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Fusing audience research and ethnography, the book presents a compelling account of women's changing lives and identities in relation to the impact of the most popular media culture in everyday life: television. Within the historically-specific social conditions of Korean modernity, Youna Kim analyzes how Korean women of varying age and class group cope with the new environment of changing economical structure and social relations. The book argues that television is an important resource for women, stimulating them to research their own lives and identities. Youna Kim reveals Korean women as creative, energetic and critical audiences in their responses to evolving modernity and the impact of the West. Based on original empirical research, the book explores the hopes, aspirations, frustrations and dilemmas of Korean women as they try to cope with life beyond traditional grounds. Going beyond the traditional Anglo-American view of media and culture, this text will appeal to students and scholars of both Korean area studies and media and communications studies.

This paper is based on ongoing research into the gendered use of mobile convergent media in the Asia-Pacific region. In particular, what role does the cute have and how does it correlate with types of consumption? As a region, the Asia-Pacific is marked by diverse penetration rates, subject to local cultural and socio-economic nuances. Two defining locations - Seoul (South Korea) and Tokyo (Japan) - are seen as both mobile centres and gaming centres which the world looks towards as examples of the future-in-the-present. Unlike Japan, which pioneered the keitai (mobile) IT revolution with devices such as i-mode, South Korea has become a centre for mobile DMB (Digital Multimedia Broadband) with the successful implementation of TV mobile phones (TU mobile) in 2005. One of the key features of mobile media technologies is the attempt by the industry to find the next killer application . One such application is the possibility of online multiplayer games accessed through mobile (broadband) telephonic devices such as MMO golf RPG Shot Online (a golf game for mobile phones). Amongst this frenzy of trend spotting and stargazing, Seoul as a mobile broadband and gaming centre provides a curious case study for the social and cultural intricacies informing the rise of gaming as an everyday practice for many Koreans.This article begins by outlining the game play and technoculture particular to South Korea and then explores the phenomenon of Kart Rider in South Korean gaming cultures - and its perception/ reception outside Korea - to sketch some of the issues at stake in playing it cute (particularly in the form of cute avatars), consuming Korea and the endurance of co-present communities. In particular, it contemplates the implications of current emerging online mobile gaming genres such as so-called female games such as the cute' Kart Rider in order to think about changing modes of game play and attendant social spaces.

In more than twenty powerful films, Abenaki filmmaker Alanis Obomsawin has waged a brilliant battle against the ignorance and stereotypes that Native Americans have long endured in cinema and television.

his thesis documents and explores community-based and socially engaged art by Indigenous women artists. Their artwork is impacting and strengthening communities in Manitoba. The Thesis explores the use of dialogical aesthetics in performance and socially-engaged art by Indigenous women artists in rural and remote areas of Manitoba, and relates these aesthetics to the concept of activism through their art and relationship to their community. The aim of this research and this paper is to document, support and expose the work of a small pocket of Indigenous women artists in Manitoba who are acting as activists or social change agents based on their artwork. I have arrived at this conclusion first by their personal testimonies, second, by their art being socially conscious and lastly, by their art practices entrenched in the framework of dialogical aesthetics, community-based and site-specific ideologies.

In this updated edition of his acclaimed and award-winning study, Stephen Bourne takes a personal look at the history of black people in popular British film and television. He documents, from original research and interviews, the experiences and representations which have been ignored in previous media books about people of African descent. There are chapters about Paul Robeson, Newton I. Aduaka, soap operas and much more - as well as several useful appendices and suggestions for further reading.

"Featuring Females analyzes the portrayals of women in a variety of outlets, including reality television shows, films, print and electronic news programming, magazines, video games, and commercial advertising. A highly esteemed group of scholars and researchers provides informed, original psychological study, and their thought-provoking findings address the ways in which aging, race/ethnicity, body image, gender roles, sexual orientation and relationships, and violence are treated in the media. Featuring Females is a diverse volume, exploring images and characterizations of women young and old and inspiring discussion of the effects that these representations have on girls, women, and society at large"--

