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Gaming Representation' offers a timely and interdisciplinary call for greater inclusivity in video games. The issue of equality transcends the current focus in the field of Game Studies on code, materiality, and platforms. Journalists and bloggers have begun to hold the digital game industry and culture accountable for the discrimination routinely endured by female gamers, queer gamers, and gamers of color. Video game developers are responding to these critiques, but scholarly discussion of representation in games has lagged behind. Contributors to this volume examine portrayals of race, gender, and sexuality in a range of games, from casuals like Diner Dash, to indies like Journey and The Binding of Isaac, to mainstream games from the Grand Theft Auto, BioShock, Spec Ops, The Last of Us, and Max Payne franchises. Arguing that representation and identity function as systems in games that share a stronger connection to code and platforms than it may first appear, 'Gaming Representation' pushes gaming scholarship to new levels of inquiry, theorizing, and imagination.

Violence and the dead are major thematics in the sociopolitical art of Teresa Margolles. Born in Culiacan, Mexico, Margolles unfalteringly exposes the social causes and consequences of the endemic violence that ravages her country: violent deaths from the drug trade, exclusions, feminicides, and social injustice. Many of her works consist of substances or objects that have been in close contact to violent crimes and dead bodies, such as water with which corpses have been cleaned, blood-soaked earth, or fabric drenched in body fluids. This monograph brings together works from the past decade, along with pieces that have never been shown before, including sculptural and photographic installations, performative interventions and videos. Spare, yet powerfully moving, Margolles's work reaches out and brings the viewer into the world of those whose lives have been made invisible.

En esta conversación entre la cineasta documental Marta Rodríguez y Pedro Pablo Gómez, antes que hacer un recorrido cronológico por el trabajo la artista, se abordan problemas tranversales que están presentes a lo largo de su obra: el cine documental como modo de representación; la construcción de una metodología del cine documental latinoamericano; el carácter decolonial de la obra de Rodríguez y su compromiso indeclinable durante más de cuatro décadas de acompañar las luchas de campesinos, indígenas y afrodescendientes, entre otros. Y es en este abordaje donde Marta Rodríguez, haciendo uso de una memoria extraordinaria, puede tejer un relato en el que se destaca la ética de la artista y su compromiso indeclinable de denuncia de las injusticias sociales, utilizando las tecnologías del cine, no para hablar por las víctimas, sino para hacer escuchar sus voces y mantener vivas sus imágenes; unas imágenes que interpelan el discurso colonial mediante el cual se ha tejido nuestro relato de nación. Dans cette conversation entre la cinéaste documentaire Marta Rodríguez et Pedro Pablo Gómez, avant d'entreprendre une tournée chronologique de l'œuvre de l'artiste, nous traitons les problèmes transversaux présents tout au long de son travail : le cinéma documentaire comme mode de représentation ; la construction d'une méthodologie du documentaire latino-américain; la nature décoloniale de l'œuvre de Rodríguez et son engagement pendant plus de quatre décennies pour accompagner les luttes des paysans, des indigènes et des Afro-descendants, entre autres. Et c'est dans cette approche que Marta Rodríguez, avec une mémoire extraordinaire, peut tisser une histoire qui souligne l'éthique de l'artiste et son engagement indécelable à dénoncer les injustices sociales, en utilisant les technologies du cinéma –pour ne pas parler en lieu des victimes, mais pour faire entendre leur voix et garder leurs images vivantes. Des images qui contestent le discours colonial par lequel notre récit de nation a été tissé.

