Bibliografías temáticas / Indigenous film

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  2. Tesis
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Literatura académica sobre el tema "Indigenous film"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de julio de 2025

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Artículos de revistas sobre el tema "Indigenous film"

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Chishi, Aviholi. "Highland Film Club: Connecting People and Cultures through Film." Highlander Journal 3, no. 2 (2024): 142–46. https://doi.org/10.5281/zenodo.11002352.

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Based at the Highland Institute in Kohima, The Highland Film Club, launched in February 2023, shows a variety of films by indigenous and non-indigenous filmmakers on the last Friday of everymonth. The films, usually documentaries and feature lms, from all around the world feature a range of topics, including environmental stewardship, indigenous culture and knowledge and social issues. Wherever possible, the film director is invited to attend, in person, or online, and the lively discussion after the film is a key part of the event.
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Pollock, Benjin. "Beyond the Burden of History in Indigenous Australian Cinema." Film Studies 20, no. 1 (2019): 36–53. http://dx.doi.org/10.7227/fs.20.0003.

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How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews su
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Molloy, Missy. "Indigenous Screen Sovereignty in the Genre Films of Lisa Jackson, Elle-Máijá Tailfeathers and Danis Goulet." Film-Philosophy 29, no. 2 (2025): 425–51. https://doi.org/10.3366/film.2025.0312.

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This article argues that Lisa Jackson’s Savage (2009), Elle -Máijá Tailfeathers’ Bloodland (2009) and A Red Girl’s Reasoning (2012), and Danis Goulet’s Night Raiders (2021) exemplify an Indigenous feminist cinema that has rapidly gained traction by innovatively mobilizing genre to frame specific historical injustices and their residual challenges in the present. These filmmakers’ considerable successes attest to the visibility of a transnational collective of Indigenous women filmmakers currently supporting each other to take advantage of unprecedented industrial opportunities. Their films are
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Sand, Stine Agnete. "‘Call the Norwegian embassy!’: The Alta conflict, Indigenous narrative and political change in the activist films The Taking of Sámiland and Let the River Live." Journal of Scandinavian Cinema 12, no. 1 (2022): 57–70. http://dx.doi.org/10.1386/jsca_00064_1.

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In the 1970s, Norway had not officially acknowledged their Indigenous population, the Sámi. In the following decade, two activist films, Let the River Live (Greve 1980) and The Taking of Sámiland (Eriksen and Tannvik 1984), focused on the Alta conflict ‐ protests against the construction of a power plant in Sámi territory ‐ Indigenous rights and colonial processes. Inspired by discussions concerning documentary, activism and decolonialism, this article investigates how the films frame Sámi interests and challenge perceptions of the Norwegian state. Because both films are collaborations across
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Watchman, Renae. "Teaching Indigenous Film through an Indigenous Epistemic Lens." Studies in American Indian Literatures 34, no. 1-2 (2022): 112–34. http://dx.doi.org/10.1353/ail.2022.0009.

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Ebanks Schlums, Debbie, Adrian Kahgee, and Rebeka Tabobondung. "Indigenous and Migrant Embodied Cartographies." Interactive Film and Media Journal 2, no. 1 (2022): 48–61. http://dx.doi.org/10.32920/ifmj.v2i1.1531.

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The Odeimin Runners Club is an Indigenous and Black-Persons-of-Colour (IBPOC) media arts collective (the “Collective”) creating an online story map using an open-source satellite mapping platform. By tracing activities and connections in our engagements with each other and our communities, our counter-mapping project re-traces trade and ceremonial routes between the north of Turtle Island and the Caribbean archipelago, linking stories, videos and artworks to traditional territories. This paper addresses the process of a pilot project making three 16mm experimental films. Process cinema methodo
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Shreve, Adam T. "Religious Films in Zimbabwean Contexts." International Journal of Public Theology 9, no. 2 (2015): 193–211. http://dx.doi.org/10.1163/15697320-12341392.

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This article presents the author’s original research of a reception study of religious films amongst Shona peoples in the Gora and Chikara villages, which are located in the Mashonaland West Province of Zimbabwe. The two central questions of the author’s study are: First, in what ways might pre-existing Shona images of Jesus shape Shona responses to and interpretations of Jesus as he is portrayed in The Jesus Film (1979) and in indigenous, short, Jesus films in Zimbabwe today? Secondly, how might the viewing of these films affect these images of Jesus? This article addresses how indigenous, sh
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Frey, Aline. "Resisting Invasions: Indigenous Peoples and Land Rights Battles in Mabo and Terra Vermelha." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 69, no. 2 (2016): 151. http://dx.doi.org/10.5007/2175-8026.2016v69n2p151.

