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Traces the rise of black participation in cyberspace.Deftly interweaving history, culture, and critical theory, Anna Everett traces the rise of black participation in cyberspace, particularly during the early years of the Internet. She challenges the problematic historical view of black people as quintessential information-age outsiders or poster children for the digital divide by uncovering their early technolust and repositioning them as eager technology adopters and consumers, and thus as coconstituent elements in the information technology revolution. She offers several case studies that include lessons learned from early adoption of the Internet by the Association of Nigerians Living Abroad and their Niajanet virtual community, the grassroots organizing efforts that led to the phenomenally successful Million Woman March, the migration of several historic black presses online, and an interventionist critique of race in contemporary video games. Ultimately, Digital Diaspora shows how African Americans and African diasporic peoples developed the necessary technomastery to ride in the front of the bus on the information superhighway.Anna Everett is Professor of Film and Media Studies at the University of California, Santa Barbara. Her books include Learning Race and Ethnicity: Youth and Digital Media; New Media: Theories and Practices of Digitextuality; and Returning the Gaze: A Genealogy of Black Film Criticism, 1909–1949.

This collection explores the relationship between digital gaming and its cultural context by focusing on the burgeoning Asia-Pacific region. Encompassing key locations for global gaming production and consumption such as Japan, China, and South Korea, as well as increasingly significant sites including Australia and Singapore, the region provides divergent examples of the role of gaming as a socio-cultural phenomenon. Drawing from micro ethnographic studies of specific games and gaming locales to macro political economy analyses of techno-nationalisms and trans-cultural flows, this collection provides an interdisciplinary model for thinking through the politics of gaming production, representation, and consumption in the region.

Extending Alexander Galloway’s analysis of the action-image in videogames, this essay explores the concept in relation to its source: the analysis of cinema by the French philosopher Gilles Deleuze. The applicability of the concept to videogames will, therefore, be considered through a comparison between the First Person Shooter S.T.A.L.K.E.R. and Andrey Tarkovsky’s film Stalker. This analysis will compellingly explore the nature of videogame-action, its relation to player-perceptions and its loca-tion within the machinic and ludic schema.

This chapter examines the relationship between culture, economics and policy within the creative industries (which for the purposes of this paper, are assumed to be equivalent to the cultural industries), and their manifestation in Asia. Addressing any one of these three issues is a challenge in itself, but addressing all three of them together raises the complexity even further. Early writers on the “creative economy” have noted how it works differently from the traditional economy (Florida 2002; Howkins 2001).1 Culture is vitally important to understanding how creative industries develop, but the role of culture in shaping national competitive advantage is not that clear. The same can be said for policy, and a discussion of the triad can be quite convoluted. Having said that, all three levels are still very relevant to the proper description of a creative industry — as I will show in this chapter.This paper attempts to address this triad of issues primarily with a production-and-innovation-oriented view of industrial organisation, bringing in creativity, culture and policy where possible. I shall do this primarily through the lens of one sector in particular — the video games industry — in which Asia has been investing heavily lately, and in which Japan has been an early leader. I will also provide a limited focus on the animation sector for comparative purposes. I will first provide a summary of how creative production in video games occurs in the US, followed by an examination of how Asian patterns compare. In particular, I am interested in whether individual and industrial level creativity differs in Asia. Within Asia, more detailed cases of the Chinese online games industry and the Philippine animation industry will be discussed, but relevant observations are also drawn from general knowledge and a literature review of Japan, Korea and Singapore, as well as interviews which corroborate those observations.

Video games have become a limitless and multifaceted medium through which major corporations and Hollywood visionaries alike are reaching broader global audiences and influencing cultural trends at a rate unmatched by any other media. This book traces the growth of a global phenomenon that has become an integral part of popular culture.

The US Army developed multiplayer online First Person Shooter video game, America's Army, was examined as the first instance of an entirely state-produced and directed enterprise leveraging video game popular culture. Specifically, this study is concerned with the potential of the America's Army gamespace as a US civilian-military public sphere of the Information Age, as assessed through Habermasian theories of democratic communication. Interview fieldwork was carried out in several America's Army game communities including those of real-life military personnel, Christian Evangelicals, and hackers. The political activities of these exceptional game communities are considered for the ways they escape and transcend current critical theories of Internet-based public spheres.