In lieu of an abstract, here is a brief excerpt of the content: As I sit writing in my kitchen while the forces of the U.S. military state are brought to bear on thousands of Standing Rock water stewards and land protectors and their allies in Cannonball, North Dakota, I consider how this sail special issue on digital Indigenous studies not only represents a collection of essays about the critical work Indigenous women are performing in their various digital projects but also illustrates that these online “Indigenous territories” (Hearne), crafted on social media platforms such as Twitter and Facebook, save lives. Every single day since the protectors first gathered to oppose the proposed 1,170-mile Dakota Access pipeline (a project that would potentially contaminate the Missouri watershed and the Ogallala Aquifer and desecrate Dakota sacred sites), digital independent and social media have constantly covered the story. At least 1.3 million Facebook users checked in virtually at Oceti Sakowin and other Indigenous camps and communities to ensure that support presence is recognized, while the world monitors the presence of the military and police force gathering at the construction site to curb further violence. The Standing Rock gathering offers hope to networked Indigenous youth, a demographic between three and ten times as likely to commit suicide than the national average peer rate. The Nodapl action in the Indigenous imaginary is an invitation to stand at the front lines of a global movement to protect water and land resources for all living beings on this planet and to draw attention to and support those whose lives and ways of being are in peril through overt military action and consequential environmental destruction. It is also an occasion, in the words of Jolene Rickard, “to invest in the apparatus of the imagination” (Bernardin). One need only look at the online art, handwritten signs, and logos representing #nodapl, #standingrock, [End Page 172] #waterislife, and #rezpectourwater to see the ways in which Indigenous artists are creatively and powerfully envisioning this movement, most often immersed with work that features strong images of Native women and girls, the community backbone and life force. Or we need only view digital videos like computer animator and artist Joseph Erb’s black-and-red graphic history of Standing Rock, “Mni Wiconi / Water Is Life” (https://www.youtube.com/watch?v=kXoy5lzpjiM), and first-person game platforms like Elizabeth LaPensée’s Thunderbird Strike, which extend the conversations at Standing Rock to the struggles over Enbridge’s Alberta tar sands pipeline and fracking practices as players work to undo and prevent further environmental degradation. Following Idle No More’s digital and geospatial (re)articulation of Indigenous territories, we are now living and loving and hoping in this historic moment as new ways of relating to one another and living in deep connection with the land and all its forms of life are being physiologically, intellectually, and spiritually forged at the geospatial confluence of the Missouri and Cannonball Rivers. They are being forged as well through the confluences of digital rivers on our electronic devices and in our online conversations about the beauty and devastation of the events that are unfolding in Standing Rock. Susan Bernardin’s essay in this issue on Heid E. Erdrich’s “Pre-Occupied” considers the meaning of rivers to Native peoples and contends that images of waterways, particularly the Mississippi, are mobilized “to make visible the continuing claims of this and other imperiled riverine systems.” In her introduction, Joanna Hearne asks us, “How might such an intersection of digital and Indigenous specificities take place in a way that is ‘native to the device’; that is, how might Indigenous specificity be embedded in shared platforms that are therefore central to all of our digital lives?” The essays in this special issue respond to this question by theorizing digital media in fresh and innovative ways. Many of us teach digital humanities courses or classes with strong digital media content, but we lack the language for critically engaging this new field on its own terms as it intersects, extends, and radically reconceptualizes more familiar research areas such as cinema studies, Indigenous / Native American studies, communication, literature, art, and history.

Les années 1990 sont une décennie cruciale pour l'avancement et le positionnement de l'art et de l'autonomie autochtones dans les récits dominants des états ayant subi la colonisation. Cet article reprend l'exposé des faits de cette période avec des détails fort nécessaires. Pensé comme une historiographie, il propose d'explorer chronologiquement comment les conservateurs et les artistes autochtones, et leurs alliés, ont répondu et réagi à des moments clés des mesures coloniales et les interventions qu'ellesontsuscitéesdu point de vue politique, artistique, muséologique et du commissariat d'expositions. À la lumière du 150e anniversaire de la Confédération canadienne, et quinze ans après la présentation de la communication originale au colloque, Mondialisation et postcolonialisme: Définitions de la culture visuelle v, du Musée d'art contemporain de Montréal, il reste urgent de faire une analyse critique des préoccupations contemporaines plus vastes, relatives à la mise en contexte et à la réconciliation de l'histoire de l'art autochtone sous-représentée.