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http://dx.doi.org/10.5007/2175-8026.2016v69n2p151This article examines two feature films, focusing on the link between Indigenous cinema, environmental preservation and land rights. The first film is Mabo (2012) directed by Aboriginal filmmaker Rachel Perkins. It centres on a man’ legal battle for recognition of Indigenous land’ ownership in Australia. The second film is Terra Vermelha (Birdwatchers, Marco Bechis, 2008), which centres on the violence endured by a contemporary Brazilian Indigenous group attempting to reclaim their traditional lands occupied by agribusiness barons. Based on comp
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H Bickford, Sonja, and Michelle Warren. "Informed Change: Exploring the Use of Persuasive Communication of Indigenous Cultures Through Film Narratives." Informing Science: The International Journal of an Emerging Transdiscipline 23 (2020): 107–18. http://dx.doi.org/10.28945/4635.

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Aim/Purpose: There is a need to find a way to utilize narrative storytelling in film to make students more aware of the impacts of global problems and how they are perceived. Background: Two films from the year 2015 from two very different places in the world explore the encroachment and secondary effects of urban civilization upon indigenous cultures. Methodology: An interpretive, qualitative, methodology was used in addressing and discussing the use of these two films as a persuasive communication teaching aid. Contribution: This paper offers an approach to using narratives of films on indig
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Janzen, Rebecca. "El cambio/The Change Joskowicz ([1971] 1975): Mexican counterculture and the futility of protest in the 1970s." Studies in Spanish & Latin-American Cinemas 18, no. 2 (2021): 159–75. http://dx.doi.org/10.1386/slac_00044_1.

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This article analyses the representation of the 1970s countercultural movement in Alfredo Joskowicz’s film El cambio/The Change ([1971] 1975). It shows how the film portrays its protagonists as part of the Mexican countercultural movement, even as it adopts a critical view of that movement. Not only are the protagonists unsuccessful with their single action of protest, they are also engaged in problematic relationships with female and Indigenous characters. The ambivalence towards counterculture in El cambio is similar to the portrayal of leftist protest movements in other films by the same di
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Tesis sobre el tema "Indigenous film"

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Waititi, Kahurangi Rora. "Applying Kaupapa Māori Processes to Documentary Film." The University of Waikato, 2007. http://hdl.handle.net/10289/2437.

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This thesis explores the application of Kaupapa Māori processes to documentary filmmaking through practiced-led research. The need for this research came to light through the experience of witnessing unacceptable behaviour shown by film crews towards kaumātua who were attending the 2006 28th Māori Battalion Reunion. In reflecting on this experience and considering my own filming experience as a person with a Te Ao Māori background, the basis for this argument was conceived. This thesis argues that there are alternative ways in which filming can be conducted by considering processes that alread
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Miller, Heather Anne. "Tonto and Tonto speak an indigenous based film theory /." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/miller/MillerH0506.pdf.

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Waters, Marcus Wollombi. "Contemporary Urban Indigenous ‘Dreamings’: Interaction, Engagement and Creative Practice." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366411.

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This exegesis contextualises my doctoral project — the writing of a feature film script, Kick up Dust — within contemporary academic discourses on Aboriginal subjectivity. Kick up Dust explores how Indigenous people identify and debate the nature of their own Aboriginal consciousness. The script is written in opposition to the way non-Indigenous conceptions of Indigeneity (in popular culture, the mass media, and educational institutions) have historically misrepresented and characterised Indigenous peoples, without regard to their individuality, through stereotyped images that reside in the po
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Shreve, Adam Terrence. "Framing the sacred : an analysis of religious films in Zimbabwe." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22006.

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This is a study of the production, content, distribution, and reception of different religious films in Zimbabwe, with an emphasis on the audience’s initial reception of the films. Informants’ self-identified religious beliefs and their reception of these selected films are analyzed primarily by using qualitative methods to understand better the interplay between film and religion in Zimbabwe. The films studied in this research are The Jesus Film (1979) created by Campus Crusade for Christ and indigenous, short Jesus films created locally in Zimbabwe in 2012. In order to answer the central res
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Shier, Sara Ann. "The depiction of indigenous African cultures as other in contemporary, Western natural history film." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/shier/ShierS1206.pdf.

