3D printingโs rapid technological development is starting to impact the art field because, for the first time, it has become possible to exactly reproduce and reconstruct artworks without any loss of their physical features. Yet, a coherent overview of how 3D printing is used within the art field while paying attention to ethical considerations does not exist. This study will provide an overview of the current developments of 3D printing in the art world, its use, and the direction it is moving toward. Within this study, the technologies that enable, influence, and will continue to affect the 3D reproduction of artworks, namely technologies necessary to capture an artworkโs materials on a chemical and physical level, artificial intelligence (AI), 3D printing technology itself, and the rise of the non-fungible token (NFT) are analyzed to be able to understand what 3D printing implies for our changing perception of art in the future.
Visual artists used NFT (non-fungible tokens) to market artwork and build virtualcommunity networks. NFTs are special certificates or licenses for digitally sold items.In this context, the presence of NFT creators has given rise to a virtual communityinvolving many digital media activities. The phenomenon then offers a variety of newtechnology-based relationships (blockchain, metaverse, NFT, Twitter, Twitter Spaces,Discord, and Clubhouse) and human actors (artists, digital artists, and designers), whichgive rise to specific characteristics to interact with each other or market their artworkin a virtual community. This research aims to discuss the interaction process in the NFT virtual community to understand the NFT ecosystem based on digital media. The actor- network theory is used to understand the network relations between human and non-human actors interacting through various digital platforms. The results of this study showed that the NFT virtual community could not be separated from the presence ofhuman and non-human actors.
A. N. M. Sajedul Alam, Junaid Bin Kibria, Al Hasib Mahamud, Arnob Kumar Dey ยท 7 authors
In the realm of digital art and collectibles, NFTs are sweeping the board. Because of the massive sales to a new crypto audience, the livelihoods of digital artists are being transformed. It is no surprise that celebs are jumping on the bandwagon. It is a fact that NFTs can be used in multiple ways, including digital artwork such as animation, character design, digital painting, collection of selfies or vlogs, and many more digital entities. As a result, they may be used to signify the possession of any specific object, whether it be digital or physical. NFTs are digital tokens that may be used to indicate ownership of one of a-kind goods. For example, I can buy a shoe or T shirt from any store, and then if the store provides me the same 3D model of that T-Shirt or shoe of the exact same design and color, it would be more connected with my feelings. They enable us to tokenize items such as artwork, valuables, and even real estate. NFTs can only be owned by one person at a time, and they are protected by the Ethereum blockchain no one can alter the ownership record or create a new NFT. The word non-fungible can be used to describe items like your furniture, a song file, or your computer. It is impossible to substitute these goods with anything else because they each have their own distinct characteristics. The goal was to find all the existing implementations of Non-fungible Tokens in different fields of recent technology, so that an overall overview of future implementations of NFT can be found and how it can be used to enrich user experiences.
This research article examines Non Fungible Tokens and its application in the domain of art, fashion and design. It also covers the background and origin of NFTs, how they came into existence and their relevance in todays time along with a critical analysis on whether non fungible tokens are the future of art or not. It portrays the advantages, disadvantages of NFTs. <strong>Methodology: </strong>The methodology used for this article is secondary data collection based on literature survey and review and the research conducted is analytical. <strong>Objective: </strong>The objective behind this research article is how it works and what it means for the creative industry. I am also keen to know how it is a new way of digitising art and design.