Le territoire constitue une force déterminante dans la création artistique. Les prairies austères, notamment, exigent des artistes actuels comme de ceux qui les ont précédés une adaptation constante, déterminée par l'accès aux ressources et la nécessité de mobilité. Cet article s'intéresse à l'impact du territoire sur la pratique du perlage telle qu'exercée par les femmes autochtones. Il met en relation des exemples de perlage traditionnel conservés dans les collections muséales de la Saskatchewan avec les œuvres de trois artistes contemporaines autochtones des plaines, soit Ruth Cuthand, Judy Anderson et Katherine Boyer. La comparaison vise à mieux comprendre le processus intergénérationnel de transmission des pratiques ancestrales et ainsi révéler comment s'exprime le territoire dans les objets et œuvres ornés de perles, qui contribuent à façonner le récit des plaines.

The in-depth, diverse, and accessible essays in Queer Game Studies use queerness to challenge the ideas that have dominated gaming discussions. This volume reveals the capacious albeit underappreciated communities that are making, playing, and studying queer games, demonstrating the centrality of LGBTQ issues to the gamer world and establishing an alternative lens for examining this increasingly important culture.

Homi Bhabha’s pivotal 1994 book,The Location of Culture, begins with an epigraph from Heidegger’s “Building Dwelling Thinking”: “A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from whichsomething begins its presencing.” Cultural engagement, whether antagonistic or affiliative in nature, is produced performatively – not as a reflection of something that is given or set in stone, but as an ongoing process of negotiation.

Western art history long refused to recognize the historicity of Indigenous art, seeing it instead as a "primitive" mode of human expression. While the dynamism of Indigenous creation since the 1960s has made such an assertion impossible, the institutional recognition given contemporary Indigenous art in the art world is paradoxically accompanied by a lack of critical and theoretical analysis. Today, there is a genuine ignorance concerning Indigenous conceptions of history-their "regime of historicity"-on the part of Western art historians. This is all the more surprising given the recent "temporal turn" taken by the discipline, which emphasizes the question of mixed temporalities without acknowledging it as an essential dimension of Indigenous art. This paper revisits Western art history's long-standing denial of the historicity of Indigenous art, and then considers its current disregard for the ways Indigenous art allows different forms of temporality to coexist. The underlying thesis of the essay is that today's disinterest is, in fact, a prolongation of yesterday's denial.

Rapport commandé par le Conseil des arts de Montréal

This article considers the way certain Indigenous artists are reviving conceptions of territory and history that are anchored in secular epistemologies and the construction of knowledge. Such conceptions provide a way for these artists to respond to colonial appropriation, reactivate interrupted dialogues, engender new forms of territorialization, and create places of commemoration and memory preservation. Similar to the historiographical deconstruction performed by thinkers and activists such as Vine Deloria Jr. and Taiaiake Alfred, these artists’ works offer a model of autonomy and environmental balance. While some are reviving mnemonic practices, such as the making of wampum, which traditionally preserve memories of alliances and conflicts, others have embraced Internet and selfie technologies as a means of creating new spaces for speech and recognition

Since Nell Shipman wrote and starred in Back to God's Country (1919), Canadian women have been making films. The accolades given to film-makers such as Patricia Rozema (I've Heard the Mermaids Singing, When Night is Falling), Alanis Obomsawin (My Name Is Kahenttiiosta, Walker), and Micheline Lanctot (Deux Actrices) at festivals throughout the world in recent years attest to the growing international recognition for films made by Canadian women. With Gendering the Nation the editors have produced a definitive collection of essays, both original and previously published, that address the impact and influence of a century of women's film-making in Canada. In dialogue with new paradigms for understanding the relationship of cinema with nation and gender, Gendering the Nation seeks to situate women's cinema through the complex optic of national culture. This collection of critical essays employs a variety of frameworks to analyse cinematic practices that range from narrative to documentary to the avant garde.

