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This chapter historicises and contextualises the evolution, production, and development of key Mexican screen melodramas over fifty-two years to understand and mediate Mexico’s ambivalence around socioeconomic background, ranother. Perhaps if Televisa had allowed its various ace and religion, gender and worth, family and duty. The chapter demonstrates the importance of localised scholarly inquiry into Mexican audiovisual media that considers not only narrative discourses, content and textual analyses, but also industrial records and practices, marketing campaigns and press releases, archival research and interviews, multimedia synergy, and comparative analysis. For some time, research on Mexican melodrama has had a strong social focus, with several writings about audience engagement, but it is imperative to have more close readings of the texts themselves to understand their cultural context and industrial histories. This research exposes societal changes within Mexico by utilising one of its most omnipresent forms of popular culture and provides a deeper understanding of Mexico’s primary media productions through the use of genre and remake theory. The representations of young women yield a multitude of tensions and ambiguities placed upon Mexican women, which reveal volumes about wider sociocultural expectations.

First Person Encounters is a series of podcasts presented by Games Studies India, about our first experiences with Games while growing up in India. This our third podcast where we interview Xenia Zeiler, an associate professor of South Asian studies at the University of Helsinki, Finland. Her research is situated at the intersection of digital media, religion, and culture, with a focus on India and the worldwide Indian community.

First Person Encounters is a series of podcasts presented by Games Studies India, about our first experiences with Games while growing up in India. This our third podcast where we talk with Poornima Seetharaman. She is the first Indian to be inducted in the Women in Games (WIGJ) Hall of Fame and is also the lead game designer at Zynga. Hear as we talk about her foray in the world of gaming.

Independent Videogames investigates the social and cultural implications of contemporary forms of independent video game development. Through a series of case studies and theoretical investigations, it evaluates the significance of such a multi-faceted phenomenon within video game and digital cultures. A diverse team of scholars highlight the specificities of independence within the industry and the culture of digital gaming through case studies and theoretical questions. The chapters focus on labor, gender, distribution models and technologies of production to map the current state of research on independent game development. The authors also identify how the boundaries of independence are becoming opaque in the contemporary game industry – often at the cost of the claims of autonomy, freedom and emancipation that underlie the indie scene. The book ultimately imagines new and better narratives for a less exploitative and more inclusive videogame industry. Systematically mapping the current directions of a phenomenon that is becoming increasingly difficult to define and limit, this book will be a crucial resource for scholars and students of game studies, media history, media industries and independent gaming.

This chapter analyzes the reflections of Turkey’s neoconservative and neoliberal politics of gender on daytime television. The focus is on Bridal House, a popular daytime TV show in Turkey which interpellates women as domestic subjects competing with other women to prove their domestic abilities, particularly the ability to navigate the etiquette of domestic consumption. Hierarchies are instigated among women through symbolic battles on “tasteful” consumption, and the marital household surfaces as a space of constant regulation where women strive to be ideal housewives. By analyzing Bridal House through a Bourdieusian framework, this chapter traces the representations of the “ideal female subject” along neoconservative and neoliberal lines, and demonstrates the ways in which symbolic violences are enacted on women in contemporary Turkey’s daytime TV culture.

This book examines the phenomenon of prime time soap operas on Indian television. An anthropological insight into social issues and practices of contemporary India through the television, this volume analyzes the production of soaps within India’s cultural fabric. It deconstructs themes and issues surrounding the "everyday" and the "middle class" through the fiction of the "popular". In its second edition, this still remains the only book to examine prime time soap operas on Indian television. Without in any way changing the central arguments of the first edition, it adds an essential introductory chapter tracking the tectonic shifts in the Indian "mediascape" over the past decade – including how the explosion of regional language channels and an era of multiple screens have changed soap viewing forever. Meticulously researched and persuasively argued, the book traces how prime time soaps in India still grab the maximum eyeballs and remain the biggest earners for TV channels. The book will be of interest to students of anthropology and sociology, media and cultural studies, visual culture studies, gender and family studies, and also Asian studies in general. It is also an important resource for media producers, both in content production and television channels, as well as for the general reader.