Bitcoin Customer Service Number +(186O-337-24O1),Bitcoin customer support number Bitcoin Helpline Number Bitcoin Toll Free Number, Customer Service Phone Number +(186O-337-24O1) Call or write an email to resolve Bitcoin issues: Account, Login/ Service, Payments and Charges. Visit the company website Bitcoin support number or help center for more information. Bitcoin Customer Service Phone Number, Email, Bitcoin Help, Bitcoin Support , Bitcoin Toll Free , Bitcoin Helpline , Bitcoin Customer Service , Bitcoin Customer Care , Bitcoin Login Questions? Our customer support team is available 24/7 to take your call Bitcoin toll free number Bitcoin exchange Bitcoin US is moving to impose stricter measures on U.s.-based users and blocking them from accessing its platform. Is the Bitcoin US Safe?\n\nif you're looking for a new hardware wallet, you've probably heard about the Bitcoin S1. The hardware wallet connects to your smartphone via a USB cable and lets you manage your Bitcoin with ease. It's completely offline, so you don't need to worry about WiFi, Bluetooth, or other internet-connected devices. While there are complaints about the Bitcoin S1, most of them are about delayed orders. Bitcoin S1 Hardware Wallet\n\nUsing cryptos can be extremely risky, so you'll want to make sure that your hardware wallet is secure. The Bitcoin S1 hardware wallet uses multiple layers of security sensors, and it is available for both android and ios devices. This makes it the perfect device for anyone who wants to protect their cryptocurrency. It's easy to set up, and it takes only a few minutes. Once you've done that, you're all set.\n\nThe Bitcoin S1 is Bitcoin 's primary hardware wallet offering. Like Ledger's, it has attracted a number of investors, including Bitcoin . You'll need to install the Bitcoin app on your phone to use the Bitcoin . It doesn't support cryptocurrencies, but it is a good first wallet for those who are transitioning from a hot wallet and don't want to use their computer frequently.\n
This research is descriptive research to find out the symptoms or effects of aesthetics and public perception of the popular artworks of the NFT (non-fungible token) Marketplace.The NFT marketplace has begun to gain popularity among Indonesians since the virality of Ghozali who managed to sell his artwork in the form of selfie photos on the NFT Opensea Marketplace, earning billions of rupiah in profits at the end of 2021.Of empirical interest is the potential reasons why some artworks on the NFT Marketplace are prized highly compared to other works.There are two aspects of the study discussed in this study, namely aesthetics and public perception.This study aims to descriptively examine aesthetics and public perceptions of popular artworks at the NFT Opensea Marketplace; examine and investigate the things that affect the popularity of artwork on the NFT Opensea Marketplace from the aesthetic aspect and public perception.Findings reveal that the aesthetic perception of the public, seeing the popularity of NFT artwork is influenced by several factors, including: (1) people's perspectives on what makes something "unique", (2) influenced by the medium of introduction, (3) the popularity of the work is influenced by its aesthetic value, and (4) the popularity of NFT artworks is determined by the context.
In traditional blockchain transactions,privacy protection is to encrypt users' sensitive information under the anonymity mechanism,and a trusted third party is involved to verify the transaction plaintext information.However,once the third party is attacked,the users' transaction information will be divulged.Furthermore,there is no truly trusted third party in a rational state.To better solve the privacy problems in blockchain transactions,and in view of issues of confidentiality verification of the tra-ders' transaction amount under the non-anonymous state,the PVC digital commitment protocol is adopted to hide the transaction amount in the commitment,and a publicly verifiable zero-knowledge proof scheme is established,so that verifiers are able to confidentially verify the legitimacy of the transaction without obtaining sensitive information from the traders.At the same time,the elliptic curve homomorphic encryption feature is used to encrypt the amount,thereby solving the problem of updating the traders' ciphertext ledger.The correctness of the proposed privacy protection scheme is verified and analyzed,and the results shows that compared with the existing schemes,the proposed scheme has the advantages of relatively low computational complexity,strong security and high efficiency.
Blockchain technology can realize the openness, transparency, non tampering, non forgery and traceability of all data information in the system without the endorsement of a third party, which can make up for the old and new problems in the field of cultural creative design and education. This paper first analyzes the technical principles of blockchain and the deficiencies of online teaching and cross regional teaching in cultural and creative design education, and then applies blockchain technology in learning resource management, learning process tracking, learning evaluation, learning path shaping, teaching management and assessment. It is concluded that blockchain technology can effectively optimize the teaching structure and teaching management of cultural and creative design education, and promote the design education field to adapt to the contemporary development. Finally, it puts forward the future prospects.
To extend a broad application of blockchain technology to the fields of online English education, this paper aims to improve a virtual platform for English teaching and learning of landscape design majors, mainly composed of presentation layer, business layer, and data layer by analyzing the performance of the proposed algorithm, and comparing with other existing algorithms. In the platform, through the service layer, the communication between the presentation layer and the data layer is completed, and the data in the data layer is transferred to the presentation layer. The user first establishes a connection with the server in the presentation layer. Using the transmitted data information, the server assigns an identifier to the user and establishes a role model. Users can download the teaching courseware through the server and simulate the real learning scene by controlling the interaction of XAML files. The results show that the virtual teaching platform makes the interconnection of users (students and teachers), machines, and things at any time and any place; realizes information self-verification, transmission, deep unsupervised learning, and management; and gives students a more realistic visual experience in high security.
