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This chapter historicises and contextualises the evolution, production, and development of key Mexican screen melodramas over fifty-two years to understand and mediate Mexico’s ambivalence around socioeconomic background, ranother. Perhaps if Televisa had allowed its various ace and religion, gender and worth, family and duty. The chapter demonstrates the importance of localised scholarly inquiry into Mexican audiovisual media that considers not only narrative discourses, content and textual analyses, but also industrial records and practices, marketing campaigns and press releases, archival research and interviews, multimedia synergy, and comparative analysis. For some time, research on Mexican melodrama has had a strong social focus, with several writings about audience engagement, but it is imperative to have more close readings of the texts themselves to understand their cultural context and industrial histories. This research exposes societal changes within Mexico by utilising one of its most omnipresent forms of popular culture and provides a deeper understanding of Mexico’s primary media productions through the use of genre and remake theory. The representations of young women yield a multitude of tensions and ambiguities placed upon Mexican women, which reveal volumes about wider sociocultural expectations.

Art, performance, and spoken or now written text, all belong to the same register of cultural practice in the First Nations I am familiar with or belong to: ceremony. This ceremonial register takes place in a set of spaces created to enact cultural responsibilities to place, people and balance. Galleries and museums, as sites of cultural production and presentation, have the potential to nurture new ceremonies and new working methods.

"This book investigates international Indigenous methodologies in art curatorial practice from the geographic spaces of Canada, Aotearoa (New Zealand) and Australia. From a perspective of Indigenous peoples important place within society, this collection explores how Indigenous art and culture operate within and from a structural framework that is unique and is positioned outside of the non-Indigenous cultural milieu. Through a selection of contributions, Becoming Our Future articulates this perspective, defines Indigenous curatorial practice and celebrates Indigenous sovereignty within the three countries. It begins to explore the connections and historical moments that draw Indigenous curatorial practices together and the differences that set them apart. This knowledge is grounded in continuous international exchanges and draws on the breadth of work within the field. With contributions by Nigel Borell, Nici Cumpston, Freja Carmicheal, Karl Chitham, Franchesca Cubillo, Léuli Eshraghi, Reuben Friend, Jarita Greyeyes, Heather Igloliorte, Jaimie Isaac, Carly Lane, Michelle LaVallee, Cathy Mattes, Bruce McLean, Kimberley Moulton, Lisa Myers, Julie Nagam, Wanda Nanibush, Jolene Rickard, Megan Tamati-Quennell, and Daina Warren."-- Provided by publisher.

Indigenous and decolonizing perspectives on education have long persisted alongside colonial models of education, yet too often have been subsumed within the fields of multiculturalism, critical race theory, and progressive education. Timely and compelling, Indigenous and Decolonizing Studies in Education features research, theory, and dynamic foundational readings for educators and educational researchers who are looking for possibilities beyond the limits of liberal democratic schooling. Featuring original chapters by authors at the forefront of theorizing, practice, research, and activism, this volume helps define and imagine the exciting interstices between Indigenous and decolonizing studies and education. Each chapter forwards Indigenous principles - such as Land as literacy and water as life - that are grounded in place-specific efforts of creating Indigenous universities and schools, community organizing and social movements, trans and Two Spirit practices, refusals of state policies, and land-based and water-based pedagogies.--publisher's description.

The genre of history strategy games is a crucial area of study because of what is at stake in the representation of controversial aspects of history in popular culture. Previous work has pointed to various affordances and constraints in the representation of history, based on the framing of the game interface, the alignment of goals with certain strategies and textual criticism of the contents of the games. In contrast, this article examines these games from the perspective of the player’s experience of play in relation to a wider gaming community. It is in these counterfactual communities that players negotiate their individual experience with their knowledge of the history that is presented in the games that they play, indicating that the relationship between digital games, players and history is highly contextual. The relevant practices of players of history strategy games are illustrated with examples from the official and unofficial communities of the Paradox Interactive games Europa Universalis II and Victoria: Empire Under the Sun. The shared paratexts demonstrate how positions are negotiated in relation to the ‘official’ version of history presented in the games. These negotiations are made tangible through the production and sharing of paratexts that remix the official history of the games to include other perspectives developed through counterfactual imaginations. These findings indicate the importance of including perspectives from gaming communities to support other forms of analysis in order to make rigorous observations about the impact of digital games on popular history.