Indigenous Art New Media and the Digital convenes leading scholars, curators, and artists from the Indigenous territories in Canada, the United States of America, Australia, and Aotearoa (New Zealand). It brings forth urgent conversations about resistance to colonial modernism, and highlights the historic and ongoing use of technology by Indigenous communities and artists as vehicles of resilience and cultural continuity. This issue ignites productive dialogue around the definitions of new and digital media art and practice-based work within the framework of Indigenous art and theory

It's about the role that music, film, visual art, and Indigenous cultural practices play in and beyond Canada's Truth and Reconciliation Commission on Indian Residential Schools. The essays question the ways in which components of the reconciliation, such as apology and witnessing, have social and political effects for residential-schools survivors, intergenerational survivors, and settler publics."-- Provided by publisher

This essay considers the intersectionality between the field of art history focused on the subject category of Native American or Indigenous art and Indigenous Studies. Methodological gaps in the field of art history are discussed through the canonical genre of landscape art with a comparative reference to key exhibitions; Land Spirit Power: First Nations at the National Gallery of Canada, (1992), The West As America: Reinterpreting Images of the Frontier, 1820-1920, (1991), Submuloc Show/Columbus Wohs (1992), Our Land/Ourselves: Contemporary Native American Landscape (1991) and Picturing the Americas: Landscape Painting from Tierra del Fuego to the Artic (2015). The aestheticization of the colonization of the Americas as represented in the genre of landscape art is interrogated as a form of historical violence that needs to be decolonized within the field of art history.

"Between the late 1970s and the early 2000s, at least sixty-five women, many of them members of Indigenous communities, were found murdered or reported missing from Vancouver's Downtown Eastside. In a work driven by the urgency of this ongoing crisis, which extends across the country, Amber Dean offers a timely, critical analysis of the public representations, memorials, and activist strategies that brought the story of Vancouver's disappeared women to the attention of a wider public. Remembering Vancouver's Disappeared Women traces "what lives on" from the violent loss of so many women from the same neighborhood. Dean interrogates representations that aim to humanize the murdered or missing women, asking how these might inadvertently feed into the presumed dehumanization of sex work, Indigeneity, and living in the Downtown Eastside of Vancouver. Taking inspiration from Indigenous women's research, activism, and art, she challenges readers to reckon with our collective implication in the ongoing violence of settler colonialism and to accept responsibility for addressing its countless injustices

This paper proposes a theoretical framework with which to dis- cuss the critical engagement of media art projects in Second Life with racialized self-representation, fashion and ethnic dress. Ex- amining Montreal-based Mohawk artist Skawennati’s machinima series, TimeTravellerTM (2008-13), a project of self- determination, survivance and Indigenous futurity, it argues the critically-aware act of ‘virtually self-fashioning’ racialized born- digital identities, or virtual ethnicities, disrupts ways in which today’s vast proliferation of self-technologies enabling the crea- tion, recreation and management of multiple selves, would other- wise remain complicit with neoliberal colour-blind racism

Les ossements animaux occupent des fonctions pratiques et rituelles extrêmement variées et complexes au sein des cultures ancestrales atikamekw et innue, que ce soit sur le plan spirituel, alimentaire, artistique ou autre. Encore aujourd’hui, en plus d’évoquer le trépas, les ossements font référence aux pratiques de communication avec les esprits animaux - comme la scapulomancie - et à la vision holistique du monde chez les peuples algonquiens. En intégrant des peaux et des fragments de squelettes animaux à leurs oeuvres portant sur des réalités contemporaines de pertes et de négociations intimes et collectives d’ordre culturel et territorial, les artistes Sonia Robertson et Eruoma Awashish parviennent à réactualiser le pouvoir de guérison et de résurgence traditionnellement associé aux ossements. Ainsi, la mise en scène d’os permet à ces créatrices de réécrire l’histoire de lieux chargés de sens et de réaffirmer l’importance actuelle de notions spirituelles, identitaires et culturelles autochtones ancestrales dans un contexte de réaffirmation collective et individuelle