index 309buster, 61–62, 62, 64–71; gender charac-
terizations and, 69–71; on the internet,
81–82; Pan-A frican fan culture around,
71, 73–78; popularity beyond A frica, 81
spectators, 14, 15
“speed and greed” trope, 86, 103, 116
spirit mediumship, 8, 217; embodiment of
cultural difference and, 28–32; mimetic
interpretations of the European other,
20; passiones and, 39, 42; pastiches and,
40–41
spirit possession, 13, 21, 53; imitation of Eu-
ropean conduct and technolog y in, 26;
Islamic doctrine opposed to, 122
Star tv (Tanzanian station), 152
steampunk/steamfunk, 82–83
Stiebel, Lindy, 66
Stoller, Paul, 13, 29, 31, 35, 52
Stranger, The (black Lone Ranger charac-
ter), 60, 61, 272n4 (chap. 2)
Street Dreams and Hip Hop Barbershops
(Weiss), 15–16
“subaltern” groups, 17
Subongo FX, 82
Südwesterdeutsch (Nam-släng; Namibian
German) language, 235, 249, 254
Suicide Mission (Nigerian film), 153
Super Love (Nigerian film), 153, 159
superheroes, in comic books, 60, 77, 78,
272n2 (chap. 2)
suspense novels, 64
Swahili Film (magazine), 78
Swahili language, 1, 105, 150; Bongo movies
and, 268, 270; comics/graphic novels in,
95, 98; photo novels in, 78, 79; pop music
in, 26, 229; in social media posts, 254;
video films in, 24, 171, 263; voiceover and
commentary for Nigerian films, 24, 154,
158–162
Sylvanus, Nkiru, 169
sympathetic magic, 14, 262
Ta a l (Indian film), 121, 126, 128–130
“Taka Rawa” (Let’s dance; W hite Nigerian
song and video), 233, 237, 238
Tamba, Sultan, 154–155, 157, 274n3 (chap. 5)
Tamba A rts group, 163
Tanzania, 22, 26, 56, 241, 255, 257; Advent-
ism in, 109–110; ambivalence toward
Nolly wood in, 170–171; choirs in, 20;
contact and copy in, 24; intellectual
elite in, 24; music business of, 4; Nige-
rian films distributed in, 151–154; photo
novels in, 154–158, 156; pop music in, 236;
social media in, 251, 252; Spearman fans
in, 73, 74; urban audiences of A merican
tv serials, 15; video films, 75
Task Force Committee on the Sanitization
of the Film Industry, 141
Taussig, Michael, 3, 12, 218, 219, 261; on
collapse of boundaries between self and
other, 35; on mimesis as second nature,
14; on spirit possession, 31
Taylor, Charles, 210
technology, 7, 13; digital, 179; scamming
and, 204, 224; social life of, 6; spirit pos-
session as, 31; video technology, 121, 154
telenovelas, Latin A merican, 5
television, 6, 152, 260; A merican tv serials,
15; audience agency and, 5; Millionärs-
wahl, 253, 254, 277n19; mtv, 253; satellite
tv, 3, 197, 270
theater, 2, 8, 52, 78
Thompson, John, 264
thrillers, 64, 70
T. I. A. (This is A frica; EES and Gazza music
video), 246, 247
T. I. A. (This is A frica; Warsame song),
246–247
Titanic (Cameron film), 1, 18, 19; Adventist
choir “Titanic” song and, 1, 4, 104, 105,
106, 111; A frican appropriations of, 22,
84–86; Bukoba sinking as local context
for reception of, 4, 100, 103, 104; con-
tent and marketing in appropriations
of, 116–119; Masoyiyata video remake
(Ashu-Brown), 86–94, 93, 116, 117–118,
263; Mtani graphic novel remake,
94–103, 96, 101–102, 116; music and song
in, 86–87; as “original copy,” 22, 23, 86,
87, 98; as signifier of success, 84, 118;
“speed and greed” trope and, 86, 103, 116;
Titanic music video clip (Wenge bcbg)
and, 111–115, 114, 273n12, 274n13