, H. (2012, June 21). Art Council of Amsterdam concludes that African and diaspora cinema has no actual relevance. IndieWire. Retrieved from http://www.indiewire.com/2012/06/art-council-of-amsterdam-concludes-that-african-diaspora-cinema-has-no-actual-relevance-144599/
   Google Scholar
• Martin, M. T. (Ed.). (1995). Cinemas of the Black diaspora: Diversity, dependence, and oppositionality. Detroit, MI: Wayne State University Press.
   Google Scholar
• Mishra, S. (2006). Diaspora criticism. Edinburgh: Edinburgh University Press.
   Google Scholar
• Niang, S. (2002). Djibril Diop Mambety: Un Cinéaste à Contre-Courant. Paris, France: L'Harmattan.
   Google Scholar
• Niang, A. (2006). Bboys: Hip-hop culture in Dakar, Sénégal. In P. Nilan & C. Feixa (Eds.), Global youth? Hybrid identities, plural worlds (pp. 167–185). London, UK: Routledge.
   Google Scholar
• Onyango-Obbo, C. (2014, November 2). Burkina Faso's “Black Spring”: There can be no African revolutions, only global ones. Here's why. Mail & Guardian Africa. Retrieved from http://mgafrica.com/article/2014-11-02-burkina-fasos-black-spring-there-can-be-no-african-revolutions-only-global-ones-heres-why
   Google Scholar
• Opel, A., & Pompper, D. (Eds.). (2003). Representing resistance: Media, civil disobedience, and the global justice movement. Westport, CT: Praeger.
   Google Scholar
• Orlando, V. (2007). Voices of African filmmakers: Contemporary issues in Francophone West African filmmaking. Quarterly Review of Film and Video, 24, 445–461. doi:10.1080/10509200500536439
   Google Scholar
• Petty, S. (2008). Contact zones: memory, origin, and discourses in Black diasporic cinema. Detroit, MI: Wayne State University Press.
   Google Scholar
• Petty, S. (2011). Self-styling identities. Critical Interventions, 5, 27–37. doi:10.1080/19301944.2011.10781398
   Google Scholar
• Posch, D. (2016, December 7). Public discussion with Rama Thiaw. This Human World: International Human Rights Film Festival. Vienna.
   Google Scholar
• Rose, T. (2008). The hip hop wars: What we talk about when we talk about hip hop—and why it matters. New York, NY: Basic Civitas Books.
   Google Scholar
• Sajnani, D. (2013). Troubling the trope of “Rapper as Modern Griot.” Journal of Pan African Studies, 6, 156–180.
   Google Scholar
• Scott-Heron, G. (1974). The revolution will not be televised. New York, NY: Flying Dutchman Records.
   Google Scholar
• Shohat, E., & Stam, R. (2014). Unthinking Eurocentrism: Multiculturalism and the media (2nd ed.). London, UK: Routledge.
   Google Scholar
• Spigel, L., & Curtin, M. (Eds.) (1997). The revolution wasn't televised: Sixties television and social conflict. New York, NY: Routledge.
   Google Scholar
• Sylla, K. (2005). Une fenêtre ouverte/An open window. Senegal: Guiss Guiss Communication.
   Google Scholar
• Sylla, K. (2013). Une simple parole/A single word. Senegal: Al Jazeera Documentary Channel, Guiss Guiss Communication.
   Google Scholar
• Tall, K., Pommerolle, M. E., & Cahen, M. (2015). Collective mobilisations in Africa / Mobilisations collectives en Afrique: Enough is enough! / Ça suffit! Boston, MA: Brill.
   Google Scholar
• Tcheuyap, A. (2011). Postnationalist African cinemas. Manchester, UK: Manchester University Press.
   Google Scholar
• Thackway, M. (2014). Exile and the “burden of representation”: Trends in contemporary sub-Saharan Francophone African filmmaking. Black Camera, 5(2), 5–20.
   Google Scholar
• Russo, M. (2016, August 12). Rama Thiaw: On filmmaking in post-colonial Senegal and “televising the revolution.” Hot Docs. Retrieved from http://www.hotdocs.ca/i/jots/rama-thiaw
   Google Scholar
• Thiaw, R. (2009). Boul Fallé: La voix de la lutte/Boul Fallé: The wrestling way. Senegal: Boul Fallé Images.
   Google Scholar
• Thiaw, R. (2016). The revolution won't be televised. Senegal: Boul Fallé Images.
   Google Scholar
• Vourlias, C. (2016, June 25). Durban: Rama Thiaw jump starts “Revolution.” Retrieved from http://variety.com/2016/film/festivals/durban-rama-thiaw-jump-starts-revolution-1201803747/
   Google Scholar