The digital art landscape has rapidly expanded since the passing of Visual Rights Act of 1990 (Baron, 1996; CAA, 2013). With the recent advent of blockchain technologies, derived from Nakamotoโs Bitcoin currency, new possibilities have emerged for the way artistic materials can be exchanged and how communications can be conducted. This research examines emerging applications for decentralized blockchain technologies in community-based art projects and digital art startupsยฌ. The work of three organizations, ConsenSys, Ethereum, and Monegraph, is explored. Through the use of blockchain technologies, digital artists can create a traceable and tradable record of their work, while generating a critical discourse around the reproducibility of media. In this research, I investigate the potential uses of digital art in the blockchain and its educational value in visual arts education.
The technologies of today's world are constantly updating themselves and adding innovations.The concept of Metaverse, which is seen as the biggest digital transformation concept of recent years, represents a brand new and unpredictable universe where multiple virtual universes merge.The graphic design field is also seen as a field that can renew itself with the Metaverse era in line with its professional skills.When used effectively, this virtual universe is seen as a brand new door of opportunity for graphic designers who can make three-dimensional (3D) designs, design user interfaces and have sufficient technical skills and equipment.For graphic artists who can produce digital works for the Metaverse, NFT [Non Fungible Token (qualified intellectual property)] allows them to earn income while protecting their works.However, in this new virtual universe community, which has not yet settled into a certain systematization, it remains unclear what the course of events will be for graphic designers.
B. Balamurugan, T. Poongodi, M. R. Manu, S. Karthikeyan ยท 5 authors
The moving image archive of the US Agency for International Development (USAID) includes a copy of the film The Double Day (1975), cataloged in the series Moving Images Relating to International Development Programs and Activities, 1979โ1991, a collection of more than eight hundred titles โcreated to provide information on assistance programs supported by the Agency for International Development (AID).โ1 Yet, The Double Day does not, in fact, directly depict or engage with any specific development or aid initiative. Instead, the filmโdirected by US-based Brazilian filmmaker Helena Solberg as part of the International Womenโs Film Project collective and described as โthe first Latin American feminist documentaryโโexamines the gendered dynamics of paid and unpaid labor through the testimonies of women from Argentina, Bolivia, Venezuela, and Mexico.2 Its presence in the USAID archive is likely a consequence of its funding history, having received support from the Inter-American Foundation, a USAID-affiliated entity; the development agencies of Denmark, Norway, and Sweden; the United Nations Development Program; and US philanthropist Calvin Cafritz.3These transnational funding structures not only enabled the filmโs production but also determined its archival destination, which renders legible its place within the history of international development.4 The Double Dayโs institutional trajectory reflects the shifting configurations of aid, gender, and media during a historic moment when women were being repositioned at the center of what Arturo Escobar has described as developmentโs โregimes of visuality.โ5 Especially relevant to The Double Dayโs production and exhibition was the international institutional framework of Women in Development (WID). Emerging in the early 1970s and culminating in United Nationsโ proclamation of 1975 as International Womenโs Year, WID emphasized womenโs participation in the global economy as both an index and mechanism of development. Indeed, The Double Day premiered at the World Conference of the International Womenโs Year, held in Mexico City.6 Within this context, the film forms part of a broader trajectory of media use by international organizations that intensified during the 1970sโas best exemplified by Media Habitat, a collection of 236 documentary films commissioned by the United Nations to represent urban and rural development initiatives for the 1976 Habitat Conference on Human Settlements in Vancouver. As a policy-shaping initiative, Media Habitat primarily featured films from the Global South intended not only to illustrate but also to help codify standardized audiovisual markers of โunderdevelopmentโ that determined access to the emerging global economic order and to international aid.7Framed in relation to these international institutions and their operations, The Double Day could similarly be considered โdevelopment mediaโโexemplifying the type of nonfiction media produced and distributed outside of the commercial film circuits whose aspects and subcategories have been variously described in scholarship as nontheatrical, useful, sponsored, institutional, industrial, educational, or nonprofessional/amateur.8 Scholars working in this area have emphasized the institutional contexts of such mediaโs production and exhibition infrastructures as shaping its instrumentalized effects. From a feminist perspective, such an approach is crucial to grappling with the broader question of how โgender impacts [these worksโ] shape, content, and trajectories.