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The educational video game, When Rivers Were Trails, was launched in 2019. The purpose of the game is to teach players about Indigenous perspectives of history, US federal allotment policies affecting tribal nations, and some of the effects of these policies on Indigenous peoples. This article explores tribal college student experiences playing When Rivers Were Trails in hopes that it provides the basis for further research into how tribal college faculty may be able to teach the game within their own classrooms. Tribal colleges and universities were created by tribal nations to provide for the higher education needs of their citizens. Using phenomenological research methods, seven college students volunteered to participate in a brief study about their experiences playing the video game. Upon transcription and analysis of the interview data, three themes were developed that capture how these students define their experience with When Rivers Were Trails: feelings of representation, histories of land dispossession, and resilience of communities.

Extant research on e-sports has focused on the growth and value of the phenomenon, fandom, and participant experiences. However, there is a paucity of e-sports scholarship detailing women’s experiences from marginalized communities living in various conservative Muslim countries. This shortage of literature remains despite different radical Islamic groups’ consistent demand for banning several online video games and the Muslim youth’s resistance to these calls. This study aimed to understand the motives and lived experiences of Muslim women e-sports participants from Gilgit-Baltistan, Pakistan. The authors collected data via observations of online video games and in-depth interviews. The study participants revealed that they use e-sports as a vehicle for an oppositional agency and personal freedom from the patriarchal system. The findings also suggest that participants are facing systematic marginalization and grave intrusion of post-colonization. The study contributes to the limited scholarship concerning Indian subcontinent Muslim women’s e-sports participation.

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.

Gender and the contemporary audio-visual landscape of Mexico.

The high expectations of change caused by the victory of An- drés Manuel López Obrador for the presidency of Mexico have not been translated into any substantive modification in the Mexican media ecosystem or in the communication policies that have led the media-state relations in the country. However, what has been modi- fied/conditioned is the setting of the daily news agenda, since the new president has imposed a political-governmental communica- tion framework by holding morning press conferences, in which, with little opposition from the media, he sets the topics to be dis- cussed on a daily basis. It has created various problems with those media and/or journalists that have questioned the stances he has adopted, his plans and projects. The conflict escalated to such an extent that López Obrador has called his opponents “prensa fifí” (“snob press”), pointing out in a very clear way that these are ac- tors who only seek to defend the privileges lost during his govern- ment by conservative media, or, as he has called them: “la mafia del poder” (“the power mafia”).

Anthropologists of the senses have long argued that cultures differ in their sensory registers. This groundbreaking volume applies this idea to material culture and the social practices that endow objects with meanings in both colonial and postcolonial relationships. It challenges the privileged position of the sense of vision in the analysis of material culture. Contributors argue that vision can only be understood in relation to the other senses. In this they present another challenge to the assumed western five-sense model, and show how our understanding of material culture in both historical and contemporary contexts might be reconfigured if we consider the role of smell, taste, touch and sound, as well as sight, in making meanings about objects.

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 book proposes contemporary decolonization as an approach to developing cultural economies in the Global South. This book represents the first critical examination and comparison of cultural and creative industries (CCI) and economy concepts in the Caribbean and Africa.

Transnational Korean Television: Cultural Storytelling and Digital Audience provides previously absent analyses of Korean TV dramas' transnational influences, peculiar production features, distribution, and consumption to enrich the contextual understanding of Korean TV's transcultural mobility. Even as academic discussions about the Korean Wave have heated up, Korean television studies from transnational viewpoints often lack in-depth analysis and overlook the recently extended flow of Korean television beyond Asia. This book illustrates the ecology of Korean television along with the Korean Wave for the past two decades in order to showcase Korean TV dramas' international mobility and its constant expansion with the different Western television and their audiences. Korean TV dramas' mobility in crossing borders has been seen in both transnational and transcultural flows, and the book opens up the potential to observe the constant flow of Korean television content in new places, peoples, manners, and platforms around the world. Scholars of media studies, communication, cultural studies, and Asian studies will find this book especially useful.

