Votre recherche

Indigenous Futurisms: Transcending Past/Present/Future investigates a major trend in Contemporary Native Art--the rise of futuristic or science-fiction inspired Native American art. The essays and artworks present the future from a Native perspective and illustrate the use of Indigenous cosmology and science as part of tribal oral history and ways of life. Several of the artists use sci-fi related themes to emphasize the importance of Futurism in Native cultures, to pass on tribal oral history and to revive their Native language. However, Indigenous Futurism also offer a way to heal from the traumas of the past and present--the post-apocalyptic narratives depicted in some of the artworks are often reality for Indigenous communities worldwide.

This book proposes contemporary decolonization as an approach to developing cultural economies in the Global South. This book represents the first critical examination and comparison of cultural and creative industries (CCI) and economy concepts in the Caribbean and Africa.

This article examines how “colonial time” is called into question in two short films of the National Film Board of Canada’s series Souvenir, from 2015. The question of time lies at the heart of this series, for which the NFB commissioned contemporary Indigenous filmmakers to take up their archives of visual material on Indigenous peoples. The colonial temporal framework is at work in the vast archives of ethnographic and documentary film and photography on Indigenous peoples dating back to the early twentieth century, in which Indigenous people are often represented as part of “vanishing” cultures. Thus, in this article, I underscore the temporal interruptions that occur when ethnographic visual material of Indigenous peoples is put into the hands of contemporary Indigenous artists. I focus first on what it means to repurpose dehumanizing colonial archives and ask whether visual sovereignty is in fact possible within the archives. By analyzing the reappropriation of archival footage in the short films Mobilize by Caroline Monnet and Etlinisigu’niet (Bleed Down) by Jeff Barnaby, I elucidate how the filmmakers break with modes of colonial time through what I propose to call “reframings” that offer alternative ways of conceiving of time. By rehabilitating ethnographic images, these filmmakers refuse to project the material into the distant past and complicate the readability of Indigenous images in the archives, revealing how the reappropriation of old images can be just as powerful as the production of new ones.

Fin des années 1960 aux Etats-Unis, les Indians of All Tribes impulsent un mouvement de contestations sociales qui a pour but la reconnaissance des droits inhérents aux peuples autochtones à la souveraineté et à l'auto-détermination. L'American Indian Movement et sa branche féminine Women of All Red Nations s'emparent de ces questions sociales, politiques et culturelles. Femmes et hommes entament de concert un processus d'émancipation dont l'accomplissement ne cesse d'être repoussé par les politiques assimilatrices successives du gouvernement états-unien. Au Canada aussi, des mobilisations collectives éclatent dans les années 1980 et 1990, et culminent avec les événements de Restigouche (1984) et la Crise d'Oka (1990). Ces évènements majeurs inspirent toute une jeune génération d'artistes autochtones et de femmes en particulier, formées notamment à l'Institute of American Indian Arts à Santa Fe (Nouveau-Mexique). De formations universitaires approfondies, elles développent des démarches artistiques transdisciplinaires à mi-chemin entre l'histoire de l'art et l'ethnographie. Elles mettent en évidence la porosité et la friabilité des frontières instaurées dans tous les secteurs par la société dominante contre les groupes considérés comme minoritaires. A cette fin, le photographique - par lequel nous désignons la pratique, la technique et l'image photographiques - devient un outil stratégique majeur de réappropriation et de réaffirmation de ce qu'elles sont et tendent à incarner. Ces artistes femmes interrogent grâce à ce médium les façons dont elles ont été représentées et se représentent elles-mêmes dans le cadre de démarches critiques des stéréotypes dont elles font l'objet depuis plusieurs siècles d'appropriation culturelle. Elles repensent par ce biais leurs identités, les rapports qu'elles entretiennent à leurs corps, à leurs sexualités et à leurs genres, à l'aune de leurs propres spiritualités. Grâce à leurs images artistiques et politiques, fruits de pratiques fondées sur une analogie entre la violation de leurs droits, l'exploitation de leurs terres et territoires, et les violences sexuelles dont elles font l'objet, elles continuent à prendre part aux mouvements de résistance actuels qui s'opposent aux projets extractivistes face auxquels elles s'affirment, une nouvelle fois, en première ligne. A partir d'un corpus iconographique de près de 400 œuvres réalisées entre 1969 et 2019, et d'entretiens individuels avec des artistes et des militantes femmes et queer autochtones des Etats-Unis et du Canada, cette thèse a pour objectif de montrer en quoi ces images - en particulier photographiques configurent des épistémologies nouvelles dans une perspective intersectionnelle, décoloniale et anticapitaliste, et s'inscrivent dans la continuité d'un processus de réaffirmation des droits inhérents des peuples autochtones, garantis par la Déclaration des Nations Unies sur les Droits des Peuples Autochtones (2007)

