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"Pretty Liar" explores the rise of language and gender politics on Lebanese television to tell the untold story of the co-evolution of Lebanese television and its audiences and how the civil war of 1975-1991 affected that co-evolution. The shift in public interest in television has been widely acknowledged and interpreted within an institutional context as a victory of the neo-liberal entrepreneurship of a new, agile brand over the government inefficiency of Lebanon's national station, Télé Liban. Yet, the role of the Lebanese Civil War in reshaping national television and broadcasting in Arab media following the emergence of the Lebanese Broadcasting Company in 1985 has been unexplored. Based on empirical data and grounded in theory by Arab and global researchers, "Pretty Liar" offers textual analyses of five Lebanese fictional series, three major and several additional periodicals, and nine literary works, and provides context from unscripted interviews with television administrators, anchors, actors, and freelance contributors, print journalists, and audience members. Khazaal seeks to offer new insight into how entertainment television became a site for politics and political resistance, feminism, and the cradle for post-war Lebanon due to the shift in practices and standards of legitimacy. The history of television in Lebanon is not merely the history of technology and business, Khazaal argues, but rather the history of a people and their continuing quest for a responsive television even during times of civil unrest.

In this article, I examine the Machinima film Finding Fanon II, by London-based artists Larry Achiampong and David Blandy, for what it can tell us about the relationship between video gaming and the postcolonial. Evoking Frantz Fanon, one of the most piercing voices of the decolonisation movement of the 1950s and 1960s, in the context of Grand Theft Auto (GTA), one of the most technologically advanced and, at the same time, scandalous video game series of the 21st century, Finding Fanon II amounts to a scathing critique of both the game series’ depiction of race and academic scholarship that has been defending the series on the grounds of its use of humour and irony. Shot in the in-game video editor of GTA V, Finding Fanon II lets this critique emerge from inside the game and as an effect of the artists’ engagement with it. By suspending the game’s mechanisms and programmed forms of interaction, the artwork brings their racialised logic to the fore, pointing towards the ways in which GTA V commodifies black men for the consumption of white players. This commodification has the effect of normalising and naturalising the precarious position of black people in Western society. What the artwork adds to this argument through its facilitation of a Fanonian perspective is a reminder that it is not only the gaming experience of white players that is framed in this way. Players with ethnic minority backgrounds might also accept the white gaze of the game as a given. Acts of self-commodification along the lines of a white Western rationality must thus be seen as a plausible new form of cultural imperialism promoted by the GTA series.

This book examines the development of television broadcasting in Japan, Hong Kong and South Korea. It explores the policy regimes guiding the development of television broadcasting as a powerful institution and the extent to which new forms of television have become part of each country’s contemporary media mix. It analyses the interests involved in key policy decisions, the institutional dynamics promoting or inhibiting new media markets, and the relative importance in the different countries of cable, satellite, digital broadcasting, and the use of the Internet for purposes associated with television broadcasting. The nature of television regimes in each of the three countries is very different, and the contrasting situations provide great insights into how television is developing, and how it could develop further, both in East Asia and worldwide.

Le collectif d'artistes Nation to Nation crée en 1996 CyberPowWow, une galerie d'art numérique autochtone en ligne. Entre 1997 et 2004, le projet voit quatre éditions se succéder et plus d'une vingtaine d'artistes y participer. CPW développe un modèle alternatif pour une production, une diffusion et une critique autodéterminée des arts numériques autochtones au Canada, ce qui lui confère une place importante dans la structuration de cette scène. Le présent mémoire vise à étudier la position de CPW - sa plateforme muséographique et ses œuvres - au sein d'un ensemble de discours chronopolitiques qui opèrent à l'intersection des arts, des technologies numériques et des identités autochtones

An introduction is presented in which the editor discusses various reports within the issue on topics including where and how queerness is produced, the use of paratexts to expand and stop queer readings of films, and queers' non-reliance on mainstream media to produce queer stories.

The potential of video games as storytelling media and the deep involvement that players feel when they are part of the story needs to be analysed vis-a-vis other narrative media. This book underscores the importance of video games as narratives and offers a framework for analysing the many-ended stories that often redefine real and virtual lives.

How have video games evolved to now create meaningful stories about race and sports? This essay examines how Spike Lee's film-within-a-game, Livin' Da Dream (2015), reproduces some existing procedural and racial logics that reflect the desire to constantly manage and contain the centrality of black athletic greatness in mainstream sports and video game culture. While Lee's long-form cinematic model for turning sports video games into narrative games has been emulated across the medium as a whole, fans and gamers continually discuss the film as an evidently "broken" part of the popular NBA 2K video game series. As I argue here, however, the film-within-a-game productively insists on a default blackness when it functions as what I call "procedural cinema" (a rules and process based narrative). Ultimately, in functioning procedurally, Lee's otherwise conservative melodramatic story serves as a particularly instructive example of how computational blackness may, in systematically subverting the rules of the game, signify disruptively both within and against the machine.