"D'horizons et d'estuaires. Entre mémoires et créations autochtones est une collection d'essais réunissant les voix de 16 artistes, commissaires, historien·ne·s de l'art et travailleur·se·s culturel·le·s autochtones, tant francophones qu'anglophones, œuvrant dans les territoires que l'on nomme Québec. Faisant suite à des expositions, des performances, des résidences d'artistes et des discussions mises en place lors du Projet Tiohtià:ke (2017-2019) du Collectif des commissaires autochtones, ces textes honorent les relations et les affinités qui sont au cœur de ces pratiques en arts visuels. Quelle place occupe actuellement les créations visuelles autochtones dans la société québécoise? Comment les créateur·trice·s imaginent-iels le futur de leurs expressions culturelles? Par la diversité des points de vue et les enjeux soulevés par ces écrits, ce livre pose des questions cruciales sur l'avenir des arts autochtones et ouvre la porte à des dialogues longtemps attendus au Québec qui, nous l'espérons, permettront de créer de réels changements positifs. Il est maintenant temps de plonger dans ces imaginaires collectifs éblouissants et de nager dans les eaux ondulantes de ces mémoires résilientes. Le texte est accompagné de 28 photographies d'œuvres d'artistes autochtones."-- Fourni par l'éditeur

In this contribution, I provide an in-depth rhetorical and textual analysis of a television debate program broadcast in 2015 on the mainstream television news channel, Habertürk TV in Turkey. The debate brought together women committed to varying political projects, including Kemalism, Islamism, leftist movements, Kurdish women’s movements, and feminism. I find this debate program unique because it took place at a crucial moment in Turkey’s recent history, preceding increasing restrictions on the media that eventually cost more than half of the program participants’ jobs and positions. In my analysis, I focus on how the program’s moderator and the women participants define “women’s issues” in an increasingly authoritarian and conflictual political climate where women are divided with regard to supporting or opposing the Justice and Development Party’s (Adalet ve Kalkınma Partisi—AKP) political program. The results of my analysis show that “sisterhood” does not provide common ground for women in a politically polarized environment and women with more political power dominate the conservation.

Straight  Skin,  Gay  Masks  and  Pretending  to  Be  Gay  on  Screen  examines cinematic depictions  of  pretending-to-be-gay,  assessing  performances  that not only reflect heteronormative and explicitly homophobic attitudes, but also  offer  depictions  of  gay  selfhood with  more  nuanced  multidirectional identifications. The case of straight protagonists pretending to be gay on screen is the ideal context in which to study unanticipated progressivity and dissidence in regard to  cultural  construction  of  human sexualities  in  the  face  of  theatricalized epistemological collapse. Teasing apart the dynamics of depictions of both sexual  stability  and  fluidity  in  cinematic  images  of  men  pretending  to  be gay offers new insights into such salient issues as sexual vulnerability and dynamics  and  long-term  queer  visibility  in  a  politically  complicated  mass culture  which  is  mostly  produced  in  a  heteronormative  and  even  hostile cultural environment. Additionally, this book initially examines queer uses of sexuality masquerade in Alternate Gay World Cinema that allegorically features a world pretending to be gay, in which straights are harassed and persecuted, in order to expose the tragic consequences of sexual intolerance. Films  and  TV  series  examined  as  part  of  the  analysis  include  The  Gay Deceivers, Victor/Victoria, Happy Texas, William Friedkin’s Cruising and many other straight and gay screens. This  is  a  fascinating  and  important  study  relevant  to  students  and researchers in Film Studies, Media Studies, Gender Studies, Queer Studies, Sexuality Studies, Communication Studies and Cultural Studies.

The queer women's comedic web series that have flourished in the last decade, serving as launching pads for their creators, coincided with media-industry nichification's segmentation of a consumer population regarded by advertisers and content providers as one monolithic LGBTQ community. The series I examine-from The Slope, which premiered in 2010, to Strangers, released in 2017-voice their creators' and characters' marginalization from and even opposition to such an imagined community, through recourse to what I call a "bad queer" rhetorical practice, which uses ironic metacommentary to critique assimilationist values and tropes alongside queer identity policing. These series emerged, at least initially, as an alternative sphere of queer media production and a queer discursive mode that employs disidentification as a politicized strategy to challenge dominant LGBTQ scripts. Offering an irreverent alternative to mainstream and millennial LGBTQ cultural products, these "bad queer" web series express the plurality of the queer "community" and expose political contestations within its ranks, and in so doing serve as brand differentiation for a new generation of queer media producers.

"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.

