Full Description
This book examines how representations of African in the Anglophone West have changed in the post-imperial age.
The period since the Second World War has seen profound changes in sub-Saharan Africa, notably because of decolonization, the creation of independent nation-states and the transformation of the relationships with the West. Using a range of case studies from news media, maps, popular culture, film and TV the contributions assess how narrative and counter-narratives have developed and been received by their audiences in light of these changes.
Examining the overlapping areas between media representations and historical events, this book will be of interest to students and scholars of African Studies and Media and Cultural Studies.
Contents
1. Introduction: From Tarzan to the Black Panther: The Evolving Image of Africa Part 1: Representing Sub-Saharan Africa before its Decolonization 2. African Liberation and the Reaction of the British Establishment 3. Viewing Apartheid through an American Lens: The American Foreign Policy Elite Examine Racial Politics in South Africa Part 2: Representing Sub-Saharan Africa in the Age of Decolonization and Independence 4. Othering Blacks into Africans in Letters of Support to Enoch Powell (1968-9): A Post-colonial Regime of Truth 5. 'God's Work': Explaining the Intervention in Somalia to the American Public (1992-1993) 6. Remembering Rwanda in the American television Series The West Wing and 24 Part 3: Representing Sub-Saharan Africa in Academic Disciplines 7. From the Cradle of Civilization to Basket Case: (Mis)representations of Africa in Western Scholarship 8. Maps: 'A Mine of Suggestion' or Just 'a Sham'? Part 4: Representing Sub-Saharan Africa Today 9. Changing the Narrative: British Press' Portrayal of Women's Rights Issues in Africa 10. Imperial Identities in Question: Amma Asante's A United Kingdom 11. 'You can't tell me that representation isn't important. You just can't': The Revisibilization of Sub-Saharan Africa in Black Panther (Ryan Coogler, 2018) and its Impact on English-speaking Audiences 12. Conclusion
