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The Paramilitary Hero on Turkish Television: A Case Study on Valley of the Wolves explores the representation and reception of nationalism and masculinity in Turkey through an examination of the popular television serial, Valley of the Wolves which has been aired on Turkish television since 2003. This detailed examination of the show demonstrates a particular discourse of nationalism, namely the Turkish Islam synthesis embedded in a gender-specific regime in which the paramilitary hero is placed at the centre. The study draws on thirty-seven in-depth interviews with viewers of the programme from different social backgrounds. These viewers read the serial from various perspectives in the light of their gendered experiences, suggesting that the relationship between text and audience is not necessarily predetermined by the former, but is rather constructed through an interdiscursive process. The book also examines the pleasures of the “contesting” readers of Valley of the Wolves, drawing on the audience interviews, and argues that critical approaches to a particular media text do not present a barrier to audience pleasures.

On the 'Queer Film Culture: Queer Cinema & Queer Film Festivals International Conference', held at the University of Hamburg, 14-15 October 2014, alongside the Hamburg International Queer Film Festival.

This thesis argues that photography is tainted with ingrained racist ideologies that have been present since its earliest inception in 1839. It considers the act of photographing the Other as a site of Western violence, myth, fantasy and disavowal. It examines archival images through the prism of race, representation and human rights with the aim of extracting new meanings that bring the Other into focus. This is done by reading the images both against the politics of the time in which they were made and as contemporary objects at work in the political and cultural present. The thesis makes the case that photography is burdened with ideological fault-lines concerning race and rights. The fault-lines have been forged by cultural and colonial violence resulting in Western scopic regimes that have dominated and fixed the Other within an inescapable set of Western epistemologies that have been used to serve and enhance imperial perspectives on race. I argue that these perspectives are still active within the Western mindset manifest as benign acts of photographic empathy that work to ultimately bolster Western hegemonies and economies. This thesis is based on 25 years of experience as a researcher and curator of international photography exhibitions, direct research into archives in different continental settings, the presentation of papers in a variety of national and international contexts, and interviews withphotographers, curators and academics. My hypothesis is that the history of photography can only be complete if the voice of the subaltern is made critically present within it, so allowing us to engage with important political racial memory work that can help us re-read the past and reconfigure different meanings concerning history, race, rights and human recognition in the present. I argue that photography requires decolonising work to be carried out on its history. I propose that if we do not recognise the historical and political conjunctures of racial politics at work within photography and the effects on those that have been culturally erased, made invisible or less than human by such images, then we remain hemmed within established orthodoxies of colonial thought concerning the racialised body, the subaltern and the politics of human recognition.

Video games have long been seen as the exclusive territory of young, heterosexual white males. In a media landscape dominated by such gamers, players who do not fit this mold, including women, people of color, and LGBT people, are often brutalized in forums and in public channels in online play. Discussion of representation of such groups in games has frequently been limited and cursory. In contrast, Gaming at the Edge builds on feminist, queer, and postcolonial theories of identity and draws on qualitative audience research methods to make sense of how representation comes to matter. In Gaming at the Edge, Adrienne Shaw argues that video game players experience race, gender, and sexuality concurrently. She asks: How do players identify with characters? How do they separate identification and interactivity? What is the role of fantasy in representation? What is the importance of understanding market logic? In addressing these questions Shaw reveals how representation comes to matter to participants and offers a perceptive consideration of the high stakes in politics of representation debates. Putting forth a framework for talking about representation, difference, and diversity in an era in which user-generated content, individualized media consumption, and the blurring of producer/consumer roles has lessened the utility of traditional models of media representation analysis, Shaw finds new insight on the edge of media consumption with the invisible, marginalized gamers who are surprising in both their numbers and their influence in mainstream gamer culture.

Video games have become a global industry, and their history spans dozens of national industries where foreign imports compete with domestic productions, legitimate industry contends with piracy, and national identity faces the global marketplace. This volume describes video game history and culture across every continent, with essays covering areas as disparate and far-flung as Argentina and Thailand, Hungary and Indonesia, Iran and Ireland.