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Cohen, Hart K. "From ethnographic film to indigenous media : communications and the evolution of the ethnographic subject." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75987.

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An important connection exists between ethnographic film and indigenous media though they are rarely linked in film theory. The link is not just hypothetical. Cast in the form of historiography, ethnographic film and indigenous media practices may be read as a continuist discourse with a number of critical turns. One such turn is the transformation of the ethnographic subject into a critical public. What is described as indigenous media allows us to categorize this transformation as a significant difference for the practice of ethnography, but the question remains as to whether this difference
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Mayo, Jason. "Native American Cinema: Indigenous Vision, Domestic Space, and Historical Trauma." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1366388821.

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Ellison, Elizabeth Rae. "The Australian beachspace : flagging the spaces of Australian beach texts." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63468/1/Elizabeth_Ellison_Thesis.pdf.

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The Australian beach is a significant component of the Australian culture and a way of life. The Australian Beachspace explores existing research about the Australian beach from a cultural and Australian studies perspective. Initially, the beach in Australian studies has been established within a binary opposition. Fiske, Hodge, and Turner (1987) pioneered the concept of the beach as a mythic space, simultaneously beautiful but abstract. In comparison, Meaghan Morris (1998) suggested that the beach was in fact an ordinary or everyday space. The research intervenes in previous discussions, sugg
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Strong, Adrian. "Representation of Indigenous People Through Documentary and Ethnographic Film: With Particular Reference to the Ju/'hoan Community of the Kalahari, and the Effect Film has had on Their Lives." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/365633.

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While documentary films featuring indigenous people have a long history and include ethnographic films made under educational or scientific auspices, many films about indigenous people have been prone to projection by filmmakers, particularly those with little in depth knowledge of their film subjects. People labeled ‘Bushmen’ have, more than any other indigenous people, been portrayed in documentaries in ways which relate more to the fantasies of the filmmaker and those of his or her culture than to the people at the other end of the camera. In order to investigate this problem, this disserta
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Neely, Jacob S. "INTIMATE INDIGENEITIES: ASPIRATIONAL AFFECTIVE SOLIDARITY IN 21ST CENTURY INDIGENOUS MEXICAN REPRESENTATION." UKnowledge, 2019. https://uknowledge.uky.edu/hisp_etds/42.

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This dissertation analyzes six contemporary texts (2008–18) that represent indigenous Mexicans to transnational audiences. Despite being disparate in authorship, genre, and mode of presentation, all address the failings of the Mexican state discourse of mestizaje that exalts indigenous antiquities while obfuscating the racialized socioeconomic hierarchies that marginalize contemporary indigenous peoples. Casting this conflict synecdochally as the national imposing itself on quotidian life, the texts help the reader/viewer come to understand it in personal, affective terms. The audience is enco
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Libros sobre el tema "Indigenous film"

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Blackmore, Ernie, Kerstin Knopf, Wendy Gay Pearson, and Corina Wieser-Cox. The Routledge Handbook of Indigenous Film. Routledge, 2024. http://dx.doi.org/10.4324/9781003303022.

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Columpar, Corinn. Unsettling sights: The fourth world on film. Southern Illinois University Press, 2010.

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Columpar, Corinn. Unsettling sights: The fourth world on film. Southern Illinois University Press, 2010.

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Columpar, Corinn. Unsettling sights: The fourth world on film. Southern Illinois University Press, 2010.

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curator, Robertson Carmen, and MacKenzie Art Gallery, eds. The Sioux Project--Tatanka Oyate. Information Office, 2020.

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Heider, Karl G. Seeing anthropology: Cultural anthropology through film. Allyn and Bacon, 1997.

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Heider, Karl G. Seeing anthropology: Cultural anthropology through film. 2nd ed. Allyn and Bacon, 2001.

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Limbrick, Peter. Making settler cinemas: Film and colonial encounters in the United States, Australia, and New Zealand. Palgrave Macmillan, 2010.

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Clelland-Stokes, Sacha. Representing aboriginality: A post-colonial analysis of the key trends of representing aboriginality in South African, Australian and Aotearoa/New Zealand film. Intervention Press, 2007.

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editor, Rittstein Lukáš 1973, Šlapetová Barbora 1973-, DOX Centrum současného umění, Akademie výtvarných umění, Knihovna Václava Havla, and Kant (Firm), eds. Super: Obrazy, fotografie, kresby, filmy, animace : jak se dotknout nebe = paintings, photographs, drawings, films, animations : how to reach the sky. Centrum současného umění DOX, 2022.

