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As the nascent field of computer games research and games studies develops, one rich area of study will be a semiotic analysis of the tropes, conventions, and ideological sub-texts of various games. This article examines the centrality of race and gender in the narrative, character development, and ideologies of platform video games, paying particular attention to the deployment of stereotypes, the connection between pleasure, fantasy and race, and their link to instruments of power. Video games represent a powerful instrument of hegemony, eliciting ideological consent through a spectrum of white supremacist projects.

Why is the hit Singapore edition of Who Wants To Be A Millionaire? must-see TV?1. Watch it so that you can hold the ‘hottest topic’ with your friends. 2. So you can be encouraged by the courage of some contestants who are bold enough to brave national TV when apparently they have not read enough. 3. So you can judge for yourself if you are bold (and knowledgeable) enough to brave national TV for your possible 1st million. 4. So you can call the number on screen and make your 1st million. 5. Finally, watch it to see for yourself that Singaporeans are not as well read and as globalized as we all think we are.

From the 1967 live satellite program "Our World" to MTV music videos in Indonesia, from French television in Senegal to the global syndication of African American sitcoms, and from representations of terrorism on German television to the international Teletubbies phenomenon, TV lies at the nexus of globalization and transnational culture. Planet TV provides an overview of the rapidly changing landscape of global television, combining previously published essays by pioneers of the study of television with new work by cutting-edge television scholars who refine and extend intellectual debates in the field. Organized thematically, the volume explores such issues as cultural imperialism, nationalism, postcolonialism, transnationalism, ethnicity and cultural hybridity. These themes are illuminated by concrete examples and case studies derived from empirical work on global television industries, programs, and audiences in diverse social, historical, and cultural contexts. Developing a new critical framework for exploring the political, economic, sociological and technological dimensions of television cultures, and countering the assumption that global television is merely a result of the current dominance of the West in world affairs, Planet TV demonstrates that the global dimensions of television were imagined into existence very early on in its contentious history. Parks and Kumar have assembled the critical moments in television's past in order to understand its present and future. Contributors include Ien Ang, Arjun Appadurai, Jose B. Capino, Michael Curtin, Jo Ellen Fair, John Fiske, Faye Ginsburg, R. Harindranath, Timothy Havens, Edward S. Herman, Michele Hilmes, Olaf Hoerschelmann, Shanti Kumar, Moya Luckett, Robert McChesney, Divya C. McMillin, Nicholas Mirzoeff, David Morley, Hamid Naficy, Lisa Parks, James Schwoch, John Sinclair, R. Anderson Sutton, Serra Tinic, John Tomlinson, and Mimi White.

This essay examines the cultural specificity of the gangster genre. In hip-hop gangsta films, the inclusion of black women as central to the gangster business not only transforms the gangster genre but, more important, adheres to black cultural norms. The films New Jack City, Sugar Hill, and Set It Off serve as case studies.

Coverage of Mexican-American youth gangs has been a staple of local television news in the United States for decades, and its form and content have come to embody many journalistic cliches: the rising tide of violence, the spread of drug addiction, the alienated minority youth. But as this bold new study argues, these stories contain gross exaggerations that lead to the reinforcement of stereotypes about Mexican-American young people and the Mexican-American community in general. Indeed, the police and community leaders greatly influence the content of this coverage by deciding what information to make available to the news media, while reporters select certain sources and ignore others, thus slanting the story even further. Source: Publisher

This comprehensive anthology places issues of racial representation squarely on the canvas. Within these pages are representations of Nubians in ancient art, the great tradition of Westernmasters such as Manet and Picasso and contemporary work by lesser known artists.

Since its invention, television has been one of the biggest influences on American culture. Through this medium, multiple visions and disparate voices have attempted to stake a place in viewer consumption. Yet even as this programming supposedly reflects characteristics of the general American populace, television-generated images are manipulated and contradictory, predicated by the various economic, political, and cultural forces placed upon it. In Shaded Lives, Beretta Smith-Shomade sets out to dissect images of the African American woman in television from the 1980s. She calls their depiction "binaristic," or split. African American women, although an essential part of television programming today, are still presented as distorted and deviant. By closely examining the television texts of African-American women in comedy, music video, television news and talk shows (Oprah Winfrey is highlighted), Smith-Shomade shows how these voices are represented, what forces may be at work in influencing these images, and what alternate ways of viewing might be available. Smith-Shomade offers critical examples of where the sexist and racist legacy of this country collide with the cultural strength of Black women in visual and real-lived culture. As the nation's climate of heightened racial divisiveness continues to relegate the representation of Black women to depravity and display, her study is not only useful, it is critical.