La idea de elaborar un número sobre las luchas de las mujeres y las feministas en América Latina y el Caribe surgió de un encuentro entre Sabine Masson (Suiza), Jules Falquet (Francia) y Ochy Curiel (República Dominicana), cuyos caminos se cruzaron en el continente latinoamericano por razones personales y políticas. Debatimos y reflexionamos juntas sobre la cuestión de las barreras de "raza" y de clase que nos atraviesan a las feministas de diferentes partes del mundo, y que son en particular el reflejo de las relaciones de dominación entre el Sur y el Norte. Precisamente por estas barreras, las experiencias políticas y el trabajo de construcción colectiva de muchas feministas y mujeres, especialmente de América Latina y el Caribe, siguen siendo desconocidas para la mayoría de las feministas de otras latitudes, y de poco interés para las revistas académicas feministas de los países ricos. Oponerse a esta invisibilización y contribuir, aunque sea a nivel experimental y muy modesto, a la deconstrucción de estas barreras, fue nuestra principal motivación para organizar este número en una revista francófona como Nouvelles Questions Féministes. Sin embargo, el trabajo de coordinación presentó importantes contradicciones: primero, entre nosotros mismos. En primer lugar, tuvimos que reconocer e integrar las diferencias y similitudes de nuestras respectivas posiciones, para llegar a un consenso que nos permitiera desarrollar esta cuestión juntos. En segundo lugar, nos enfrentamos al riesgo de reproducir una vez más el saqueo de los conocimientos de las mujeres indias, afrodescendientes y mestizas latinoamericanas y caribeñas por parte de los "expertos del Norte". Los textos se traducirían al francés, lo que significaría que una ínfima minoría de mujeres latinoamericanas y caribeñas tendría acceso a ellos, mientras circulaban por Europa, enriqueciendo una vez más el conocimiento de las mujeres de los países ricos con el trabajo, las luchas, las historias y los escritos de las mujeres de los países pobres. Ante este problema, decidimos que la publicación de este número fuera acompañada de una versión en español, con el objetivo de hacer circular y compartir esta producción intelectual en América Latina y el Caribe   L’idée de faire un numéro sur les luttes de femmes et les luttes féministes en Amérique latine et aux Caraïbes a surgi de la rencontre entre Sabine Masson (Suisse), Jules Falquet (France) et Ochy Curiel (République Dominicaine), dont les chemins se sont croisés sur le continent latino-américain pour des raisons personnelles autant que politiques. Nous avons débattu et réfléchi ensemble sur la question des barrières de « race » et de classe qui nous traversent, nous les féministes de différentes parties du monde, et qui sont notamment le reflet des rapports de domination entre le Sud et le Nord. Justement à cause de ces barrières, les expériences politiques et le travail de construction collective de beaucoup de féministes et de femmes, notamment latino-américaines et des Caraïbes, demeurent inconnus de la plupart des féministes d’autres latitudes, et intéressent peu les revues féministes académiques des pays riches. S’opposer à cette invisibilisation et contribuer, même si ce n’est qu’à un niveau expérimental et très modeste, à déconstruire ces barrières, a constitué notre principale motivation pour organiser ce numéro dans une revue francophone comme Nouvelles Questions Féministes . Néanmoins, le travail de coordination présentait d’importantes contradictions : d’abord, entre nous. Pour commencer, nous avons dû reconnaître et intégrer les différences et les similitudes de nos positions respectives, afin de parvenir à un consensus qui nous permette d’élaborer ce numéro ensemble. Ensuite, nous nous confrontions au risque de reproduire encore une fois le pillage des connaissances des femmes indiennes, afro-descendantes et métisses latino-américaines et des Caraïbes par les « expertes du Nord ». Les textes allaient être traduits en français, c’est-à-dire qu’une infime minorité de femmes latino-américaines et des Caraïbes pourrait y avoir accès, pendant qu’ils circuleraient en Europe, enrichissant une fois de plus le savoir des femmes des pays riches à partir du travail, des luttes, des histoires et des écrits des femmes des pays pauvres. Face à ce problème, nous avons décidé que la publication de ce numéro allait s’accompagner d’une version en espagnol, dans le but de faire circuler et de partager cette production intellectuelle en Amérique latine et aux Caraïbes

Shanti Kumar's Gandhi Meets Primetime examines how cultural imaginations of national identity have been transformed by the rapid growth of satellite and cable television in postcolonial India. To evaluate the growing influence of foreign and domestic satellite and cable channels since 1991, the book considers a wide range of materials including contemporary television programming, historical archives, legal documents, policy statements, academic writings and journalistic accounts. Kumar argues that India's hybrid national identity is manifested in the discourses found in this variety of empirical sources. He deconstructs representations of Mahatma Gandhi as the Father of the Nation on the state-sponsored network Doordarshan and those found on Rupert Murdoch's STAR TV network. The book closely analyzes print advertisements to trace the changing status of the television set as a cultural commodity in postcolonial India and examines publicity brochures, promotional materials and programming schedules of Indian-language networks to outline the role of vernacular media in the discourse of electronic capitalism. The empirical evidence is illuminated by theoretical analyses that combine diverse approaches such as cultural studies, poststructuralism and postcolonial criticism.

A discussion of authorship, relating to the feminist study of the role of women in early cinema.