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Capítulos de libros sobre el tema "Indigenous film"

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Smith, Jo. "Indigenous insistence on film." In Routledge Handbook of Critical Indigenous Studies. Routledge, 2020. http://dx.doi.org/10.4324/9780429440229-42.

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Murnaghan, Ann Marie, and Tyler McCreary. "Indigenous Children in Canadian Cinema." In Film Landscapes of Global Youth. Routledge, 2024. http://dx.doi.org/10.4324/9781003347446-9.

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McNair, Lucy R., and Habiba Boumlik. "Journeys of Discovery: The Case of the New York Forum of Amazigh Film (NYFAF)." In Framing Film Festivals. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-88590-7_4.

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Abstract Over the past two decades, Indigenous North African or Amazigh film festivals have proliferated, focusing on relational definitions of Indigeneity and addressing historical discrimination. These festivals have significantly impacted the image of Amazigh culture and influenced film production locally and internationally. This chapter provides a case study of the New York Forum of Amazigh Film (NYFAF), founded in 2015 and co-curated by the authors. Located in a diverse, working-class, multilingual, and multi-religious urban community college, NYFAF addresses two main questions: How is a
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Estrada, Gabriel S., Jon Ivan Gill, and Ken Derry. "Film Studies." In The Routledge Handbook of Research Methods in the Study of Indigenous Religions. Routledge, 2025. https://doi.org/10.4324/9781003265207-20.

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Shaw, Deborah. "Making Accented Indigenous Transnational Community Cinema." In The Routledge Handbook of Indigenous Film. Routledge, 2024. http://dx.doi.org/10.4324/9781003303022-19.

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Blackmore, Ernie, Kerstin Knopf, Wendy Gay Pearson, and Corina Wieser-Cox. "Introduction: Indigenous Filmmaking Throughout the World." In The Routledge Handbook of Indigenous Film. Routledge, 2024. http://dx.doi.org/10.4324/9781003303022-1.

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Motsaathebe, Gilbert. "African Languages and Gender Identity in Marginal Films Made Outside the Mainstream Film Industry in South Africa." In Indigenous African Language Media. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-0305-4_9.

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Attfield, Sarah. "Race and Class in Australian Indigenous Film." In Class on Screen. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45901-7_6.

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Sioui Durand, Guy. "Yändia'wich." In The Routledge Handbook of Indigenous Film. Routledge, 2024. http://dx.doi.org/10.4324/9781003303022-34.

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Ylagan, Christian. "Constellating Bakla Desire in Auraeus Solito's The Blossoming of Maximo Oliveros." In The Routledge Handbook of Indigenous Film. Routledge, 2024. http://dx.doi.org/10.4324/9781003303022-26.

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Actas de conferencias sobre el tema "Indigenous film"

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Penkala, Joseph E., Jennifer Fichter, and Sunder Ramachandran. "Protection against Microbiologically Influenced Corrosion by Effective Treatment and Monitoring During Hydrotest Shut-in." In CORROSION 2010. NACE International, 2010. https://doi.org/10.5006/c2010-10404.

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Abstract During hydrotesting, a pipeline may be shut-in for a significant period of time. If unprotected, the pipeline becomes susceptible to corrosion due to bacteria, oxygen, and saline conditions of the hydrotest water, typically obtained from surface waters and seawater. Most notably, indigenous bacterial populations in source water used to fill the pipeline can proliferate in the stagnant shut-in condition and attach to the pipe wall forming biofilms. These sessile biofilms may contain sulfate reducing bacteria (SRB) and/or acid-producing bacteria (APB) which can contribute to microbiolog
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Fadli, M., D. Hasfera, and Arwendria Arwendria. "Film for Preserving Indigenous Knowledge Minangkabau Culture." In Proceedings of the 2nd International Conference on Local Wisdom, INCOLWIS 2019, August 29-30, 2019, Padang, West Sumatera, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.29-8-2019.2288974.

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Ings, Welby. "Talking with Two Hearts: Navigating Indigenous Narratives as Research." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.177.

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Floyd Rudman (2003) notes that by enlarge, contemporary theory posits biculturalism as a positive and adaptive phenomenon. However, as early as 1936, commentators like Redfield et al. proposed that “psychic conflict” can result from attempts to reconcile different social paradigms inside bicultural adaptation (p. 152). Child (1943/1970) also argued that biculturalism cannot resolve cultural frustrations and accordingly, they can be more distressing than a commitment to one culture or the other. The tensions these early theorists noted I found significant when writing and directing my recent feat
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Undiana, Nala Nandana, Dedi Warsana, Arief Johari, and Iwan Pranoto. "Accompaniment for Contemporary Artist in the Making of Documentary Film About Cultural Values at Kasepuhan Ciptagelar Indigenous Community." In 3rd International Conference on Arts and Design Education (ICADE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.034.