Artists and cultural practitioners from Indigenous communities around the world are increasingly in the international spotlight. As museums and curators race to consider the planetary reach of their art collections and exhibitions, this publication draws upon the challenges faced today by cultural workers, Indigenous and non-Indigenous, to engage meaningfully and ethically with the histories, presents and futures of Indigenous cultural practices and world-views. Sixteen Indigenous voices convene to consider some of the most burning questions surrounding this field. How will novel methodologies of word/voice-crafting be constituted to empower the Indigenous discourses of the future? Is it sufficient to expand the Modernist art-historical canon through the politics of inclusion? Is this expansion a new form of colonisation, or does it foster the cosmopolitan thought that Indigenous communities have always inhabited? To whom does the much talked-of 'Indigenous Turn' belong? Does it represent a hegemonic project of introspection and revision in the face of today's ecocidal, genocidal and existential crises?"--Page 4 de la couverture. Autres auteurs/titres:edited by Katya García-Antón ; contributors, Daniel Browning, Kabita Chakma, Megan Cope, Santosh Kumar Das, Hannah Donnelly, Léuli Māzyār Luna'i Eshrāghi, David Garneau, Biung Ismahasan, Kimberley Moulton, Máret Ánne Sara, Venkat Raman Singh Shyam, Irene Snarby, Ánde Somby, Megan Tamati-Quennell, Prashanta Tripura, Sontosh Bikash Tripura.

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

Muslim members of the video game industry discuss the current state of Muslim representation within video games. This includes current problems with the way Muslims are represented and potential solutions. Our panelists come from all sides of the industry. From AAA, to indie, the panelists all have a unique voice and angle they would like to bring to the discussion. All panelists have grown up Muslim in western countries and have had to deal with certain adversities and challenges. It's through that experience that the panelists want to bring a lively discussion, backed with personal accounts and sources, that is not only engaging, but educational.

This article explores the ways game adaptations engage with existing popular culture constructions of race within the framework of commercial franchises. Its focus is on games which are part of the so-called “Frodo Franchise” based on Peter Jackson’s Lord of the Rings and The Hobbit films. It considers the role played by licensing agreements, the conventions, and ludic elements of different game genres, the need for new characters and narratives to keep audiences engaged with an existing world, and the opportunity games offer for interactive exploration of a digital world, to illuminate both the challenges to and the opportunities for disrupting conventional representations of race and difference.

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.

ouble Desire challenges the tendency by critics to perpetuate an aesthetic apartheid between Indigenous and Western art. The double desire explored in this book is that of the divided but also amplified attractions that occur between cultural traditions in places where both indigenous and colonial legacies are strong. The result, it is argued, produces imaginative transcultural practices that resist the assimilation or acculturation of Indigenous perspectives into the dominant Western...

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.

Catalogue d'exposition avec des textes de Loft, Igloliorte et Croft. Galerie d'art d'Ottawa.

To the colonized, the term 'research' is conflated with European colonialism; the ways in which academic research has been implicated in the throes of imperialism remains a painful memory. This essential volume explores intersections of imperialism and research - specifically, the ways in which imperialism is embedded in disciplines of knowledge and tradition as 'regimes of truth.' Concepts such as 'discovery' and 'claiming' are discussed and an argument presented that the decolonization of research methods will help to reclaim control over indigenous ways of knowing and being. Now in its eagerly awaited third edition, this bestselling book includes a co-written introduction features contributions from indigenous scholars on the book's continued relevance to current research. It also features a chapter with twenty-five indigenous projects and a collection of poetry

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.

This volume presents a series of papers concerned with the interrelations between the postmodern and the present state of art and design education. Spanning a range of thematic concerns, the book reflects upon existing practice and articulates revolutionary prospects potentially viable through a shift in educative thinking.

Questions about the meanings of racialized representations must be included as part of developing an ethical game design practice. This paper examines the various ways in which race and racial contexts are represented in a selected range of commercially available e-games, namely war, sports and action-adventure games. The analysis focuses on the use of racial slurs and the contingencies of historical re-representation in war games; the limited representation of black masculinity in sports games and the romanticization of ‘ghetto play’ in urban street games; and the pathologization and fetishization of race in ‘crime sim’ action-adventure games such as True Crime: Streets of LA. This paper argues for, firstly, a continuous critical engagement with these dominant representations in all their evolving forms; secondly, the necessary inclusion of reflexive precepts in e-games development contexts; and thirdly, the importance of advocating for more diverse and equitable racialized representations in commercial e-games.

Latin American Television makes English speakers aware of the dimensions, operation, and significance of the globalization of television in the Spanish-speaking world. Second only in scale to the market for English-language programming, the Spanish-language market embraces not just most nations of South and Central America but also Spain, and even the United States--the sixth largest Spanish-speaking country in the world. This intercontinental space is connected physically by satellite communication, and culturally by a common language and heritage which binds it as both a `geolinguistic region' and an `imagined community' which certain media corporations, Latin American and North American, seek to exploit. A similar phenomenon with regard to Brazil and the Portuguese-speaking world is ... Source: Publisher