BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//MIT Graduate Program in Comparative Media Studies - ECPv5.16.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:MIT Graduate Program in Comparative Media Studies
X-ORIGINAL-URL:https://cms.mit.edu
X-WR-CALDESC:Events for MIT Graduate Program in Comparative Media Studies
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20120311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20121104T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121108T190000
DTEND;TZID=America/New_York:20121108T210000
DTSTAMP:20260404T191410
CREATED:20150326T140517Z
LAST-MODIFIED:20201206T214104Z
UID:21571-1352401200-1352408400@cms.mit.edu
SUMMARY:New Media in West Africa
DESCRIPTION:(Note time.) \nThis forum launches the Futures of Entertainment 6 conference at MIT. Despite many infrastructural and economic hurdles\, entertainment media industries are burgeoning in West Africa. Today\, the Nigerian cinema market–“Nollywood”–is the second largest in the world in terms of the annual volume of films distributed behind only the Indian film industry. And an era of digital distribution has empowered content created in Lagos\, or Accra\, to spread across geographic and cultural boundaries. New commercial models for distribution as well as international diasporic networks have driven the circulation of this material. But so has rampant piracy and the unofficial online circulation of this content. What innovations are emerging from West Africa? How has Nigerian cinema in particular influenced local television and film markets in other countries across West Africa\, and across the continent? What does the increasing visibility of West African popular culture mean for this region–especially as content crosses various cultural contexts\, within and outside the region? And what challenges does West Africa face in continuing to develop its entertainment industries? \n \nDerrick N. Ashong leads the band Soulfège\, a group that produces an eclectic blend of hip-hop\, reggae\, funk\, world beat and West African highlife music and has been featured in such major media as MTV Africa and NPR. Also known as DNA\, which is the name of his blog\, Ashong hosted Oprah Radio’s The Derrick Ashong Experience and Al-Jazeera English’s social media TV show The Stream. \nFadzi Makanda is a business  development manager in the New York office for iROKO Partners\, a distributor of African—and particularly Nollywood—entertainment. Makanda leads the development and execution of U.S. advertising sales strategies for the company. \nColin M. Maclay is the managing director of the Berkman Center for Internet & Society at Harvard Law School. Both as co-founder of Harvard’s International Technologies Group and at Berkman\, Maclay’s research pairs hands-on multi-stakeholder collaborations with the generation of data that reveal trends\, challenges and opportunities for the integration of communications technologies in developing communities. \nRalph Simon is founder of the Mobilium Advisory Group\, which studies innovation in mobile usage in such countries as Nigeria\, Kenya\, Uganda and South Africa. He has served as an executive at Capitol Records\, Blue Note Records\, and EMI Music\, and he co-founded the Zomba Group with Clive Calder of South Africa. Simon earned the title “Father of the Ring Tone” when he created the first ring tone company in 1997.
URL:https://cms.mit.edu/event/media-media-in-west-africa/
LOCATION:MIT Building E25\, Room 111\, 45 Carleton Street\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Communications Forum
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2012/11/DNA-Head-no-H2O.jpg
END:VEVENT
END:VCALENDAR