Afrofuturism: The World of Black Sci-Fi and Fantasy Culture by Ytasha L. Womack

By Ytasha L. Womack

Comprising parts of the avant-garde, technology fiction, state of the art hip-hop, black comix, and photo novels, Afrofuturism spans either underground and mainstream popular culture. With a twofold target to entertain and enlighten, Afrofuturists try to collapse racial, ethnic, and all social obstacles to empower and unfastened participants to be themselves. This ebook introduces readers to the burgeoning artists developing Afrofuturist works, the historical past of innovators some time past, and the wide variety of topics they discover. From the sci-fi literature of Samuel Delany, Octavia Butler, and NK Jemisin to the musical cosmos of sunlight Ra, George Clinton, and the Black Eyed Peas' will.i.am, to the visible and multimedia artists encouraged through African Dogon myths and Egyptian deities, themes variety from the "alien" event of blacks in the US to the "wake up" cry that peppers sci-fi literature, sermons, and activism. Interviews with rappers, composers, musicians, singers, authors, comedian illustrators, painters, and DJs, in addition to Afrofuturist professors, offer a firsthand examine this interesting stream.

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Thus political economy enforces structurally what culture accomplishes informally. (Fraser 2003: 87) What advocates of GCS must face up to is a real and substantial challenge to the media narrative invoked in the literature. The liberal narrative provides an appealing understanding of the role of the media that resonates deeply with the values of liberal democracies, especially within Britain and the US. It understands media history as a progressive development that has moved us further and further along the path to realising the democratic ideal.

It is perhaps no coincidence that the leading advocates of GCS stem from the Anglo-American hemisphere. This liberal interpretation of media history basically argues that ‘a succession of media became independent over two centuries, and contributed to the cumulative empowerment of the people. The media exposed government to public scrutiny. They enlarged the political community, and facilitated public debate. They spoke up for the people and increased public influence over government’ (Curran 2002a: 137).

What is more, he makes the case that global news networks such as CNN practice a nationally defined perspective and agenda in this regard: CNN remains a fundamentally US company, in terms of organisation, production practices, content, and crucially audience. Although access to global television has expanded massively in the decade or so since the Gulf War, the dominant audience for global TV news remains a North American and Western European audience. Besides, regardless of its internal efforts to address issues of perspective its 40 Media and Global Civil Society dramatic journalistic successes have seen television news networks around the world attempt to reproduce the styles and formats of news inherent to CNN.

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