Video games are an enormous segment of popular media today, comparable to tele-vision and movies. Moreover, video games represent a new form of media distinguishedfrom previous forms due to the interactive element, where game players have the ability to change and influence the game world. This paper contributes to the study of race and popular media by examining how race is presented in role-playing video games throughthe feature of avatar creation. Capabilities for avatar creation are analyzed in over sixty massively multiplayer online role-playing games (MMORPGs) in service as of early2010 and twenty offline role-playing games (RPGs) published over the past 10 years.The analysis shows that the vast majority of games, both online and offline, do not allow for the creation of avatars with a non-white racial appearance. Forcing an Angloappearance on avatars that purport to represent the player has the potential to reinforce asense of normative whiteness as well as shape the social composition of online worldsinto all-white virtual spaces, contributing to the creation of a virtual“white habitus.”

Sakahàn' celebrates a growing international commitment to the collection, study and exhibition of indigenous art. Featuring more than 75 artists from around the world, this remarkable project places indigenous art squarely at the centre of contemporary art produced today.

Video games are inherently transnational by virtue of their industrial, textual, and player practices. This collection includes essays from scholars from eight countries analyzing game cultures on macro- and micro-levels and investigates the growing transnational nature of digital play

Game Studies is a rapidly growing area of contemporary scholarship, yet volumes in the area have tended to focus on more general issues. With Playing with the Past, game studies is taken to the next level by offering a specific and detailed analysis of one area of digital game play -- the representation of history. The collection focuses on the ways in which gamers engage with, play with, recreate, subvert, reverse and direct the historical past, and what effect this has on the ways in which we go about constructing the present or imagining a future. What can World War Two strategy games teach us about the reality of this complex and multifaceted period? Do the possibilities of playing with the past change the way we understand history? If we embody a colonialist's perspective to conquer 'primitive' tribes in Colonization, does this privilege a distinct way of viewing history as benevolent intervention over imperialist expansion? The fusion of these two fields allows the editors to pose new questions about the ways in which gamers interact with their game worlds. Drawing these threads together, the collection concludes by asking whether digital games - which represent history or historical change - alter the way we, today, understand history itself.

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 notion of “self” and “other” and its representation in artwork and literature is an important theme in current cultural sciences as well as in our everyday life in contemporary Western societies. Moreover, the concept of “self” and “other” and its imaginary dichotomy is gaining more and more political impact in a world of resurfacing ideology-ridden conflicts. The essays deal with Jewish reality in contemporary Germany and its reflection in movies from the special point of view of cultural sciences, political sciences, and religious studies. This anthology presents challengingly new insights into topics rarely covered, such as youth culture or humor, and finally discusses the images of Jewish life as realities still to be constructed.

In this chapter, I would like to consider how interactive reality television contributes to the negotiation between national particulars and transnational media flows. Specifically, I want to look at the successful franchise So You Think You Can Dance , a dynamic global media flashpoint and a remarkably adaptable format that serves as a site of pleasurable and contradictory engagement with the sense of national culture and community that television manufactures. But what makes the show of particular interest to me is that it allows audiences, in an increasing number of television markets around the world, to collectively determine their ideal national performers through a competition that requires mastery of a virtual international smorgasbord of popular dance forms and styles, the vast majority of which originate elsewhere, or from within the national, racial, and ethnic cultures of others. Second, in choosing to examine dance shows, I join with a growing number of scholars who have, over the past 15 years, argued for increased attention to dance as a primary site of knowledge production concerning bodies, identities, and representation.

While expanding critiques of pinkwashing have drawn increasing attention to how queer issues in Israel and the Occupied Palestinian Territories are perniciously mobilized by a network of lobby groups, Brand Israel initiatives, and international gay and lesbian organizations, these critiques often fail to consider how queer Palestinians mobilize and understand themselves. This article reports on an October 2011 panel and film screening at Yale University and the Hagop Kevorkian Center for Near Eastern Studies at New York University. “Queer/Palestinian: Critical Strategies in Palestinian Queer and Women's Filmmaking” uniquely focused on questions of queerness and Palestine through a program of eight new Palestinian visual productions. The program brought together Palestinian film scholars, filmmakers, visual artists, and curators for a discussion of queer and feminist artistic practice in relation to Palestinian strategies for resistance. Together, the “Queer/Palestinian” films suggest the urgency for Palestinian visual artists to persistently generate new means of expressing, embodying, and critiquing visions for Palestinian society. Films such as Victoria Moufawad-Paul's Nus Enssas/ صيصنصن (Canada, 2011) and Raafat Hattab's Hourieh (Palestine, 2011) explore issues ranging from queer diasporic solidarity politics and challenges to out/closeted binaries and to the creative reinscription of nakba narratives. Nadia Awad's Two Adaptations of the Same Novel (US, 2011), Suzy Salamy's 1982/2006 (US, 2006), and Moufawad-Paul's Rejoice, O My Heart / يبلق اي حرفا (Canada, 2011) suggest an irreverent queer strategy by undermining the narrative conventions and visual codes of mainstream news media and popular US and Egyptian cinema. Salamy's video, previously projected through mobile exhibition on city buildings, and Eli Rezik's online “web-movies” Living Alone without Me (Palestine, 2011) and Between Us Two (Palestine, 2011) compelled a panel discussion of alternative means of distribution and exhibition. Finally, Alaa AbuAsad's Masturbate bil beit (Palestine, 2011) rounded out the program with an explicitly erotic and unapologetically political version of the meeting of “queer” and “Palestinian.”