Globalization has intensified interconnectivity among television industries worldwide. Interconnectivity happens through structural and institutional linkages among television systems and industries worldwide, resulting in an increasingly integrated global business governed by similar practices and goals. The dynamics are reflected in the popularity of television formats. On the surface, global dissemination of formats may suggest not only the global integration of the economy of the industry but also the standardization of content. A dozen media companies are able to do business worldwide by selling the same idea, and audiences seem to be watching national variations of the same show. At a deeper level, however, formats attest to the fact that television still remains tied to local and national cultures. Bringing up examples of Latin American cases, this article argues that television is simultaneously global and national, shaped by the globalization of media economics and the pull of local and national cultures.

Beyond Bollywood is the first comprehensive look at the emergence, development, and significance of contemporary South Asian diasporic cinema. From a feminist and queer perspective, Jigna Desai explores the hybrid cinema of the 'Brown Atlantic' through a close look at films in English from and about South Asian diasporas in the United States, Canada, and Britain, including such popular films as My Beautiful Laundrette, Fire, Monsoon Wedding, and Bend it Like Beckham.

The Velvet Light Trap 53 (2004) 26-39 On December 2, 2001, HBO began airing Project Greenlight, a twelve-part documentary series chronicling the production of a feature film by novice writer-director Pete Jones. With its spectacle of backroom dealings, unchecked egos, and human frailties, the television series capitalized on the contemporaneous success of like-minded "reality" programs such as Survivor and Temptation Island. Perhaps more closely, Project Greenlight also tapped into the current vogue for the "behind-the-scenes" and the "making-of" genres, represented by straight-to-video titles such as Star Trek-Deep Space Nine: Behind the Scenes (1993), Making of Jurassic Park (1995), and The Matrix Revisited (2001), television programs such as the Sundance Channel's Anatomy of a Scene, HBO's First Look, and MTV's Making the Video, and the proliferation of behind-the-scenes and making-of packaging on DVDs. A reflection of the growth of film-related ancillary products in the 1980s, the ever-expanding Hollywood ego, and the demands of a twenty-four-hour television cable market, the increased appearance of the making-of documentary format no doubt also reflects the renewed interest in amateur filmmaking promulgated by the age of desktop video. Perhaps as a manifestation of this interest, making-of documentaries have become increasingly more detailed in their coverage. Whereas the 1981 television special The Making of "Raiders of the Lost Ark" (Phillip Schuman) focuses mostly on the film's stunt work, special effects, location shoots, and set design, the recently released making-of documentary The Matrix Revisited focuses on script development, preproduction, production, postproduction, and exhibition, introducing viewers to costume designers, storyboard artists, and editors along the way. This attention to production detail can also be seen in Sundance's Anatomy of a Scene, which hones in on the construction, from music to costume to camera work, of a single scene. And certainly raising the bar on the level of detail included in the making-of genre is Project Greenlight, which is a "warts-and-all" look at film production, from squabbles over budgets to catering fiascos. Despite the making-of video's increased attention to the minutiae of filmmaking, one of the areas that remains outside the purview of most Hollywood making-of documentaries is the production of sex. Discussions about the cinematic logistics of creating a sex scene—how, when, and with what resources—are usually not featured in making-of documentaries. Of course, given our celebrity-driven culture, the question of sex vis-à-vis film production, particularly a Hollywood film production, is hardly absent from the publicity that surrounds a film. It is not uncommon to hear actresses or actors discussing what it was like to kiss another actor on the set. But these kinds of concerns are usually the province of entertainment magazines and television, not the province of ancillary related products such as the making-of video. While stories of roles requiring nudity or sex scenes abound on television shows such as Access Hollywood, Entertainment Tonight, and E! News Daily,these kinds of topics are less likely to appear in production-generated documentaries. Indeed, while the production of the provocative sex scene between Halle Berry and Billy Bob Thornton in Monster's Ball (Marc Forster, 2001) generated much discussion on television entertainment programs, talk shows, and newsmagazines, it was the film's prison execution sequence that was featured in the Sundance Channel's making-of special on the film. Given the lack of focus on sex scenes in most making-of documentaries, it is interesting to note that the two existing making-of documentaries for lesbian-made, lesbian-themed feature films—The Making of Bar Girls (1995) and Moments: The Making of Claire of the Moon (1992)—both heavily focus on the production of lesbian sex. Moreover, both lesbian making-of documentaries emphasize the cast's and the crew's sexual titillation over the creation of sexual sequences. In this essay I look at what this strategy reveals about the collective climate and concerns of lesbian feature filmmaking in the United States today.