L’exposition Öndia’tahterendih, oubliées ou disparues : Akonessen, Zitya, Marie et les autres, créée par la Boite Rouge Vif, une OBNL autochtone du Québec, et la commissaire wendate Sylvie Paré, présente 10 artistes rendant hommage aux femmes et aux filles autochtones touchées par le féminicide autochtone, tout en cherchant à mobiliser le public. Je souhaite dans le cadre de cet article explorer les stratégies mises en place au sein de l’exposition, telle qu’elle a été présentée au musée de la Civilisation du Québec en 2018. Je conclurai en explorant l’inscription de l’exposition dans le développement d’un commissariat engagé autochtone au Canada.

This article examines how “colonial time” is called into question in two short films of the National Film Board of Canada’s series Souvenir, from 2015. The question of time lies at the heart of this series, for which the NFB commissioned contemporary Indigenous filmmakers to take up their archives of visual material on Indigenous peoples. The colonial temporal framework is at work in the vast archives of ethnographic and documentary film and photography on Indigenous peoples dating back to the early twentieth century, in which Indigenous people are often represented as part of “vanishing” cultures. Thus, in this article, I underscore the temporal interruptions that occur when ethnographic visual material of Indigenous peoples is put into the hands of contemporary Indigenous artists. I focus first on what it means to repurpose dehumanizing colonial archives and ask whether visual sovereignty is in fact possible within the archives. By analyzing the reappropriation of archival footage in the short films Mobilize by Caroline Monnet and Etlinisigu’niet (Bleed Down) by Jeff Barnaby, I elucidate how the filmmakers break with modes of colonial time through what I propose to call “reframings” that offer alternative ways of conceiving of time. By rehabilitating ethnographic images, these filmmakers refuse to project the material into the distant past and complicate the readability of Indigenous images in the archives, revealing how the reappropriation of old images can be just as powerful as the production of new ones.

1. Racism and Mainstream Media / Lori Kido Lopez -- 2. Image Analysis and Televisual Latinos / Mary Beltrán -- 3. Visualizing Mixed Race and Genetics / Meshell Sturgis and Ralina L. Joseph -- 4. Listening to Racial Injustice / Dolores Inés Casillas and Jennifer Lynn Stoever -- 5. Branding Athlete Activism / Jason Kido Lopez -- 6. The Burden of Representation in Asian American Television / Peter X. Feng -- 7. Indigenous Video Games / Jacqueline Land -- 8. Applying Latina/o Critical Communication Theory to Anti-Blackness / Mari Castañeda -- 9. Asian American Independent Media / Jun Okada -- 10. Remediating Trans Visuality / Amy Villarejo -- 11. Intersectional Distribution / Aymar Jean Christian -- 12. Podcasting Blackness / Sarah Florini -- 13. Black Twitter as Semi-Enclave / Raven Maragh-Lloyd -- 14. Arab Americans and Participatory Culture / Sulafa Zidani -- 15. Diaspora and Digital Media / Lia Wolock -- 16. Disrupting News Media / Meredith D. Clark -- 17. Latinx Audiences as Mosaic / Jillian M. Báez -- 18. Media Activism in the Red Power Movement / Miranda J. Brady -- 19. Black Gamers' Resistance / Kishonna L. Gray -- 20. Cosmopolitan Fan Activism / Susan Noh.

This paper analyzes the growth of gender studies in Latin America, despite facing resistance in the scientific field and from the advance of conservative policies on the continent. It also addresses the challenges that feminist research faces in colonized spaces. To develop our argument, we draw on the scholarship of feminist researchers in Brazil, Mexico, and Argentina, such as Veleda da Silva and Lan (2007), Silva and Vieira (2014), Silva, César and Pinto (2015), Colombara (2016), Lan (2016), Veleda da Silva (2016), Ibarra-García and Escamilla-Herrera (2016), Zaragocin-Carvajal, Moreano-Venegas, and Álvarez-Velasco (2018), and Silva and Ornat (2019). This paper also examines the difficulties that Latin American feminist geographies face in establishing their own foundations in a globalized world where the geopolitics of global knowledge of geography is increasingly structured by the epistemological centralization of the Anglophone northern hemisphere.

