Postcolonial Piracy: Media Distribution and Cultural Production in the Global South (Theory for a Global Age Series)

Series Editor’s Foreword vii Acknowledgements ix List of Contributors x Introduction: Towards a Postcolonial Critique of Modern Piracy 1 Part 1 Conceptions: The Domain of Postcolonial Piracy 27 1 Revisiting the Pirate Kingdom Ravi Sundaram 29 2 Beyond Representation: The Figure of the Pirate Lawrence Liang 49 3 On the Benefits of Piracy Volker Grassmuck 79 4 ‘Dreaming with BRICs?’ On Piracy and Film Markets in Emerging Economies Shujen Wang 99 Part 2 Reflections: Reframing the Discourse of Postcolonial Piracy 119 5 The Paradoxes of Piracy Ramon Lobato 121 6 Depropriation: The Real Pirate’s Dilemma Marcus Boon 135 7 Keep on Copyin’ in the Free World? Genealogies of the Postcolonial Pirate Figure Kavita Philip 149 8 Interrogating Piracy: Race, Colonialism and Ownership Adam Haupt 179 Part 3 Selections: The Work of Postcolonial Piracy 193 9 To Kill an MC: Brazil’s New Music and its Discontents Ronaldo Lemos 195 10 ‘Justice With my Own Hands’: The Serious Play of Piracy in Bolivian Indigenous Music Videos Henry Stobart 215 vi Contents 11 Money Trouble in an African Art World: Copyright, Piracy and the Politics of Culture in Postcolonial Mali Ryan Thomas Skinner 243 12 Hacking and Difference: Reflections on Authorship in the Postcolonial Pirate Domain Satish Poduval 273 Index 293 Sammelband; DDC 800 Title 1 Imprint 8 Contents 9 Series Editor’s Foreword 11 List of Contributors 14 Introduction: Towards a Postcolonial Critique of Modern Piracy 17 Piracy and modernity 21 Piracy and coloniality 25 Monotopic critiques of piracy 29 Towards a pluritopic critique of piracy 34 References 38 Part 1 Conceptions: The Domain of Postcolonial Piracy 43 1 Revisiting the Pirate Kingdom (Ravi Sundaram) 45 Postcolonial urban proliferation 46 The cassette assemblage: North India 1980 52 A landscape of people and things 55 The puzzle of the ‘original’ 57 Surfaces 59 References 62 2 Beyond Representation: The Figure of the Pirate (Lawrence Liang) 65 Rethinking creativity: Pirate infrastructures 79 Pleasurable transgressions 82 Revisiting the history of the commons and dispossession 85 Conclusion 90 References 91 3 On the Benefits of Piracy (Volker Grassmuck) 95 Introduction: Piracy in paradise 95 Book piracy in nineteenth-century America 97 Video film piracy in twentieth-century Nigeria 101 Music piracy in the world of Tecnobrega, Brazil 106 Legalizing small-scale physical copyright piracy 108 References 113 4 ‘Dreaming with BRICs?’ On Piracy and Film Markets in Emerging Economies (Shujen Wang) 115 Introduction 115 BRIC 116 BRIC: Emerging economies as a collective force? 119 Trade, copyright and development 122 Grey and informal: Ambiguities 124 Conclusion 128 References 130 Part 2 Reflections: Reframing the Discourse of Postcolonial P 135 5 The Paradoxes of Piracy (Ramon Lobato) 137 Piracy with and without intellectual property 138 The impossible heterogeneity of piracy 141 After piracy 145 References 147 6 Depropriation: The Real Pirate’s Dilemma (Marcus Boon) 151 References 162 7 Keep on Copyin’ in the Free World? Genealogies of the Postcolonial Pirate Figure (Kavita Philip) 165 Genealogies of the pirate figure 172 Power’s others 178 Next steps in pirate studies? 189 References 190 8 Interrogating Piracy: Race, Colonialism and Ownership (Adam Haupt) 195 References 206 Part 3 Selections: The Work of Postcolonial Piracy 209 9 To Kill an MC: Brazil’s New Music and its Discontents (Ronaldo Lemos) 211 Introduction 211 How technology reconfigured music promotion, ‘artist development’ and revenue models 213 Brazil’s new music and its discontents 223 References 228 10 ‘Justice With my Own Hands’: The Serious Play of Piracy in Bolivian Indigenous Music Videos (Henry Stobart) 231 Bolivia: A pirate ecology? 233 Gregorio Mamani: Confronting piracy and reducing prices 235 Psychological campaign: Appealing to consumer sentiment 238 Promoting solidarity among originario artists 241 Provoking resentments 244 Violent acts: ‘Justice with my own hands’ 247 Conclusion 253 References 257 11 Money Trouble in an African Art World: Copyright, Piracy and the Politics of Culture in Postcolonial Mali (Ryan Thomas Skinner) 259 Money trouble 259 Artistic rights and labour in post-independence Mali 264 The neoliberal turn 269 Anarchy and control 275 A non-governmental mix 281 References 284 Discography 286 Interviews 287 12 Hacking and Difference: Reflections on Authorship in the Postcolonial Pirate Domain (Satish Poduval) 289 Hacking a communist classic 293 The auteur versus the hack-star 297 The difference a hack makes 300 References 306 Index 309 In Order To Think Theoretically About Our Global Age It Is Important To Understand How The Global Has Been Conceived Historically. 