Television Drama in Spain and Latin America addresses two major topics within current cultural, media, and television studies: the question of fictional genres and that of transnational circulation. While much research has been carried out on both TV formats and remakes in the English-speaking world, almost nothing has been published on the huge and dynamic Spanish-speaking sector. This book discusses and analyses series since 2000 from Spain (in both Spanish and Catalan), Mexico, Venezuela, and (to a lesser extent) the US, employing both empirical research on production and distribution and textual analysis of content. The three genres examined are horror, biographical series, and sports-themed dramas; the three examples of format remakes are of a period mystery (Spain, Mexico), a romantic comedy (Venezuela, US), and a historical epic (Catalonia, Spain). Paul Julian Smith is Distinguished Professor at the Graduate Center, City University of New York. He was previously Professor of Spanish at the University of Cambridge. He is the author of twenty books and one hundred academic articles.

Hollywood at the Intersection of Race and Identity explores the ways Hollywood represents race, gender, class, and nationality at the intersection of aesthetics and ideology and its productive tensions. This collection of essays asks to what degree can a close critical analysis of films, that is, reading them against their own ideological grain, reveal contradictions and tensions in Hollywood’s task of erecting normative cultural standards? How do some films perhaps knowingly undermine their inherent ideology by opening a field of conflicting and competing intersecting identities? The challenge set out in this volume is to revisit well-known films in search for a narrative not exclusively constituted by the Hollywood formula and to answer the questions: What lies beyond the frame? What elements contradict a film’s sustained illusion of a normative world? Where do films betray their own ideology and most importantly what intersectional spaces of identity do they reveal or conceal?

Video games, which uniquely interweave design, code, art, and sound, can be an especially robust way to express Indigenous cultures. Such games should involve Indigenous people in meaningful roles throughout design and development from conceptualization to distribution with a focus on building capacity to encourage self-determination for Indigenous game developers. This call to action informs SPEAR (Sovereignty, Positionality, Equity, Advocacy, and Reciprocity), a framework for design and development informed by the Indigenous cultural game Thunderbird Strike.

"D'horizons et d'estuaires. Entre mémoires et créations autochtones est une collection d'essais réunissant les voix de 16 artistes, commissaires, historien·ne·s de l'art et travailleur·se·s culturel·le·s autochtones, tant francophones qu'anglophones, œuvrant dans les territoires que l'on nomme Québec. Faisant suite à des expositions, des performances, des résidences d'artistes et des discussions mises en place lors du Projet Tiohtià:ke (2017-2019) du Collectif des commissaires autochtones, ces textes honorent les relations et les affinités qui sont au cœur de ces pratiques en arts visuels. Quelle place occupe actuellement les créations visuelles autochtones dans la société québécoise? Comment les créateur·trice·s imaginent-iels le futur de leurs expressions culturelles? Par la diversité des points de vue et les enjeux soulevés par ces écrits, ce livre pose des questions cruciales sur l'avenir des arts autochtones et ouvre la porte à des dialogues longtemps attendus au Québec qui, nous l'espérons, permettront de créer de réels changements positifs. Il est maintenant temps de plonger dans ces imaginaires collectifs éblouissants et de nager dans les eaux ondulantes de ces mémoires résilientes. Le texte est accompagné de 28 photographies d'œuvres d'artistes autochtones."-- Fourni par l'éditeur

Profiles and problematizes digital games that depict Atlantic slavery and "gamify" slave resistance. In videogames emphasizing plantation labor, the player may choose to commit small acts of resistance like tool-breaking or working slowly. Others dramatically stage the slave's choice to flee enslavement and journey northward, and some depict outright violent revolt against the master and his apparatus. This work questions whether the reduction of a historical enslaved person to a digital commodity in games such as Mission US, Assassin's Creed, and Freedom Cry ought to trouble us as a further commodification of slavery's victims, or whether these interactive experiences offer an empowering commemoration of the history of slave resistance.