โ9 Yet we also argue that, taken in isolation, the institutional and infrastructural contexts are insufficient to account for the complex relationship between media and development, potentially not only limiting our understanding of the reach and impact of development but also distorting our interpretive conclusions. For example, to categorize The Double Day as โdevelopment mediaโ is to overlook the filmโs place within Solbergโs directorial oeuvre, as well as within the histories of both transnational womenโs filmmaking and radical Latin American documentary cinema to which it simultaneously belongs. Such exclusive framing is especially limiting given that women globally were disproportionately engaged in nonfiction production throughout the twentieth centuryโsometimes by political choice but more often due to structural exclusions from fiction filmmaking. Even in nonfiction historiography, however, institutional media has remained particularly marginal, reinforcing hierarchies that separate such works from the aesthetic and authorial frameworks through which film history has been constructed.10 This marginalization not only tends to erase womenโs contributions but also presumes a โweakโ or derivative authorship, rendering these films unworthy of the interpretive attention needed to apprehend their aesthetic and political complexity.11 The same dynamic is likely to structure assumptions about โdevelopment mediaโ as well.Categorizing The Double Day exclusively within this category would further prompt us to assume top-down institutional analyses that have been characteristic of both institutional media methodologies and the scholarship on development at large. This, in turn, would risk obscuring this filmโs radical Marxist approach to womenโs labor as well as its concrete contribution to activism and its attendant grassroot structures. In Mexico City, The Double Day became a catalyst for feminist solidarity in practice when one of the filmโs protagonists, Bolivian activist and trade unionist Domitila Barrios de Chungara, was invited to participate in the Tribune of Non-Governmental Organizations held alongside the official UN conference.12 There, Barrios de Chungara challenged Western feminist priorities by reframing the debate around labor, class, and imperialism, helping to articulate a shared Third World feminist agenda that significantly departed from the developmentalist vision of the United Nations and USAID.13 Seen through the lens of activist media, The Double Day helped forge transnational solidarity networks by enabling information exchange across the diverse voices that shaped its makingโfrom the women featured in the film to the activists who circulated itโrevealing a considerably more dynamic interplay between institutional and grassroots or contingent media practices.Moreover, the filmโs Latin American contextโreflected in Solbergโs formation in Brazil as the only woman in Cinema Novo, its focus on women from across the region, and its premiere and key reception in Mexico Cityโrequires grappling with the regional specificities of the very notion of development in its multiple iterations.14 Far from being an epistemological and political framework imposed solely by the Global North, both the practices of development and the theoretical foundations of developmentalism (understood as a broad and polysemic set of discourses) were shaped through the active participation of Latin American economists.15 Within this iteration, underdevelopment, as a constitutive notion of developmentalism, became central to a distinctly critical strand, which by the late 1960s became known as the dependency theory.16 This same approach is reflected in some of the best-known Latin American radical film manifestos of the time, arising precisely from the same milieus to which Solberg belonged.17These various considerations of the filmโs history illustrate the methodological challenges confronting feminist scholars seeking to assess the impact of development on media projects, theories, and practices. To disregard the developmentalist context of such works by emphasizing their political aesthetics and affects risks reproducing a romanticized narrative of heroic resistance (albeit from a feminist perspective). Yet to engage exclusively with their institutional and material infrastructures risks naturalizing developmentalismโs political and epistemological foundations at the expense of the goals and beliefs of the many women who participated in these projects. The contradictions and ambivalences that animate such histories call for feminist frameworks capable of holding both institutional complicity and radical possibility in view.This challenge resonates with ongoing debates about the politics of the archive and what Allyson Field has termed โthe practice of informed speculation.โ18 As she reminds us, feminist, queer, and decolonial methodologies have long taught us to โpress at the limitsโ of the archive to โinoculate our scholarship against our evidenceโs afflictions.โ19 The concern that the evidence we draw on in our analysis reproduces the very structures and blind spots of the dominant ideology and therefore shapes and delimits our interpretation becomes particularly urgent when engaging the developmentalist media corpus. Informed speculation offers an alternative by inviting the experimental, creative, and speculative rewriting of history, mobilizing the archive โin a project that runs counter to the original purpose, or the imperative to preserve, or the conditions that led to erasure.โ20 Yet, as Field cautions, such speculative gestures must remain grounded in a deep and โintimate familiarity with the archiveโ that we are working with and against. Building on this imperative, we suggest that the developmentalist archive, in particular, demands expansion and critical reconsideration in ways that unsettle the very disciplinary frameworks through which it has been studied as well as the larger institutional contexts for such knowledge production.Our focus on The Double Day in the opening of this introduction thus foregrounds the entanglements of institutional and grassroots forces, local and international contexts, structural and interpersonal relations, and creative and economic factors that have shaped not only this film but the broader ecosystem of development media projectsโand their preservationโover time. Addressing such a constellation involves transgressing methodologically entrenched divisions between political economy and aesthetics, between material infrastructures and affective regimes; reckoning with divergent periodizations across film history and world