"Surveying the latest Chinese TV shows centered on romantic relationships, this book joins the expanding body of literature on the ever-evolving structures of feelings while breaking new grounds in media studies. With its thorough investigation of a wide range of genres, narratives, and public discourses, the volume makes timely and significant contributions to the fields of media studies, China studies, and the cultural history of love and romance."--Hui Faye Xiao, University of Kansas, USA "What does romantic love mean for Chinese people today? How is love represented in popular Chinese television programs? Huike Wens fascinating and important book explores how romantic love promises young Chinese urbanites individual freedom, fulfillment, and purpose in life, yet also plays an ideological role in creating social cohesion and maintaining traditional patriarchal values in post-socialist China. An entertaining and thought-provoking insight into how love functions in contemporary Chinese society." --Hsu-Ming Teo, Macquarie University, Australia This book examines how representations of romantic love in Chinese television programs reflect the contradictions inherent to changing dominant values in post-socialist Chinese mainstream culture. These representations celebrate individual freedom, passion, and gender equality, and promise change based on individual diligence and talent, while simultaneously obstructing the fulfillment of these ideals. Huike Wen is an Associate Professor at Willamette University (Salem, Oregon). Her research focuses on the intersection of genders, emotions, media technology, and nations in transnational Chinese and East Asian media and culture.

Computer Science education research establishes collaboration among students as a key component in learning, particularly its role in pair programming. Furthermore, research shows that girls, an underrepresented population in computing, benefit from collaborative learning environments, contributing to their persistence in CS. However, too few studies examine the role and benefits of collaborative learning, especially collaborative talk, among African-American girls in the context of complex tasks like designing video games for social change. In this exploratory study, we engage 4 dyads of African-American middle school girls in the task of designing a video game for social change, recording the dyads' conversations with their respective partners over an eight-week summer game design experience during the second year of what has now become a six-year study. Qualitative analysis of dyadic collaborative discussion reveals how collaborative talk evolves over time in African-American middle-school girls.

"Women have long been the creative force behind Native American art, yet their individual contributions have been largely unrecognized, instead treated as anonymous representations of entire cultures. 'Hearts of Our People: Native Women Artists' explores the artistic achievements of Native women and establishes their rightful place in the art world. This lavishly illustrated book, a companion to the landmark exhibition, includes works of art from antiquity to the present, made in a variety of media from textiles and beadwork to video and digital arts. It showcases more than 115 artists from the United States and Canada, spanning over one thousand years, to reveal the ingenuity and innovation fthat have always been foundational to the art of Native women."--Page 4 de la couverture.

Cet article se penche sur les relations et collaborations récentes entre les cinéastes autochtones et québécois. Une brève exploration des représentations autochtones antérieures et du contexte contemporain de co-réalisation Québec/Autochtonie nous permet d’esquisser un portrait plus nuancé des nouvelles configurations transnationales du paysage cinématographique québécois. De même, les notions d’autochtonisation du médium, de souveraineté visuelle et de survivance nous aideront à mieux cerner les œuvres de fiction réalisées par des cinéastes autochtones, qui contribuent à l’enrichissement d’un cinéma qui propose de nouvelles façons d’habiter les territoires québécois/autochtones.

What could a history of game studies be from the perspective of a queer Chickasaw feminist scholar? Should this be a disciplining manifesto, a polemical call to arms for radical transformation, a survey of the existing scholarship that has thus far framed games ludologically as fun, as sportsmanship, as design, or as epic struggles for political power where the player rather ominously wins or dies? I’m a bit of an interloper as a recent arrival from Indigenous studies to video-game studies, a field that represents both the end of history and the ahistoricity of pop-culturally–oriented archives that are presentist at best, and at worst, complicit with an industry derived from settler militaristic technologies and platforms and compelled by niche markets to innovate faster and faster to saturate more and more households at the structural level of occupation. And then there is the problem of what the history of game studies has been: Greco-Roman, European, cis white male, heterosexual, orientalist, algorithmic, and code driven with the techno-optimism of Silicon Valley alongside Jane McGonigal’s fundamental belief that games have and will save the world once they unite the collective brain power of all the gamers and bend them to a single task—and if not all that, then peak 1980s geekery with a hint of liberal multiculturalism thrown in, if Ernest Cline’s Ready Player One is anything to go by. It is as if the history of game studies has only ever been an imperial read-only memory to be mined, played, and spatialized within the conscriptions of conquistador archives already known and yet to be discovered.