In the 1990s I lived in New York City. I moved to New York City shortly after graduating from Oberlin College, in Ohio. I lived there for almost a de cade, and during that time I was very actively engaged in continuing my pursuit of a career in photography. Photography was my first form of visual art going back to junior high school. I enrolled in the New York University International Center for Photography master’s program because I really wanted to understand what it was to be a photographer. At that time I was very interested in street photography.

Film and Television Culture in China gives a provocative analysis of film and television culture in China. The author first gives a panoramic picture of Chinese culture in which film and television was born and shaped. He then delineates the definition, composition, and basic relations in film and television culture. Also discussed are the two traditions in Chinese film and television culture--the worldly spirit and the poetic style. The two traditions are deeply rooted in Chinese Confucianism and Taoism, and have influenced Chinese film and television from the start. The author provides in-depth and original readings of the phenomena in Chinese film and television culture, such as: the reform films and the reflection films; the character and mission of television documentary; and a dialogue between the mainland and Taiwan. Film and Television Culture in China will be an essential guide to understand the film and television culture in China, from early screen to the present day.

Telenovela shapes important and highly favorite section of the television productions. The T.V. series have moved out from their traditional structure with an entertaining aspect and have been divided into different types and scopes. Taking into consideration the time and the atmosphere of dissemination which the Telenovela programs hold in T.V. antenna, there is a need to conduct studies on sociology of Telenovela more than any other times in the past. This article is an attempt to review the two subject-matters of Telenovela and Narration and their connection with democracy through sociological sporadic studies. This will also present the significance of this genre in T.V. productions at local and international discourses. Observations, field researches and library study methods have been employed in this research.

En esta conversación entre la cineasta documental Marta Rodríguez y Pedro Pablo Gómez, antes que hacer un recorrido cronológico por el trabajo la artista, se abordan problemas tranversales que están presentes a lo largo de su obra: el cine documental como modo de representación; la construcción de una metodología del cine documental latinoamericano; el carácter decolonial de la obra de Rodríguez y su compromiso indeclinable durante más de cuatro décadas de acompañar las luchas de campesinos, indígenas y afrodescendientes, entre otros. Y es en este abordaje donde Marta Rodríguez, haciendo uso de una memoria extraordinaria, puede tejer un relato en el que se destaca la ética de la artista y su compromiso indeclinable de denuncia de las injusticias sociales, utilizando las tecnologías del cine, no para hablar por las víctimas, sino para hacer escuchar sus voces y mantener vivas sus imágenes; unas imágenes que interpelan el discurso colonial mediante el cual se ha tejido nuestro relato de nación. Dans cette conversation entre la cinéaste documentaire Marta Rodríguez et Pedro Pablo Gómez, avant d'entreprendre une tournée chronologique de l'œuvre de l'artiste, nous traitons les problèmes transversaux présents tout au long de son travail : le cinéma documentaire comme mode de représentation ; la construction d'une méthodologie du documentaire latino-américain; la nature décoloniale de l'œuvre de Rodríguez et son engagement pendant plus de quatre décennies pour accompagner les luttes des paysans, des indigènes et des Afro-descendants, entre autres. Et c'est dans cette approche que Marta Rodríguez, avec une mémoire extraordinaire, peut tisser une histoire qui souligne l'éthique de l'artiste et son engagement indécelable à dénoncer les injustices sociales, en utilisant les technologies du cinéma –pour ne pas parler en lieu des victimes, mais pour faire entendre leur voix et garder leurs images vivantes. Des images qui contestent le discours colonial par lequel notre récit de nation a été tissé.

The in-depth, diverse, and accessible essays in Queer Game Studies use queerness to challenge the ideas that have dominated gaming discussions. This volume reveals the capacious albeit underappreciated communities that are making, playing, and studying queer games, demonstrating the centrality of LGBTQ issues to the gamer world and establishing an alternative lens for examining this increasingly important culture.

Game studies has been an understudied area within the emerging field of digital media and religion. Video games can reflect, reject, or reconfigure traditionally held religious ideas and often serve as sources for the production of religious practices and ideas. This collection of essays presents a broad range of influential methodological approaches that illuminate how and why video games shape the construction of religious beliefs and practices, and also situates such research within the wider discourse on how digital media intersect with the religious worlds of the 21st century. Each chapter discusses a particular method and its theoretical background, summarizes existing research, and provides a practical case study that demonstrates how the method specifically contributes to the wider study of video games and religion. Featuring contributions from leading and emerging scholars of religion and digital gaming, this book will be an invaluable resource for scholars in the areas of digital culture, new media, religious studies, and game studies across a wide range of disciplines.