economics; and situating these within the local specificities of womenโs movements and international institutional programs. It also demands attentiveness to the coexistence of multiple, and sometimes competing, understandings of developmentโeach historically, geographically, and ideologically situated.We imagine this special issue as an opening toward a critical dialogue, not only about how such an approach might be enacted in practice but also about the far-reaching ways development paradigms have shaped both our objects of study and the contours of the field itself. The decision to center institutionally sponsored films across all the essays in this issue is deliberate and enables us to highlight institutional critique as a vital methodological imperative within our analytical framework. Created within the frameworks of international organizations, state agencies, or NGOs, these filmsโ histories make legible the institutional logics that underwrite their production. Yet our critique does not stop at these specific entities. Rather, we argue for a broader interrogation of the political conditions and institutional infrastructures that shape media and knowledge production more generally. This includes contemporary corporations embedded in the digital platform economy, from streaming services to the rapid expansion of AI. Equally critical is a reflexive examination of academia itself, where departments of economics, political science, and centers for development have played a formative role in producing and legitimizing developmentalist theories and policy frameworks. While the humanities and arts have at times offered critical alternatives, they have also frequently mirrored and reinforced many of the same developmentalist assumptions. A feminist analysis of the nexus between development and media must therefore unsettle not only dominant archives but also the institutional and disciplinary foundations of our own scholarly practices.As scholars, we share the complex position of navigating the same tensions between institutional complicity and emancipatory aspiration as many of the media-makers whose work we study. Mirroring our subjects is also the transnational, collective mode of this special issueโs own production as it emerges from an ongoing informal working group we have sustained over several years. While relying on institutional and disciplinary affordancesโsuch as university funding for conferences or access to academic publishing platformsโwe have been working toward creating a community that exceeds, and often resists, the prevailing logics of our academic institutions. Our aim has been to create a space for shared inquiry and mutual support that pushes back against disciplinary siloing and technocratic neoliberal assessment modes of both labor and knowledge productionโand this certainly extends to our experience collaborating with the journal editors throughout the publication process. Our goal has been to examine both the persistence and variability of developmentalism, understood as what Gustavo Esteva calls a โpowerful but fragile semantic constellation,โ as a conceptual formation that has historically inspired, legitimized, and mobilized media projects across Asia, Africa, and Latin America.21 And gendered biopolitics, from population control to gender mainstreaming, have remained integral to development policies and media practices, recurring across formats from institutional newsreels to film festivals.We share the conviction that, far beyond the history of nonfiction institutional media, development (as both a broad ideological project and a network of material and institutional practices) and developmentalism (as a set of discourses and theoretical models associated with development) have exerted a far-reaching influence on film and media cultures at large. As such, they must be treated as a major force in shaping global film and media systems and also the many ongoing assumptions behind their critical discourses. The discipline of communication studies was founded on modernization theory governed by Cold War goals of dissemination of Western liberal democracy around the world, while โan area studies framework allowed compartmentalizing Western and non-Western outcomes of technologies that were always claimed to be universal.โ22 Despite critique from postcolonial and critical race studies, many of these frameworks have remained foundational for media theory.23 In historical scholarship, as we increasingly move beyond โmodernityโ as a dominant conceptual anchor, engaging with practices and discourses of development opens more precise analytical pathways. These film and mediaโs entanglements with the logics of and economic and the associated with as well as their conceptual underdevelopment, and impact in as diverse as and of media aesthetic and paradigms in film and film and funding are developmentalist assumptions to the they to underwrite the narrative and logics of and global media from the structure of the film to the cultures of argue that a examination of the historical entanglements between film and developmentalist aesthetics, modes of as well as infrastructures and critical the and that our contemporary media is a of the historical contours of development as a field of inquiry embedded within a of some of the methodologies by the featured in this special a of this complex history, to the larger at in media, development, and gender all its development a it as an of be with practices as divergent as and in In as we work on this the of the of the USAID the ideological that have the history of international the and of this on the global its a from development as a global practice and as an institutional and which over the has as a with its own media Yet or does not erase the historical impact of these the contradictions they have reflected and over the as the of development several crucial to the economic theories of development initiatives to and through the of the development an international policy framework at from the Global to the of the Global the by the