Globalization of Japanese popular culture is reshaping the global cultural landscape. Some forms of Japanese popular culture (such as video games animation and sushi) are well-received internationally, whereas others (such as pop music, films and TV dramas) are only popular in Asia. Of all forms of Japanese popular culture, video game is perhaps the most powerful due to its strong universal appeal. It has dominated the world market since the mid-1980s. This article uses Singapore as a case study to demonstrate the global popularization of Japanese video games. There has been a boom of Japanese popular culture in Singapore in the 1990s. In particular, Japanese video games, comics and animation have become an integral part of youth culture in Singapore (Ng, March 2000: 234-246; Ng, May 2000: 44-56; Ng, June 2000: 1-14). Video game is a neglected topic in cultural studies. Although there are some basic studies of Japanese video games in the Western world (Hayes & Disney, 1995; Herz, 1997; Kinder 1991; Monopolies, 1995; Sheff, 1993), its impact in Asia is largely unknown. This article is a preliminary study of the Japanese video game culture and industry in Singapore from historical and socio-cultural perspectives, focusing on consoles, games and players. Based on interviews, questionnaires and data from newspapers and magazines, this research aims at pro viding a general overview of the history and impact of Japanese video games in Singapore. All the data and analyses are basic and this is beyond the scope of this paper to discuss any particular issue or theory in details. This paper consists of four sections. The first three sections outline the development of home video game consoles, handheld electronic games and game arcades respectively. The concluding section pinpoints the characteristics of the video

Telenovela shapes important and highly favorite section of the television productions. The T.V. series have moved out from their traditional structure with an entertaining aspect and have been divided into different types and scopes. Taking into consideration the time and the atmosphere of dissemination which the Telenovela programs hold in T.V. antenna, there is a need to conduct studies on sociology of Telenovela more than any other times in the past. This article is an attempt to review the two subject-matters of Telenovela and Narration and their connection with democracy through sociological sporadic studies. This will also present the significance of this genre in T.V. productions at local and international discourses. Observations, field researches and library study methods have been employed in this research.

En este artículo, se aborda la temática del video como tecnología de género. El video es el medio de creación artística que algunas mujeres están utilizando para crear lo que se puede llamar imá genes en femenino. Se hace un acercamiento al discurso feminista y los presupuestos teóricos que se han tomado para el análisis del discurso videográfico de las mujeres. Se presenta un breve análisis de los trabajos de las videastas Pola Weiss y Pilar Rodríguez.

La presencia del arte contemporáneo latinoamericano en el mundo contemporáneo, es concebida y movilizada a través de la existencia de una diáspora que ha perdido toda clase de arraigo en sus lugares territoriales definitorios. Los lenguajes que éstas muestran tienden ha consolidar un gusto por la simultaneidad, por la complejidad, por lo marginal, por lo oculto, y por las relativizaciones de una realidad que se pregunta constantemente por el sentido de su ser. Las diásporas artísticas ubican sus propuestas en medio de una serie de posicionamientos, para tratar de narrar las historias y las situaciones, que comenzaron ha emerger, en el momento en el cual se establece una dominante epocal, observadora y tolerante de la diversidad de los márgenes. El arte de las diásporas parecía configurar un nuevo espacio de representación, digno de ser atrapado o explicado dentro de nuevas posiciones teóricas, que manifestarán el por qué de unas de estas expresiones, muchas veces imposibles de traducir ante la pérdida del sentido del monopolio cultural occidental en el campo de las artes. De allí que, se hallan confeccionado en el mundo contemporáneo tardocapitalista y posindustrial, posiciones teóricas que incluyentes y estudiosas de la alteridad, de las diferencias, de la otredad, de la subalternidad. Para partir de los enunciados fragmentarios y múltiples mostrados por las teorías multiculturalistas y por la Crítica Poscolonial. Un intento de dotar de sentido a una realidad global, que ha perdido las fronteras. En este sentido, el espectro teórico que estudia a la diversidad observa a las culturas, a sus contaminaciones y desplazamientos desde diversas perspectivas, las cuales han incido en el mundo del arte contemporáneo en la formulación de un Nuevo Internacionalismo incluyente de las representaciones de los otros. El arte latinoamericano en este contexto se encuentra convocado, invitado, para legitimar la puesta en escena de unas realidades que pretenden ser cercanas, y a su vez alejadas, por las tensiones producidas por las propuestas discursivas del multiculturalismo y del poscolonialismo, en sus lecturas sobre las culturas como opuestas y no como parte integrante de una metacultura global. Las diásporas se ubican a partir de la deconstrucción de los postulados mayores de estas nuevas tendencias teóricas, para evidenciar su localidad desde la particularidad de sus legados e historias. Espacio en el cual, los artistas pertenecientes a la diáspora contemporánea, han demostrado responder con presteza a la cantidad de situaciones presentadas en medio de una realidad interconectada desde tiempos anteriores, y que en la actualidad manifiesta la exacerbación de las relaciones con lo que se pretende diferente.