The issue of identity formation when playing an avatar in a video game has recently become perceived as both increasingly complex and contentious. Game critics argue both for and against the apparent seamlessness in the identity formation in video games. However, while the case against seamlessness builds up with respect to other gaming genres, first-person shooters (FPS) are often still singled out as best representing this first-person identification whereby players were supposed to be totally immersed in their avatars while they played the game. In the light of recent research, this chapter builds on earlier research to reveal further problems in assuming a seamless merging of identity even in the FPS. It argues that the very conception of subjectivity has always been problematized through the FPS, and that the genre itself self-consciously keeps pointing this out. As an example of the latter, the chapter focuses on the S.T.A.L.K.E.R. video games to show how FPS games prompt players to question their in-game identity(ies) because the playing subject, instead of being a fixed entity, is hard-wired into the process of exploration that constitutes gameplay.

Catalogue d'exposition publié à l'occasion de l'exposition tenue au Plug In Institute of Contemporary Art, Urban Shaman Contemporary Aboriginal Art, et Winnipeg Art Gallery, du 22 janvier au 8 mai 2011. Now is the moment to reconfigure our notions of time to reveal alternative ways of thinking and being for the future. In Close Encounters: The Next 500 Years Indigenous artists imagine the future within the context of present experiences and past histories. By radically reconsidering encounter narratives between native and non-native people, Indigenous prophecies, possible utopias and apocalypses, this exhibition proposes intriguing possibilities for the next 500 years. "We all in different measure have carved out the future," observes Hopi photographer and filmmaker, Victor Masayesva, in his book Husk of Time. "We are all clairvoyants, soothsayers, prophets, knowingly assuming our predictions. Close Encounters brings together over 30 Indigenous artists from across Canada, the United States, South America, Europe, Australia and New Zealand, including newly commissioned work from Rebecca Belmore, Faye HeavyShield, Kent Monkman, and Edward Poitras. Jimmie Durham's sculptural work A Pole to Mark the Centre of the World (at Winnipeg) will be an ongoing critique of widely held ideas surrounding space and location, while James Luna's poignant installation The Spirits of Virtue and Evil Await my Ascension, addresses issues of ritual and the passing of time. Close Encounters showcases artists and artworks that collectively invent provocative futures from a diversity of perspectives and practices. With its myriad histories, trajectories, tensions, collisions, and self-image(s), the city of Winnipeg offers an intriguing juxtaposition for these artistic mediations. Close Encounters: The Next 500 Years presents international Indigenous perspectives in a city that in many ways also epitomizes the future of Aboriginal people in Canada. Works in multiple venues throughout the city will serve as catalysts to invent different ways of thinking, acting, and being in the world of our shared future. At this pivotal moment in time, Close Encounters invites engagement with the speculative, the prophetic, and the unknown

Though research examining violence in video games (VGs) and its potential real-world effects has been a target of academic attention, content analysis of demographical marginalization in VGs has not been as prolific. What little research there is reveals a pronounced absence and stereotyping of women and racial or ethnic minorities but ignores queer content altogether. This work explores video game demographics through quantitative analysis of the demographic composition and stereotyping of characters from 30 popular VG titles. Findings of this study support that of past analyses, evidencing that the representation of women and racial minorities is both rare and stereotyped. Queer characters are also shown to be sparse and stereotyped. While past research has largely treated race and gender separately, this study shows that multiply marginalized groups, including queers, are even more underrepresented and stereotyped. The sociocultural implications of these findings are discussed and suggestions are made for future analysis and marketing.