This chapter discusses how Chinese television has been refashioned by the digital entertainment industry, and contends that new genres, identities, and representations have emerged in recognition of youths as the most valuable and desirable category of audience. It does so by way of three case studies. The first illustrates the symbiotic relationship between online literature and television drama production, and how the former contributes to the fantastical turn of Chinese television. The second seeks to understand the emergence of new cultural figures of “supreme heroine” and “sweet males” in the context of the rise of female fandom in contemporary Chinese popular culture. The third reveals how traditional television content, or in this case a political drama, may be recreated by online distributors and influencers so as to be aligned with the habits, attitudes, and preferences of the younger audiences. The chapter concludes that to understand contemporary Chinese television culture, the Internet and social media must become an integral component of inquiry because of their powerful remediating role in the public communication of any cultural text.

This essay examines the 2010 NBC situation comedy Outsourced, with special attention to its representation of the racial politics surrounding business process outsourcing to India. Specifically, it discusses how Outsourced participates in what Jodi Melamed calls “neoliberal multiculturalism” to work through, symbolically and narratively, the realities and contradictions of globalized economies as they are experienced. By staging the dilemmas of outsourcing through the specter of the white male middle manager traveling to India to train Indian call center workers, Outsourced minimizes the affective labor necessarily performed by Indian call center workers and dramatizes outsourcing as a crisis of white U.S. masculinity alone. Moreover, it figures our white male protagonist as the global multicultural citizen to be emulated insofar as he models the appropriate attitude toward outsourcing and toward “other” cultures in general. Finally it suggests that the failure of the show has less to do with issues of cultural stereotyping and more to do with the failure of neoliberal multiculturalism to soothe anxieties around changing global economies.

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.

When E. Carmen Ramos organized Our America: The Latino Presence in American Art (2013) at the Smithsonian American Art Museum in Washington, DC, art holdings of Latinx artists at the institution were minimal and unbalanced. The museum lacked works by foundational figures; entire groups like Dominican Americans were missing, as were genres like abstract art; and with a collection dominated by colonial and folk art and work by Mexican Americans, it was impossible to produce any comprehensive exhibition of contemporary Latinx art, much less one that represented the diversity of artists and trends. Ramos was one of the few Latinx curators hired in the aftermath of the infamous 1994 “Willful Neglect” report documenting a historical pattern of discrimination at the Smithsonian Institute and calling for the hiring of Latinx curators to help direct the Smithsonian’s priorities in research, collections, and exhibitions.1 Twenty-five years later, this pattern of exclusion continues apace. In 2018, a study by UCLA’s Chicano Studies Research Center found that while the Smithsonian’s Latinx workforce grew from 2.5 percent to 10.1 percent, this growth falls short of representing the growth of the Latinx population, which since 1994 has doubled to 17.8 percent of the total population. In sum, the task of putting a dent in a mostly white canonical art history and collection was a daunting one, and whatever Ramos did would be a politically charged intervention. This would be the first major scholarly survey exhibition of Latinx art, a statement to insert it as central to US art history, and the first major show of its type in a major North American museum in decades.

Many of today's most commercially successful videogames, from Call of Duty to Company of Heroes, are war-themed titles that play out in what are framed as authentic real-world settings inspired by recent news headlines or drawn from history. While such games are marketed as authentic representations of war, they often provide a selective form of realism that eschews problematic, yet salient aspects of war. In addition, changes in the way Western states wage and frame actual wars makes contemporary conflicts increasingly resemble videogames when perceived from the vantage point of Western audiences.This interdisciplinary volume brings together scholars from games studies, media and cultural studies, politics and international relations, and related fields to examine the complex relationships between military-themed videogames and real-world conflict, and to consider how videogames might deal with history, memory, and conflict in alternative ways. It asks: What is the role of videogames in the formation and negotiation of cultural memory of past wars? How do game narratives and designs position the gaming subject in relation to history, war and militarism? And how far do critical, anti-war/peace games offer an alternative or challenge to mainstream commercial titles?

Searching the critical work of post-colonial critics, the author found much writing that bespeaks the continued fascination with the way white minds, particularly the colonial imperialist traveler, perceive blackness, and very little expressed interest in representations of whiteness in the black imagination. Some white people may even imagine there is no representation of whiteness in the black imagination, especially one that is based on concrete observation or mythic conjecture. Stereotypes black folks maintain about white folks are not the only representations of whiteness in the black imagination. Yet it is this representation of whiteness in the black imagination, first learned in the narrow confines of poor black rural community, that is sustained by the author travels to many different locations. Theorizing diverse journeying is crucial to the people understanding of any politics of location.