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"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.

This dissertation is about gay and lesbian film festivals, the first of which was founded in San Francisco in 1977 and subsequently served as a model for their international proliferation over the next thirty years. While the films programmed in these festivals have received a great deal of attention from scholars and critics, the festival institution itself has received less consideration. This dissertation narrates the history of gay and lesbian film festivals through an economic lens, asking how fundraising practices have been deployed in the community building projects of festivals, how the administrative structures of festivals as nonprofit organizations have been leveraged by the state toward the management of new social movements, and how these nonprofits have participated in the identification and cultivation of populations as niche markets by the commercial sector. This historical schema will offer an alternative model for understanding queer image production, not through a textual analysis of those images, but through an examination of the material circumstances of their circulation and distribution. This dissertation is not simply about the ways that community organizations like film festivals have been strategically engaged by the state and the market in the management and exploitation of gays and lesbians, it argues that gays and lesbians themselves have articulated their politics, artistic practice, and discourse of community within (and against) the parameters defined by the demands of organizational sustainability. Furthermore, this dissertation will illustrate why taking economic activity seriously as a part of the material practices of queer image production answers crucial questions about the ways that sexuality operates as a category of governance. The history of gay and lesbian film festivals, and their regulation through the administrative structures of the nonprofit sector, is part of a much larger history of political struggle and the development of new social movements over the past three decades.

Following the exportation of Japanese media products such as TV dramas, Japanese culture and products have swept across many Asian countries, especially Taiwan. Based on the historical background and unique characteristics of games, this study investigates the cultural effect of Japanese video games on players in Taiwan. This study also presents an analysis of the differences between TV and the video game as cultural vehicles. We used both quantitative and qualitative methods. Results indicate a relationship between game-playing behavior and the identification of Japanese culture. However, the relationship between video game playing and consumption was nonsignificant. This shows the power of video games in nation-building but not in nation-branding, in contrast with TV. This study presents a discussion of the findings to shed light on the cultural effects of video games.

Examines the soundscapes of Derek Jarman's film "Blue" (1993) and Isaac Julien's video installation 'True north' (2007), and the way they contribute to promoting embodied responses in the viewer. Draws on the writings of Luce Irigaray and Laura U. Marks to explore the relationship between haptic theory and queer spectatorship.

In 1990s post-Reform China, a growing number of people armed with video cameras poured out upon the Chinese landscape to both observe and contribute to the social changes then underway. This digital turn has given us a 'DV China' that includes film and media communities across different social strata and disenfranchised groups. This study takes stock of these phenomena by surveying the social and cultural landscape of grassroots and alternative cinema practices.

This book uncovers popular games' key role in the cultural construction of modern racial fictions. It argues that gaming provides the lens, language, and logic - in short, the authority - behind racial boundary making, reinforcing and at times subverting beliefs about where people racially and spatially belong. It focuses specifically on the experience of Asian Americans and the longer history of ludo-Orientalism, wherein play, the creation of games, and the use of game theory shape how East-West relations are imagined and reinforce notions of foreignness and perceptions of racial difference.

Ce mémoire cherche à dresser l'historiographie de l'artiste anishnabé Nadia Myre. Il s'agit d'une analyse à la fois qualitative et quantitative de près de 200 textes récoltés au sujet de l'artiste du début de sa carrière (1995) jusqu'en 2016. En plus d'offrir une visualisation de l'accomplissement de celle-ci avec la création d'une feuille de calcul, le présent mémoire cherche aussi à analyser les différents propos des auteur.es au sujet de la pratique d'une artiste autochtone en territoire appelé Canada. Les œuvres les plus marquantes de l'artiste sont également analysées en profondeur.

Chronicles the global critical reception of Aboriginal art since the early 1980s and argues for a re-evaluation of Aboriginal art's critical intervention into contemporary art.

This article offers a qualitative and quantitive analysis of the critical reception of two exhibitions, Sakahàn:International Indigenous Art (National Gallery of Canada, Ottawa 2013) and Beat Nation: Art, Hip-Hop and Aboriginial Culture (organised and circulated by the Vancouver Art Gallery, 2013-2014). The study treats articles which appeared between 2012 and 2015 in English and French visual-arts publications. The comparative analysis intends to highlight general trends, in order to identify challenges that contemporary Indigenous arts pose for art criticism. A review of the texts shows that all commentators, whether francophone or anglophone, indigenous or non-Indigenous, have welcomed these two exhibitions warmly. The discrepancy between the number of essays in French and those in English reflects the demographic weight of these two linguistic communities and the geographic distribution of First Nations in Canada. This will qualify, without denying, the hypothesis of Quebec's tardiness on the indigenous question. The authors largely recognize the necessity of initiating indigenization of the museum and emphasize the movement to internationalize contemporary indigenous art. Yet many commentators, particulary Indigenous people, dispute the efficacity of the concept of "strategic essentialism" put forward by the commissioners of the Sakahàn catalog. Despite both a real interest in these two major exhibitions and the quality of the commentary, in the end, for events of such a scale few texts have been published on the subject. The criteria for appreciation rooted in the institutional sociology of art endeavour to fully take into account the challenges posed by certain central aspects of the approach of several Indigenous creators, such as the intangible dimensions of their civic engagement, the dissolution of particular outside venues and the sisterhood of certain projects.

