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Chinese Television and Soft Power Communication in Australia discusses China’s soft power communication approach and investigates information handling between China and its targeted audiences in the eyes of key influencers – intermediate elites (public diplomacy policy elites in particular) in China and Australia. It explores CGTN (with staff from several professional cultures) and conducts a systemic test of how successful/unsuccessful China’s soft power message projection is in terms of congruence between projected and received frames as a pivotal factor of its power status. The analysis is based on a case study of frames in the messaging on Chinese international TV about China’s Belt and Road Initiative and in the minds of Australian public diplomacy policy elites. The question raised is whether and how Australia is listening.
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Naficy explores the seemingly contradictory way in which immigrant media and cultural productions serve as the source both of resistance and opposition to the domination by host and home country's social values while simultaneously serving as vehicles for personal and cultural transformation and assimilation of those values.
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In recent years, Arab television has undergone a dramatic and profound transformation from terrestrial, government-owned, national channels to satellite, privately owned, transnational networks. The latter is the Arab television that matters today, economically, socially and politically. The resulting pan-Arab industry is vibrant, diverse, and fluid - very different, the authors of this major new study argue, from the prevailing view in the West, which focuses only on the al-Jazeera network. Based on a wealth of primary Arabic language sources, interviews with Arab television executives, and the authors' personal and professional experience with the industry, Arab Television Industries tells the story of that transformation, featuring compelling portraits of major players and institutions, and captures dominant trends in the industry. Readers learn how the transformation of Arab television came to be, the different kinds of channels, how programs are made and promoted, and how they are regulated. Throughout, the analysis focuses on the interaction of the television industry with Arab politics, business, societies and cultures.
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Through close readings of contemporary made-in-Singapore films (by Jack Neo, Eric Khoo, and Royston Tan) and television programs (Singapore Idol, sitcoms, and dramas), this book analyzes the prospects of resistance in an advanced capitalist-industrial society with "global city" aspirations.
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This chapter examines the intersection of popular culture and populism in Turkey by focusing on the TV show Payitaht Abdulhamid. Our motivation to analyze the recent TV series Payitaht Abdulhamid stems from our interest in the instrumental mobilization of popular culture for the Turkish government’s dual desire to both establish cultural hegemony and consolidate its populist style of government. Our analysis reveals that television, especially in the Global South, still plays a central role in governments’ desire to reconstruct history and establish cultural hegemony. This is particularly important as Turkey is going through a crisis of hegemony since the public is completely divided in its support for the government. Within the context of this hegemonic crisis, televised popular culture is vital, perhaps more than ever. Specifically, the show reduces a complicated history into easily understandable dichotomies and projects them on to contemporary politics in order to consolidate support for the government. Through televised popular culture, the government mobilizes history for purposes of cultural hegemony and populist politics flavored with nationalist, Islamist, and anti-Western motifs. Ultimately, the TV show presents yet another moment for understanding the mediated nature of 21st-century politics outside Western contexts.
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"Si tous les groupes humains sont touchés par la violence à grande échelle, les femmes la subissent sous des formes spécifiques, comme en témoignent les assassinats systémiques des femmes et des filles autochtones en Amérique du Nord et en Amérique latine, ou encore les nombreux conflits armés (Syrie, Lybie, Birmanie, entre autres) dans lesquels le viol est érigé en arme de guerre. Les deux phénomènes peuvent d'ailleurs se recouper puisque l'un des tout premiers féminicides à avoir été qualifié et documenté comme tel en Amérique est celui ayant été perpétré contre les femmes mayas durant la guerre civile guatémaltèque au début des années 1980. Cependant, les femmes ne sont pas seulement les victimes de la violence de masse, puisqu'elles sont aussi les premières à témoigner et dénoncer pour faire barrage à cette violence. Ce numéro hors-série regroupe des articles et des projets visuels qui décrivent et analysent la violence de masse liée au genre. Il s'agit de réfléchir sur la manière de représenter cette violence et d'en témoigner, d'autant plus qu'elle est bien souvent rendue invisible et inaudible par le patriarcat, le colonialisme, les intérêts politiques en présence ou l'impéritie de l'État."
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Avec Alex Wilson, Jeffrey McNeil, Teddy Syrette, May Ela and Ahmed Maswadeh.
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An interview by Kathrin Trattner with Mira Wardhaningsih, Cultural Content Director from StoryTale Studios about the game Pamali
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Interview with Ryan Sumo, Lead Artist/Business Developer at Squeaky Wheel Studio
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Interview With Ben Joseph P. Banta, Founder Of Ranida Games
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Interview with With Kurt Prieto, Games Designer Of Boo! Dead Ka! Game
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Interview with Zainuddeen Fahadh, Founder of Ogre Head Studio, Hyderabad, India
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Interview with Avinash Kumar, Creative Director & Co-Founder, Quicksand Design Studio, India.
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Interview with Avichal Singh, Founder and Game Designer of Nodding Heads Games, Pune, India.
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Interview with the Indian Game Designer Shailesh Prabhu about his game Sky Sutra.
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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.
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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 second podcast where we interview Satyajit Chakraborty, a game developer, game designer and researcher. He also founded Flying Robots Studios in 2012 and has made various unique games. Here he talks about his first experiences with gaming in India.
Explorer
1. Approches
- Approches sociologiques (8)
- Épistémologies autochtones (3)
- Étude des industries culturelles (19)
- Étude des représentations (4)
- Genre et sexualité (5)
- Histoire/historiographie critique (7)
- Humanités numériques (2)
- Muséologie critique (1)
- Théorie(s) et épistémologies des médias (3)
- Théories postcoloniales et décoloniales (5)
2. Auteur.rice.s et créateur.rice.s
- Créateur.rice PANDC
- Auteur.rice (2)
- Auteur.rice autochtone (1)
- Auteur.rice PANDC (8)
- Autrice (16)
- Créateur.rice autochtone (3)
- Créateur.rice LGBTQ+ (1)
- Créateur.rice noir.e (1)
- Créatrice (6)
- Identités diasporiques (1)
4. Corpus analysé
- Asie
- Afrique (4)
- Amérique centrale (3)
- Amérique du Nord (5)
- Amérique du Sud (4)
- Europe (4)
- Océanie (3)
4. Lieu de production du savoir
- Afrique (1)
- Amérique centrale (1)
- Amérique du Nord (8)
- Amérique du Sud (2)
- Asie (18)
- Europe (10)
- Océanie (1)