'One of the most important books on race, representation and politics to come along in a decade' - Henry Giroux, Penn State University Representing Black Britain offers a critical history of Black and Asian representation on British television from the earliest days of broadcasting to the present day.

Struggles for Representation examines over 300 non-fiction films by more than 150 African American film/videomakers and includes an extensive filmography, bibliography, and excerpts from interviews with film/videomakers. In eleven original essays, contributors explore the extraordinary scope of these aesthetic and social documents and chart a previously undiscovered territory: documentaries that examine the aesthetic, economic, historical, political, and social forces that shape the lives of black Americans, as seen from their perspectives.

Rentable produit d'exportation diffusé dans 128 pays, le feuilleton télévisé brésilien fait partie du quotidien de la population depuis une trentaine d'années. Si une grande part de son succès repose sur l'exploitation de « la culture des sentiments », dans sa version la plus moderne, il sait aussi plonger au cœur de la réalité comme l'a démontré entre autres avec brio « Le roi du troupeau » (1986) qui mettait en scène le conflit entre les sans-terre et les grands propriétaires terriens.

Ma looks at the ways in which the identity of Hong Kong citizens has changed in the 1990s especially since the handover to China in 1997. This is the first analysis which focuses on the role, in this process, of popular media in general and television in particular. The author specifically analyses at the relationship between television ideologies and cultural identities and explores the role of television in the process of identity formation and maintenance.

What happens when a Native or indigenous person turns a video camera on his or her own culture? Are the resulting images different from what a Westernized filmmaker would create, and, if so, in what ways? This book discusses the core concepts of aesthetics and indigenous culture and examines the work of American Indian documentary filmmakers

"Addressing both the scope and the significance of television program format transferthe practice of using the basic idea of a program to produce a new version of that programthis book details this rapidly growing area of the international television distribution system. Also addressed is the remaking of a program by the television industry of another nation, highlighting issues of meaning and cultural identity of national audiences."

This text provides readers with useful summaries and evaluations of key arguments relating to the development of television as an industry across the globe and its potential cultural impact. There is a continual insistence in the book on the need to connect issues of industry with those of culture.

Naficy explores the seemingly contradictory way in which immigrant media and cultural productions serve as the source both of resistance and opposition to the domination by host and home country's social values while simultaneously serving as vehicles for personal and cultural transformation and assimilation of those values.

In Partial Recall, twelve Native American artists and writers look deep into the images that have shaped our ideas of "Indianness," and explore the complex relationship of photography to identity. For this volume, edited and introduced by Lucy Lippard, each contributor has chosen one or two photographs as the point of departure for their original poetic, historical, political, or autobiographical essays. With an additional portfolio of more than sixty photographs drawn from around the country, Partial Recall is a unique and valuable anthology.

In several cities in the Southwest and Midwest with sizable enclaves of Chicanos, there are to be found considerable numbers of images that have become leitmotifs of Chicano art. In their ubiquity, these motifs demonstrate that the Chicano phase of Mexican-American art (from 1965 to the 1980s) was nationally dispersed, shared certain common philosophies, and established a network that promoted a hitherto nonexistent cohesion. In other words, it was a movement, not just an individual assembly of Mexican-descent artists. In what follows, Chicano art is examined as statements of a conquered and oppressed people countering oppression and determining their own destiny, though not all the producers of these images necessarily saw their production in the political way they are framed below. Examples have been chosen specifically to show how, in response to exploitation, artists have taken an affirmative stance celebrating race, ethnicity, and class.

Back in 2009, Critical Distance was founded to answer the question: “Where is all the good writing about games?” Our goal for the last 10 years has always been to facilitate dialogue. Through roundups, roundtables, podcasts, and critical compilations, we provide one place where all the most important discourse is collected together. We aim to build a foundation for ongoing conversations between developers, critics, educators and enthusiasts about critical issues in games culture. We are a compendium of the most incisive, thought-provoking, and remarkable discussion in and around games, keeping it archived for years to come. Our work has helped new writers to find their voice, educators to find resources to help their students develop critical thinking, and developers to become more reflective in their design practice.

Interview with author, Dr. Laura Pérez, Professor of Ethnic Studies at UC Berkeley on her most recent book, Eros Ideologies: Writings on Art, Sprituality, & the Decolonial.