Paper Trails of Traveling Plays: Yorùbá Traveling Theater and the Advent of the Photoplayстатья из журнала
Аннотация: Click to increase image sizeClick to decrease image size Notes1 Krings identifies Italian fotoromanzi novels imported to South Africa in the early 1960s as the original inspiration for these "look-reads" and traces the adaptation and continent-wide dissemination of the format by Drum Publications.2 As argued in the edited volume, Translocal Geographies: Spaces, Places, Connections, the notion of translocal emerged from scholarship on the concept of "transnationalism." The text explores translocality as an "agency-oriented" experience, not bounded by national boundaries, but rather occurring across locales. Importantly, Brickell and Datta (Citation2011, p. 3) suggest that "localities need not necessarily be limited to the shared social relations of local histories, experiences and relations, but can connect to wider geographical histories and processes – in a way that articulates a 'global ethnography of place'."3 In describing the inextricable tension between producing and consuming popular culture, Karin Barber (Citation2000, p. 5) writes: "While active audiences see themselves as producing personally applicable lessons, locally produced genres may conversely, be seen as a mode of consumption of other genres, both endogenous and exogenous." That is, though photoplays have been emphatically identified as the local result of a global genre, there is still work to do on the qualities or processes that made photoplays appealing or consumable to audiences from a locally oriented perspective in the first place. By looking more closely at how active audiences or participants understood and experienced photoplays as an extension and reflection of their lived realities, we might better understand how they came to be granted a place in local popular culture.4 Even though they are not the focus of this study, the role and content of advertisements is very important to the very existence of the photonovels. In the case of the Yorùbá language photoplays, the advertisements were one part of the two-pronged promotion strategy of WABP, which also relied heavily on the widespread popularity of the original live plays to assure the interest of the readership in the photonovel adaptations of these performances.Additional informationNotes on contributorsOlubukola A. GbadegesinOlubukola Gbadegesin (ogbadege@slu.edu) received her PhD in Art History from Emory University and is currently working on a book manuscript titled Picturing Modern Selves in Colonized Places: Photography as a Strategy of Power in Lagos, Nigeria.
Год издания: 2015
Авторы: Olubukola A. Gbadegesin
Издательство: Taylor & Francis
Источник: Critical Interventions
Ключевые слова: Latin American and Latino Studies, Historical and Literary Analyses
Открытый доступ: closed
Том: 9
Выпуск: 1
Страницы: 35–58