Stemming from Grosfoguel’s decolonial discourse, and particularly his enquiry on how to steer away from the alternative between Eurocentric universalism and third world fundamentalism in the production of knowledge, this article aims to respond to this query in relation to the field of the art produced by Latin American women artists in the past four decades. It does so by investigating the decolonial approach advanced by third world feminism (particularly scholar Chandra Talpade Mohanty) and by rescuing it from—what I reckon to be—a methodological impasse. It proposes to resolve such an issue by reclaiming transnational feminism as a way out from what I see as a fundamentalist and essentialist tactic. Following from a theoretically and methodological introduction, this essay analyzes the practice of Cuban-born artist Marta María Pérez Bravo, specifically looking at the photographic series Para Concebir (1985–1986); it proposes a decolonial reading of her work, which merges third world feminism’s nation-based approach with a transnational outlook, hence giving justice to the migration of goods, ideas, and people that Ella Shohat sees as deeply characterizing the contemporary cultural background. Finally, this article claims that Pérez Bravo’s oeuvre offers the visual articulation of a decolonial strategy, concurrently combining global with local concerns.

Publié en 2000, le livre de Boaventura de Sousa Santos — un sociologue émérite portugais — intitulé Critique de la raison indolente a eu un grand impact au Brésil comme dans le reste de l’Amérique Latine (De Sousa Santos, 2000/2003). Il y développait ce qu’il a appelé « les Épistémologies du Sud » global en opposition aux « Épistémologies du Nord », global également. De Sousa Santos entendait par « Épistémologies du Sud » les connaissances, théories et savoirs qui réfléchissent avec créativit...

Age is not alone in shaping real and imagined differences in Internet use. Racial and gender-based stereotypes abound and need to be empirically challenged. This chapter explores the relationships between race, gender, sexuality, and digital cultures in one increasingly significant digital domain—gaming. With a review of previous scholarship on race, gender, and gaming, the author shows that we see few signs of a “post-racial” society being brought into being. In fact, gaming is a digital activity where racism and sexism are commonplace. The chapter thus leaves us with questions about why, when the Internet is a potentially powerful leveling tool in the quest for democracy and fairness, does it continue to be defined by egregious sexism and racism?

Scholars have documented how people of color experience gaming culture as violent, yet it is unclear how this violence shapes conceptualizations of gaming culture. Undertaking a cultural sociological approach that foregrounds meaning-making, I demonstrate that trash talk is a useful site to explore how social actors construct and negotiate gaming culture. Analyzing data from 12 qualitative interviews with men of color, I argue that trash talk is a practice of boundary-making that reproduces racism and sexism. Respondent narratives about gaming culture vis-à-vis trash talk thus show how gaming culture is socially constructed in everyday interactions, and bound to cultural repertoires and structural conditions that exist outside of gaming. This study provides a potential avenue to explore the socially constructed and dynamic nature of gaming culture and gamer identity.

Few gender-focused studies of video games explore the gameplay experiences of women of color, and those that do tend to only emphasize negative phenomena (i.e., racial or gender discrimination). In this paper, we conduct an exploratory case study attending to the motivations and gaming practices of Black college women. Questionnaire responses and focus group discussion illuminate the plurality of gameplay experiences for this specific population of Black college women. Sixty-five percent of this population enjoy the ubiquity of mobile games with casual and puzzle games being the most popular genres. However, academic responsibilities and competing recreational interests inhibit frequent gameplay. Consequently, this population of Black college women represent two types of casual gamers who report positive gameplay experiences, providing insights into creating a more inclusive gaming subculture.