The immediate aim of this chapter is to provide a critical overview of the place of lesbian films within New Queer Cinema. The task is not an easy one in a field which is as contentious as it is broad. The main difficulty seems to be how best to approach a range of definitions, from ‘new’ to ‘queer’ to ‘lesbian’, since with every one of them, we risk biting off more than we can chew. As often happens with formal titles, so with the New Queer Cinema, its lifespan (‘officially’ 1992-2000) now seems to have been a great deal shorter

In March 2001 a Japanese newspaper report entitled ‘Indians are addicted to a quiz show’ drew attention to a phenomenally popular television programme in India – a quiz show that attracts millions of viewers in which challengers strive to win prize money (Asahi Shinbun 2001). What was particularly eye-catching for the journalist was the profligately decorated studio set located in Mumbai (Bombay) and the caring guidance of the MC, a film star famous in India. The name of the show, as you might have already inferred, was Who Wants To Be A Millionaire?.

Unlike smaller nation-states in this study the People’s Republic of China has never really countenanced a scarcity of domestic television content. Supply has been constant, indicating both the importance and the sheer size of the sector. The nationalized broadcast media has for several decades churned out cheaply produced films, documentaries, dramas, and news programmes. During the last two decades of the twentieth century, however, audience demand for domestic content began to wane as more as more international programmes found their way into schedules, particularly in southern China. China’s accession to the World Trade Organization in December 2001 seemed to herald soul-searching among its media mandarins. What would happen? Would China be inundated by foreign content (the worst case scenario) or would China, as it has done over time, absorb and regulate foreign influences?

The previous chapter introduced in broad brushstrokes the issues at stake in this study, beginning with a critique of globalization and moving on to sketch in finer detail national television systems, the role of local content, and the economic importance of formats. The chapter concluded with a brief overview of the vagaries of copyright law as it applies to formats. Here, we initiate a discussion of Asian television systems beginning with a much different perspective on the ramifications of cultural borrowing. In this context we note that the format business straddles the divide between creative endeavour and innovation on the one hand, and slavish imitation on the other. This polarization manifests in widespread misunderstanding of the goals of format producers and distributors, and the role that formats play in the shaping of television schedules. We need therefore to flesh out the in-between issues. These are primarily concerned with the relationship between the format and its localization, television consumption within ‘cultural continents’, and changes in media systems. Taking this further we note the relationship between production and reception within Asia, the growth of television industries in the region and the relationship between formatting and new media distribution platforms that use interactive technologies allowing viewers to feedback responses. This exercise enables us to identify an alternative list of conceptual tools to those championed by political economy scholars.

From time to time certain television shows ‘stop the nation’. In 2002 the localized version of the Celador licensed format2 Who Wants To Be A Millionaire? glued over a third of Indonesian television households to their screens at 7pm on Saturday nights.3 Is it the vicarious thrill of winning undreamed-of riches in a country which has been the slowest to recover from the Asian economic crisis of 1997 that attracts the audience? Circuses without bread? Perhaps, but this phenomenon is probably not profoundly related to local matters. We need look no further than the thin, phosphor coated screen. Millionaire, as it is referred to in television circles in Jakarta, is entertaining television. As other chapters testify, it has wowed viewers in countries in very varied economic circumstances. Millionaire is just one of a number of quiz and game show formats screening across all channels in Indonesia and is representative of the core business of international format providers in Indonesia which has been growing steadily since 1994.

Television has been called ‘a Western-originated project’ (Barker 1997: 5) and an institution of Western capitalist modernity. The global circulation of Western-centred, or more specifically, American-centred cultural products, contributes to the formation and dissemination of a global shared culture that reaches across the boundaries of nation-states. In the process American cultural products play a role in the formation of local television cultures.

Taiwan residents enjoy one of the most abundant television diets in East Asia. Eighty per cent of households subscribe to cable television services, offering a buffet of more than eighty channels including niche and full service channels. Taiwan’s television industry, while relatively small in comparison with its competitors in East Asia, has established a reputation for creatively re-generating formats developed elsewhere.

In the eyes of many observers the Philippine cultural icon that is synonymous with travel, as well as being the subject of numerous advertisements is the jeepney, a public-transport vehicle assembled in the style of the US military jeep but lengthened to accommodate from fourteen to twenty-two sitting passengers. What distinguishes the jeepney from run-of-the-mill public transport however is its artistic décor: a clutter and kaleidoscope of various artefacts from miniature steel horses dotting the hood, to massive, jazzy plastic or steel billboards announcing the name of the jeepney, to murals painted in fiesta colours at the sides, to a bizarre combination of items in the front windshield juxtaposing conflicting images of the Sto. Nino (the baby Jesus Christ) and stickers with sexually risqué messages.