Interesting and challenging Hollywood-style films that centre on sexually transgressive characters are not easy to script. Many writers fail as a result of an over-valuation of image at the expense of psychologically complex and challenging subjectivity. A hook for exploring the nature of this phenomenon lies in the notion of ‘involving and disturbing’, with a focus on how films might represent it and how audiences might perceive it, and with attention paid to how characters might be constructed. The chapter expands on how this notion of audience engagement might engage with screenwriting as a design function, aimed to construct characters in visual terms yet through words rather than pictures. In addressing certain epistemic limitations to writing character complexity, an alternative epistemic framing for ‘perverse’ characters is considered in terms of characterological ‘is-ness’, philosophical constitution and behaviours and actions.

If the Feiticeiro/a character is to be seen as a structure rather than a substance, the nature of such a structure requires elaboration. If this paradigm is to be internally coherent, a relation of intertwined co-existence between characters and audiences should be built into the framing in ways that provide functional epistemic signposts for mechanisms to translate characters’ intrinsic complexity to these audiences. This chapter approaches this by accounting both for the particularly visual nature of the filmic medium and for how screenplays are not a visual medium themselves and are put to different uses than other forms of narrative writing, therefore requiring distinctive attributes. An orientational notion of relationship between medium and audience is suggested as a foundation for the structure of Feiticeiro/a characters in terms of the philosophical distinction between ‘being’ and ‘appearance’, on the basis of which decisions might be made as to which elements of the character’s constitution should be made apparent and which should either remain invisible or intentionally be obfuscated.

The categories for ‘perversion’ in the World Health Organization’s ICD fail to describe people and their practices, thereby obscuring the remarkable singularity of individuals and diversity of groups. Instead, they prescribe heteronormative sexual behaviour, which is unhelpful as a foundation for the Feiticeiro/a character. This chapter explores an alternative epistemic construct, as becomes available in the notion of a focalising character, which reflects a ‘semic’ construct that negates the notion of a ‘pervert’ character as a substance, but instead embraces the notion of a Feiticeiro/a character as a structure. The chapter further explores the philosophical nature of this structure as it relates to the thematic elements of a narrative whilst engaging in believable activities in a material world. The chapter then suggests an approach to structure based in a phenomenological notion of the replacement of ‘substance’ with ‘form’/‘structure’ as the foundation of meaning.

An episteme for the Feiticeiro/a as a filmic character who is ‘perverse’ needs a form if it is to be useful to writers wanting to construct complex transgressive sexual characters. The beginnings of this framing are productively associated with the semiotic notion of ‘connotation’. This chapter explores what is meant by complexity in character construction and suggests a framing focused on character as an embodied being as a helpful starting-point for an episteme for characterological ‘perversion’. The chapter explores this as a non-foundationalist framing that transcends problematic Cartesian distinctions, concrete object materiality and woolly broad-stroke statements of a disembodied discursive constitution of social and personal experience.

If the Feiticeiro/a as a psychologically defined and complex character is to be seen as an embodied form/structure (not substance) that exists in dialectical relationships between self, other and discursive constructions of society, a clearer indication should be made about what kinds of behaviours or actions he/she should engage in. This chapter explores how psychiatric diagnostic criteria fail to provide assistance, despite professing to authoritatively mark stable, reliable and accurate epistemic boundaries to sexual activity. The chapter thereby addresses questions of the description of actions versus the demarcation of thoughts, objects, feelings and time as invisible and abstracted notions that are virtually the opposite of what is useful for an episteme for the Feiticeiro/a. It also approaches how the diagnostic criteria codify ‘perverse’ activity in determinist terms, thereby insidiously refusing an epistemic construct of action into which is built an acknowledgement of the behaviours of the Feiticeiro/a as a complex subjectivity.

This article considers the way certain Indigenous artists are reviving conceptions of territory and history that are anchored in secular epistemologies and the construction of knowledge. Such conceptions provide a way for these artists to respond to colonial appropriation, reactivate interrupted dialogues, engender new forms of territorialization, and create places of commemoration and memory preservation. Similar to the historiographical deconstruction performed by thinkers and activists such as Vine Deloria Jr. and Taiaiake Alfred, these artists’ works offer a model of autonomy and environmental balance. While some are reviving mnemonic practices, such as the making of wampum, which traditionally preserve memories of alliances and conflicts, others have embraced Internet and selfie technologies as a means of creating new spaces for speech and recognition