Cette vidéaste regarde - et nous fait regarder - la frontière comme un espace mental et matériel : les interviews, la voix over dont le texte apparaît à l'écran, les citations de textes, les images, les sons et le found footage sont combinés de façon à donner un aperçu saisissant et intime à la fois des conditions de vie des femmes (division du travail, prostitution, violence à l'égard des femmes dans les rues, etc.) propres aux régions frontalières, c'est-à-dire se définissant en fonction des contraintes liées à leur position limitrophe, mais offrant une certaine liberté aux gens qui y vivent du fait, justement, de cette position. Il est intéressant de voir comment le road movie permet de réaffirmer la place de l'automobile comme pur moyen de mobilité, mais en même temps comment il nous oblige à nous concentrer sur un autre type de mobilité, que Walter Moser (2008, p. 9) appelle la « médiamotion », soit : une forme de mobilité que nous procurent les médias mais qui, dans un certain sens, remplace ou redouble le déplacement physique en offrant aux êtres humains une expérience presque paradoxale : le contact à distance. On peut également voir dans le road movie contemporain un « road movie interculturel6», parce que la route y trace «un espace imaginaire particulièrement apte à figurer la complexité et les asymétries de l'interculturel » (Gin 2008, p. 41), mais également parce que : l'intetculturalité [...] du road movie résiderait en ce sens dans le mouvement que subit un principe ou une pulsion d'identification culturelle ne pouvant ni se réaliser ou s'assouvir - narrativement, visuellement - dans l'univocité d'un arrêt sur image, ni pour autant s'épuiser on the road Xp. 44). En fait, la mobilité transnationale se situant au centre de cette production filmique «accentuée» donne lieu à un ensemble de tentatives en constante évolution, où les identités culturelles en devenir peuvent être «constamment reformulées dans une perspective future, bien que conditionnées par des liens historiques et des devoirs avec le passé» (Grillo, Riccio et Salih 2000, p. 16), aussi bien que par les liens qu'entretiennent les migrants et les exilés avec leur identité et leur culture d'origine.

Qu'est-ce que l'identité noire ? Contre ceux qui en défendent une conception ethniciste ou nationaliste, ou qui cherchent avant tout à en préserver l'authenticité, Paul Gilroy montre comment cette identité complexe, nourrie d'une diversité irréductible, repose sur l'existence d'un espace transnational en constante transformation, qui n'est pas spécifiquement africain, américain, caribéen ou britannique, mais tout cela à la fois : l'Atlantique noir. L'objet de ce livre est de donner à voir l''existence de cet espace constitué dès le XVIIe siècle à travers l'histoire de la traite négrière, de retracer ce réseau serré de relations, d'échanges à multiples sens, d'idées, d'hommes et de productions culturelles. Au fil de pages peuplées par les figures les plus hétéroclites, de Spike Lee à Walter Benjamin en passant par les Jubilee Singers, Richard Wright, W. E. B. Du Bois, Jimi Hendrix, Wynton Marsalis et Hegel, l'espace et le temps singuliers de l'Atlantique noir prennent forme et consistance de façon saisissante. La musique, mode d'expression de prédilection d'une culture enracinée dans l'expérience des terreurs indicibles de l'esclavage, avec ses usages et ses allers-retours inattendus d'un bord à l'autre de l'Atlantique, joue ici un rôle de premier plan. Le retour sur l'esclavage et son caractère intrinsèquement moderne, opéré dans les oeuvres de nombreux écrivains noirs, ouvre par ailleurs à une relecture critique de la modernité, d'une portée universelle, au même titre que la critique des conceptions figées et réductrices de l'identité.

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.

New Flows in Global TV provides a pioneering investigation into television distribution worldwide and the global trade in television program formats. Topics include explorations of how shows like Who Wants to Be a Millionaire? and Big Brother are reformatted for audiences in diverse markets such as Argentina, South Africa, the Middle East, and China; the international circulation of Dallas in the 1980s; and Australian and United Kingdom programming exports in the last decade. Moran argues that distribution is the crucial link in a chain that dictates the consumption and purchase of television content. Consequently, New Flows in Global TV will be a key text for scholars of global media, providing comprehensive insight into the cultural, social and economic exchanges underlying media programming.