political role of and the of the International the on was challenged by dependency theory and at development as global structural the neoliberal of the the Programs by the and World imposed and as conditions for and forms of assistance became known as the major markers for international development development has moving beyond economic to such as the Human Development and the Development and from international organizations such as the United Nations to a broader network of These frameworks increasingly of and liberal of and with what in many ways to various while the of the to developmentโs epistemological more scholarship has toward a of its and material the field has to a of and critical by and scholars, which development as a dynamic of conceptual and political to these the studies in this special issue call for sustained analysis in place of In we draw from a of and that in of of gender and to this special issue engage that and from Mexico to contemporary specific local historical of global distinctly feminist methodologies as well as attention to studies that this issue a in the global history of development on and documentary work in Mexico how early women infrastructures as of while US films an early of state and transnational on a outside the Global as the of developmentalist both the and markers of development media, its to the and Latin central grounded in archival also womenโs in transnational and the methodological of archives on study of the series to a a digital media not by but by women not as but as subjects and within circuits of neoliberal and the aesthetics and of how developmentโs has models of to contemporary neoliberal paradigms of and analysis how digital and gender and practices, discourses on and their of these essays the of some of the historical of developmentalist as the question of the role of the state within such on a notion of economic as a and the dominant of development that the state as the for and through infrastructural projects. This understanding of development was shared across both of the as well as in the Third The United and the increasingly mobilized international in the of the modes of international at the postcolonial of policy and ideological These programs were at the expansion of their and of while with the and decolonial of The conceptual between modernization and development that the Cold in of and hierarchies of that long and As an of postcolonial their role as of international aid concern about the of Western development projects. In alternative across the Global South that to structural between and through policies of and In many they were further the global structures. In Latin for example, this approach was through organizations such as the United Nations for Latin and the both developmentalist projects and their have taken many forms historically, and they have and they have been to a of projects, and postcolonial and development has been and in ways and with frequently political While many of these alternative frameworks the embedded in dominant Western they often technocratic and assumptions. gender and gender as for the of to be shaped by This becomes particularly in the media that of development where women frequently a crucial associated with and women were as both the subjects and of their participation in the and labor often as the index of In this study of from the 1970s how women were as of this as these about womenโs urban and recurring and of a within the own of and critique that official examination of archives and enables a feminist interrogation of their mobilizing a of the in the of contribution to this issue similarly the of a dynamic within as well as across ideological the of womenโs and the media of the and as active in labor and as integral to the technocratic women became of as their labor remained a of and analysis and archival with attention to the specific of and It also transnational that as a and affective a nexus of and practices through which gender, media, and developmentalism one film not as a but as part of the of alongside and work a broader concern of this special media as a of developmentalist projects. The debates the World and which international such as the United Nations and a critical historical for such primarily by postcolonial and of the for the of media and communication infrastructures in as to counter Western The a between and economic how systems of media and reinforced global hierarchies of and in an agenda that supported and alternative media infrastructures across postcolonial contexts, the framework gender as an analytical This โgender in the 1970s by of the Women in Development in relation to The Double its political critique of with its broader to center women in development policy through and This was also in of media, which was shaped by its international reach and audiovisual production and and and Yet, as WID institutional it also to the and of the womenโs development programs often by in These were by a of studies, and on and the to of womenโs presence and through the of their economic and In this on the filmmaker this history directly by the and of for women by the WID framework during the with and agencies the of and against Women in at the of the neoliberal turn, when institutional media often the only to access and support to projects. The an by this dynamic as of the from the Global South are to engage with the developmentalist assumptions funding models that their similarly the as a in developmentalist media history by the of and centers on the Film a between of and the attention toward the and labor by and work was foundational the of and the of audiovisual aid, as both a of development projects and a critical for their the in this issue argue for a with media, gender, and developmentalism as an field of that is and shaped by feminist and methodologies and that challenge the entanglements between academic knowledge production and and technocratic development And while methodological these dynamics at the structural the of feminist in media and cinema by this the very a