"Qui était Zacharie Vincent, aussi connu, à l'époque, sous le nom de Tehariolin? Peu de gens le savent. Il s'agit pourtant d'une figure incontournable, considérée comme le premier peintre autochtone moderne. Le présent ouvrage, signé par l'historienne de l'art Louise Vigneault, lève donc le voile sur ce peintre et chef de guerre wendat, longtemps tombé dans l'oubli, qui a considérablement marqué le 19e siècle. Zacharie Vincent (1815-1886) a suscité la fascination, avec ses allures d'artiste bohème, sa dégaine de clochard mêlée à ses ornements d'apparat, la singularité de ses autoportraits. La légende entourant celui que l'on appelait le " dernier des Hurons " a attiré les regards sur la petite communauté de la Jeune-Lorette (aujourd'hui Wendake), pour ensuite révéler la fierté et la résilience du peuple wendat. Des peintres canadiens, tels Antoine Plamondon et Eugène Hamel, ont réalisé des portraits de Vincent, puis des photographes comme Louis-Prudent Vallée ont immortalisé son image. Zacharie Vincent : une autohistoire artistique nous plonge au cour de la vie et de l'ouvre d'un artiste énigmatique qui a laissé en héritage des témoignages essentiels sur sa nation, en équilibre entre la tradition et la modernité."-- Quatrième de couverture

For the first time, a major exhibition examines the impact of African culture on black artists, both trained and self-taught, in a stunning range of 157 works which are variously bold, witty, historical, and mysterious. 49 biographical outlines; 320 illustrations, 170 in full color.

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.

This study compared the effects of episodic framing of the Checkpoint scenario and the Military Raid scenario in Global Conflicts (2010), a computerized simulation of the Israeli-Palestinian conflict, on developing impartial attitudes towards this conflict. The former presents a more human, individual and personal framing of the conflict than does the latter. Two hundred and ten Israeli-Jewish and Palestinian undergraduate students participated in the experiment. They filled in questionnaires measuring attitudes towards the Israeli-Palestinian conflict before and after playing the scenarios. Results suggested that participants playing the Checkpoint scenario became more impartial toward the Israeli-Palestinian conflict, unlike those playing the Military Raid scenario. The results show that computerized simulations of the Israeli-Palestinian conflict can be used for attitude change intervention, but the framing of the story in the game may be crucial in determining whether the players become impartial regarding the situation or not.

How culture uses games and how games use culture: an examination of Latin America's gaming practices and the representation of the region's cultures in games. Video games are becoming an ever more ubiquitous element of daily life, played by millions on devices that range from smart phones to desktop computers. An examination of this phenomenon reveals that video games are increasingly being converted into cultural currency. For video game designers, culture is a resource that can be incorporated into games; for players, local gaming practices and specific social contexts can affect their playing experiences. In Cultural Code, Phillip Penix-Tadsen shows how culture uses games and how games use culture, looking at examples related to Latin America. Both static code and subjective play have been shown to contribute to the meaning of games; Penix-Tadsen introduces culture as a third level of creating meaning. Penix-Tadsen focuses first on how culture uses games, looking at the diverse practices of play in Latin America, the ideological and intellectual uses of games, and the creative and economic possibilities opened up by video games in Latin America—the evolution of regional game design and development. Examining how games use culture, Penix-Tadsen discusses in-game cultural representations of Latin America in a range of popular titles (pointing out, for example, appearances of Rio de Janeiro's Christ the Redeemer statue in games from Call of Duty to the tourism-promoting Brasil Quest). He analyzes this through semiotics, the signifying systems of video games and the specific signifiers of Latin American culture; space, how culture is incorporated into different types of game environments; and simulation, the ways that cultural meaning is conveyed procedurally and algorithmically through gameplay mechanics. Source: Publisher

In this investigation, the authors ask how media exemplars of Black masculinity influence the views of and intentions toward other Black men. An experiment compared the effects of exposure to Black video game characters fitting the exemplar thug or street criminal (e.g., Carl Johnson from GRAND THEFT AUTO: SAN ANDREAS) versus exemplars of professional Black men (e.g., political leaders), on evaluations of an unknown and unrelated Black or White political candidate and on pro-Black attitudes. Results revealed significant interactions of exemplar type and candidate race on favorability and capability candidate ratings and on pro-Black attitudes. These data demonstrate the power of mass media exemplars of Black masculinity to prime meaningfully different outcomes in viewers. As the face of gaming evolves with advances in technology, so too should the characterization of race in games.

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.