'eurafrica' Was An Intellectual Endeavor And Political Project That From The 1920s Saw Europe's Future Survival - Its Continued Role In History - As Completely Bound Up With Europe's Successful Merger With Africa. In Its Time The Concept Of Eurafrica Was Tremendously Influential In The Process Of European Integration. Today The Project Is Largely Forgotten, Yet The Idea Continues To Influence Eu Policy Towards Its African 'partner'. The Book Will Recover A Critical Conception Of The Nexus Between Europe And Africa - A Relationship Of Significance Across The Humanities And Social Sciences. In Assessing This Historical Concept The Authors Shed Light On The Process Of European Integration, African Decolonization And The Current Conflictual Relationship Between Europe And Africa. --provided By Publisher. The Past That Europe Forgot -- A Holy Alliance Of Colonizing Powers : The Interwar Period -- Making Europe In Africa : The First Postwar Decade -- The Eurafrican Relaunch : The Treaty Of Rome Negotiations, 1955-1957 -- Ending Colonialism By Securing Its Continuation. Includes Bibliographical References (pages 279-302) And Index. This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Across the global South, new media technologies have brought about new forms of cultural production, distribution and reception. The spread of cassette recorders in the 1970s; the introduction of analogue and digital video formats in the 80s and 90s; the pervasive availability of recycled computer hardware; the global dissemination of the internet and mobile phones in the new millennium: all these have revolutionised the access of previously marginalised populations to the cultural flows of global modernity. Yet this access also engenders a pirate occupation of the modern: it ducks and deranges the globalised designs of property, capitalism and personhood set by the North. Positioning itself against Eurocentric critiques by corporate lobbies, libertarian readings or classical Marxist interventions, this volume offers a profound postcolonial revaluation of the social, epistemic and aesthetic workings of piracy. It projects how postcolonial piracy persistently negotiates different trajectories of property and self at the crossroads of the global and the local. "Across the global South, new media technologies have brought about new forms of cultural production, distribution and reception. The spread of cassette recorders in the 1970s; the introduction of analogue and digital video formats in the 80s and 90s; the pervasive availability of recycled computer hardware; the global dissemination of the internet and mobile phones in the new millennium: all these have revolutionised the access of previously marginalised populations to the cultural flows of global modernity. Yet this access also engenders a pirate occupation of the modern: it ducks and deranges the globalised designs of property, capitalism and personhood set by the North. Positioning itself against Eurocentric critiques by corporate lobbies, libertarian readings or classical Marxist interventions, this volume offers a profound postcolonial revaluation of the social, epistemic and aesthetic workings of piracy. It projects how postcolonial piracy persistently negotiates different trajectories of property and self at the crossroads of the global and the local."-- Provided by Publisher "Across the global South, new media technologies have brought about new forms of cultural production, distribution and reception. The spread of cassette recorders in the 1970s; the introduction of analogue and digital video formats in the 80s and 90s; the pervasive availability of recycled computer hardware; the global dissemination of the internet and mobile phones in the new millennium: all these have revolutionised the access of previously marginalised populations to the cultural flows of global modernity. Yet this access also engenders a pirate occupation of the modern: it ducks and deranges the globalised designs of property, capitalism and personhood set by the North. Positioning itself against Eurocentric critiques by corporate lobbies, libertarian readings or classical Marxist interventions, this volume offers a profound postcolonial revaluation of the social, epistemic and aesthetic workings of piracy. It projects how postcolonial piracy persistently negotiates different trajectories of property and self at the crossroads of the global and the local."--Bloomsbury Publishing

Across the global South, new media technologies have brought about new forms of cultural production, distribution and reception. The spread of cassette recorders in the 1970s; the introduction of analogue and digital video formats in the 80s and 90s; the pervasive availability of recycled computer hardware; the global dissemination of the internet and mobile phones in the new millennium: all these have revolutionised the access of previously marginalised populations to the cultural flows of global modernity. Yet this access also engenders a pirate occupation of the modern: it ducks and deranges the globalised designs of property, capitalism and personhood set by the North. Positioning itself against Eurocentric critiques by corporate lobbies, libertarian readings or classical Marxist interventions, this volume offers a profound postcolonial revaluation of the social, epistemic and aesthetic workings of piracy. It projects how postcolonial piracy persistently negotiates different trajectories of property and self at the crossroads of the global and the local.