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Botsi, Elena. "Management of Language Boundaries: Autoethnography by a Documentary Film about an Arvanitika Language Community in Greece." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.3-2.

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Arvanitika is a threatened language that is spoken in very few areas of Greece. Greece's Arvanitika -speaking communities, scattered in suburban areas, mainly in southern mainland and island Greece. These were founded in the Late Middle Ages during the Byzantine and Frankish conquest of Ottoman rule in the Southern Balkans, and merged with the new Greek nation by virtue of the Greek Orthodox faith and the struggle for liberation toward the Turks. Arvanitika is a branch of the South Albanian Tosk dialect characterized by a phenomenon of pidginization from Greek of various historical periods. Du
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Williams, Toiroa. "NO HEA KOE? Where are you from?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.

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“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about his
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Wendl, Nora, and Julian Maltby. "A Metate, Micaceous Clay Pottery, and the ATLAS-1 Trestle: Mining the Interior Structures of Objects to Build Architectural Theory." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.107.

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In this graduate architectural theory course, students are asked to select an object (not a building) that brings together the environment and humans. First, they write observations of it—answering questions about its materiality, authorship, use, and lifespan, tracing its materiality back to its origins. This is a study of what Elaine Scarry refers to as the “interior structure” of objects: how objects “internalize within their design an active ‘awareness’ of human beings…that is not limited to their use.” Students then write a thesis statement connecting the interior structure of this object
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.

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In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical
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Prasad, Lalit, L. M. Das, and S. N. Naik. "Effects of Jatropha Curcas Oil and Alkyl Ester as Lubricity Enhancer for Diesel Fuel." In ASME 2012 Internal Combustion Engine Division Spring Technical Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/ices2012-81209.

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Increasing strict regulation on the sulfur content of diesel fuels results in decreases the lubricity of these fuels. The lubricity of the fuel is an indication of the amount of wear or scarring that occurs between two metal parts covered with the fuel as they come in contact with each other. Low lubricity fuel may cause high wear and scarring and high lubricity fuel may provide reduced wear and longer component life. Previous studies have shown that alkyl esters of triglycerides derived from vegetable oils have increased diesel fuel lubricity at concentration of less than 1%. The major object
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Williams, Toiroa. "KO WAI AU? Who am I?" In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.180.

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This presentation accounts a journey of the researcher’s practice-led doctoral project, Tangohia mai te taura: Take This Rope. The study involves researching, directing and producing a documentary about historical grievances to exhume stories from a Māori filmmaker’s community that call into question colonial accounts of the 1866 execution of their ancestor Mokomoko, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. As a consequence of an accusation of murder, Mokomoko was arrested for the crime, imprisoned and hanged, all the while protesting his innocence. In retribution
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Informes sobre el tema "Indigenous film"

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Alwang, Jeffrey, Alexis Villacis, and Victor Barrera. Credence Attributes and Opportunities: Yerba Mate in Paraguay. Inter-American Development Bank, 2022. http://dx.doi.org/10.18235/0003962.

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The value of yerba mate (Ilex paraguariensis) exports from Paraguay has recently increased dramatically. Much of this growth is due to positioning of the good within the universe of products where consumption growth is driven by perceptions of sustainable production and health benefits to consumers--that is, credence attributes creating a new dimension of demand. Credence claims for yerba mate's benefits to indigenous producing communities, environmental sustainability under certain production processes, healthful alternatives to energy drinks, are now widely known, but the growth of this awar
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Vlaicu, Razvan. Digital Payments Adoption by Consumers and Firms: Implications for Financial Inclusion. Inter-American Development Bank, 2025. https://doi.org/10.18235/0013575.

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Digital payments have increasingly been adopted by consumers and firms in Latin America and the Caribbean. This policy research paper analyzes recent post-pandemic data on digital payments in the region to describe adoption patterns, measure adoption gaps, and identify adoption barriers. The data reveal a positive trend in the use of financial accounts for receiving wages, and of payment apps and digital wallets for purchases in-person and online. Despite increased average adoption, sizable gaps remain both between countries and within countries. At the consumer level, factors associated with
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