The first decade of the 21st century has seen a proliferation of North American and European films that focus on African politics and society. While once the continent was the setting for narratives of heroic ascendancy over self (The African Queen, 1951; The Snows of Kilimanjaro, 1952), military odds (Zulu, 1964; Khartoum, 1966) and nature (Mogambo, 1953; Hatari!,1962; Born Free, 1966; The Last Safari, 1967), this new wave of films portrays a continent blighted by transnational corruption (The Constant Gardener, 2005), genocide (Hotel Rwanda, 2004; Shooting Dogs, 2006), ‘failed states’ (Black Hawk Down, 2001), illicit transnational commerce (Blood Diamond, 2006) and the unfulfilled promises of decolonization (The Last King of Scotland, 2006). Conversely, where once Apartheid South Africa was a brutal foil for the romance of East Africa (Cry Freedom, 1987; A Dry White Season, 1989), South Africa now serves as a redeemed contrast to the rest of the continent (Red Dust, 2004; Invictus, 2009). Writing from the perspective of long-term engagement with the contexts in which the films are set, anthropologists and historians reflect on these films and assess the contemporary place Africa holds in the North American and European cinematic imagination.

Post-apartheid South African elections have borne an unmistakable racial imprint: Africans vote for one set of parties, whites support a different set of parties, and, with few exceptions, there is no crossover voting between groups. These voting tendencies have solidified the dominance of the ruling African National Congress (ANC) over South African politics and turned South African elections into 'racial censuses'. This book explores the political sources of these outcomes. It argues that although the beginnings of these patterns lie in South Africa's past, in the effects apartheid had on voters' beliefs about race and destiny and the reputations parties forged during this period, the endurance of the census reflects the ruling party's ability to use the powers of office to prevent the opposition from evolving away from its apartheid-era party label. By keeping key opposition parties 'white', the ANC has rendered them powerless, solidifying its hold on power in spite of an increasingly restive and dissatisfied electorate.

This book analyses the India, Brazil, South Africa Dialogue Forum (IBSA), focusing on the communalities and differences in the way foreign policy is conceptualized in its member states. Utilizing 83 interviews with foreign policy makers and experts, as well as the analysis of 119 foreign-policy speeches, the author traces key shifts in official foreign policy discourse. In order to evaluate the degree of support for key IBSA Dialogue Forum concepts within national discourse, the author also examines the interplay between official and broader societal discourses on foreign policy. This analysis combines political science factors (foreign policy role conceptions) with linguistic factors, thus enabling a qualitative and quantitative comparison of different framings of foreign policy. Extensive empirical material collected during six months of field research in India, Brazil and South Africa allows the author to present a differentiated account of their alleged like-mindedness.

In Framing a Radical African Atlantic Holger Weiss presents a critical outline and analysis of the International Trade Union Committee of Negro Workers (ITUCNW) and the attempts by the Communist International (Comintern) to establish an anticolonial political platform in the Caribbean and Sub-Saharan Africa during the interwar period. It is the first presentation about the organization and its activities, investigating the background and objectives, the establishment and expansion of a radical African (black) Atlantic network between 1930 and 1933, the crisis in 1933 when the organization was relocated from Hamburg to Paris, the attempt to reactivate the network in 1934 and 1935 and its final dissolution and liquidation in 1937-38.

Looking at the experiences of other federal societies across the globe this volume interrogates the problem of national integration within the context of ethno-religious and cultural pluralism, and presents exciting prospects for the resolution of the National Question. Compelling and indispensable, this work is the most comprehensive and authoritative treatment of the subject in recent years.

The world's first attempt at a scholarly historicisation of the African crisis of development, this book interrogates the problem of national integration within the context of ethno-religious and cultural pluralism. Here, top scholars offer refreshing insight into the prospects for transforming Africa into a super-power of the third millennium. The breadth and depth of coverage and analytical rigour unites the essays, providing one of the most comprehensive and authoritative treatments of the subject in recent years.

Africa’s Media Image in the 21st Century is the first book in over twenty years to examine the international media’s coverage of sub-Saharan Africa. It brings together leading researchers and prominent journalists to explore representation of the continent, and the production of that image, especially by international news media. The book highlights factors that have transformed the global media system, changing whose perspectives are told and the forms of media that empower new voices. Case studies consider questions such as: how has new media changed whose views are represented? Does Chinese or diaspora media offer alternative perspectives for viewing the continent? How do foreign correspondents interact with their audiences in a social media age? What is the contemporary role of charity groups and PR firms in shaping news content? They also examine how recent high profile events and issues been covered by the international media, from the Ebola crisis, and Boko Haram to debates surrounding the "Africa Rising" narrative and neo-imperialism. The book makes a substantial contribution by moving the academic discussion beyond the traditional critiques of journalistic stereotyping, Afro-pessimism, and ‘darkest Africa’ news coverage. It explores the news outlets, international power dynamics, and technologies that shape and reshape the contemporary image of Africa and Africans in journalism and global culture.