"This book investigates how telenovelas may be the key to the future of Brazilian television and how this content can survive in an interconnected media landscape. Recognised writer and scholar Rosane Svartman considers the particular characteristics of the telenovela format - number of episodes, melodrama influence, and influence of the audience on future writing - to explore how these can be preserved on multimedia platforms, and the challenges this change may present. Svartman further charts the transformations of the telenovela throughout its history and its major influences and unveils the main storytelling elements and writing processes. Chapters examine the business model of Brazilian corporate television within the current context of hypermedia and analyse how this relationship evolves as it is influenced by the new interactive tools and technologies that amplify the audience's power. Merging empirical practices and theory, this book will be of great interest to scholars and students of transmedia storytelling, television studies, and Latin American media, as well as professionals working in these areas"-- Provided by publisher.

The conceptualization of decolonial aesthetics is fairly recent, however its points of departure — the epistemic shifts that have been challenging coloniality in the artistic and cultural practices of the Global South — are as old as the colonial system. The defiance of colonialism in Vodou dance and rituals, which in Haiti ultimately led to the first successful enslaved people’s revolution, is a splendid case in point.

The written curatorial statement from the organizing committee of the 11th Havana Biennial arrived via email the same day that we were preparing a dossier for the Romanian magazine IDEA. As we put together a brief history of “Decolonial Aesthetics” meetings and some portions of the “Decolonial Manifesto,” we discussed the need to bring to the biennial some of the critical and creative processes emanating from the decolonial collective. Previous editions of the biennial were overcharged with doses of “postmodernity,” marginal notes on the “postcolonial” condition, and celebrations of the “altermodern” (with its postproduction and relational dimensions). These were present in the curatorial practices, as well as in several of the presentations at the Theoretical Forum during the 2006 and 2009 editions. As we kept reading through the Biennial‘s curatorial statement, its content promoted a heated discussion among us where the idea of presenting a panel on decolonial aestheSis at the Havana Biennial became seen as not only relevant, but also, and above all, necessary.

In this essay, I aim to engage the growing body of scholarship that employs Indigenous feminist theories to understand and mobilize against the sexual and gendered violence committed against Native peoples. To accomplish this, I construct a Native feminist analysis of the 2010 Tribal Law and Order Act. I posit that despite the overwhelmingly positive characterizations of the legislation as “historic” in its potential to address violence against Native women and reduce crime in Indian country, a Native feminist reading of the Tribal Law and Order Act illuminates the degree to which the Act emerges from, engages with, and advances settler colonial and heteropatriarchal logics that cause violence against Native women in the first place. I suggest that although the Act does contain measures that have the potential to alleviate the experience of violence in Native women’s lives, it also diminishes tribal sovereignty, perpetuates the ongoing encroachment of tribal jurisdiction, regulates the boundaries of Native identity, and limits our ability to envision and enact practices of decolonization.

As a teenager during my first internship at the Los Angeles County Museum of Art, a diversity initiative for inner-city youth, the education curator enthusiastically asked, “Who here would like to be an art historian!?” Like all the other Black and Brown inner-city kids, I laughed inside. My response was not due to a lack of art appreciation; I grew up in a family of refugees who were all self-taught artists back home in El Salvador, who taught me to draw before I learned to read. Nor was my response rooted in apathy for creative expression, for I was involved in art and theater from my elementary through my high school years. Art was such a natural part of my life that the idea of studying it seemed wasteful to me. The truth was, the internship was one of two jobs I was working to financially help my family and pay for my first year of community college. Hidden even deeper, though, I believed the museum world was not my world. I was a guanaca (the appellative given to people from El Salvador) whose family fled war and remained invisible in mainstream US Latinx history and culture. I was also from the hood—in my case Compton, California, a city made notorious by gangsta rap and police brutality. I believed that people like me guarded the art on the museum walls, cleaned the floors and bathrooms for visitors, and served the food at the high-priced café. People who looked like me, who came from where I did, did not determine what art could be, nor could we afford to buy it. We certainly did not write the history of art, for if we had, we would see ourselves represented on the walls.