1. Racism and Mainstream Media / Lori Kido Lopez -- 2. Image Analysis and Televisual Latinos / Mary Beltrán -- 3. Visualizing Mixed Race and Genetics / Meshell Sturgis and Ralina L. Joseph -- 4. Listening to Racial Injustice / Dolores Inés Casillas and Jennifer Lynn Stoever -- 5. Branding Athlete Activism / Jason Kido Lopez -- 6. The Burden of Representation in Asian American Television / Peter X. Feng -- 7. Indigenous Video Games / Jacqueline Land -- 8. Applying Latina/o Critical Communication Theory to Anti-Blackness / Mari Castañeda -- 9. Asian American Independent Media / Jun Okada -- 10. Remediating Trans Visuality / Amy Villarejo -- 11. Intersectional Distribution / Aymar Jean Christian -- 12. Podcasting Blackness / Sarah Florini -- 13. Black Twitter as Semi-Enclave / Raven Maragh-Lloyd -- 14. Arab Americans and Participatory Culture / Sulafa Zidani -- 15. Diaspora and Digital Media / Lia Wolock -- 16. Disrupting News Media / Meredith D. Clark -- 17. Latinx Audiences as Mosaic / Jillian M. Báez -- 18. Media Activism in the Red Power Movement / Miranda J. Brady -- 19. Black Gamers' Resistance / Kishonna L. Gray -- 20. Cosmopolitan Fan Activism / Susan Noh.

In this interview, multidisciplinary artist Caroline Monnet discusses how acts of critical self-representation open up new spaces for territorial, linguistic, and identity negotiations and affirmations for Indigenous creators. In this sense, Monnet expresses her desire to put forward exuberant, strong, and diverse representations of Indigenous women in order to counter pervasive rhetorical dynamics of victimhood conveyed by mass media and cinema. As she presents some of the visual and discursive techniques she develops through her films, installations, and photographic works, Monnet reflects on the constructive dialogues – as well as the moments of incommunicability – that emerge and fade within various spaces and contexts of creation and reception. She considers that her individual and collective creative projects fall within a pivotal period of self-determination for Indigenous artists; she thus provides a critical overview of current discourses of (re)concililation.

"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.

Straight  Skin,  Gay  Masks  and  Pretending  to  Be  Gay  on  Screen  examines cinematic depictions  of  pretending-to-be-gay,  assessing  performances  that not only reflect heteronormative and explicitly homophobic attitudes, but also  offer  depictions  of  gay  selfhood with  more  nuanced  multidirectional identifications. The case of straight protagonists pretending to be gay on screen is the ideal context in which to study unanticipated progressivity and dissidence in regard to  cultural  construction  of  human sexualities  in  the  face  of  theatricalized epistemological collapse. Teasing apart the dynamics of depictions of both sexual  stability  and  fluidity  in  cinematic  images  of  men  pretending  to  be gay offers new insights into such salient issues as sexual vulnerability and dynamics  and  long-term  queer  visibility  in  a  politically  complicated  mass culture  which  is  mostly  produced  in  a  heteronormative  and  even  hostile cultural environment. Additionally, this book initially examines queer uses of sexuality masquerade in Alternate Gay World Cinema that allegorically features a world pretending to be gay, in which straights are harassed and persecuted, in order to expose the tragic consequences of sexual intolerance. Films  and  TV  series  examined  as  part  of  the  analysis  include  The  Gay Deceivers, Victor/Victoria, Happy Texas, William Friedkin’s Cruising and many other straight and gay screens. This  is  a  fascinating  and  important  study  relevant  to  students  and researchers in Film Studies, Media Studies, Gender Studies, Queer Studies, Sexuality Studies, Communication Studies and Cultural Studies.

La question de la mémoire en condition hyperconnectée s’articule également dans le potentiel des réseaux sociaux pour la mise en visibilité de différents mouvements activistes autochtones au Canada. À travers deux études de cas, le projet The Indigenous Archival Photo Project par l’écrivain Paul Seesequasis (Cri des plaines) et la page Instagram What Brings Us Here mettant en vedette les groupes d’activistes à Winnipeg The Bear Clan et Drag the Red, ce chapitre réfléchit à la manière dont les créateur.rice.s autochtones utilisent les réseaux sociaux comme des vecteurs d’agentivité narrative témoignant de différents enjeux touchant les communautés. Ces projets doivent être considérés comme des opérateurs de changements, car ils participent à la valorisation des voix autochtones et à l’instauration de divers réseaux de solidarité. Par différentes stratégies conversationnelles en ligne, ces projets renouent ainsi avec le communautarisme propre aux médiums de communication traditionnels autochtones où le dialogue est primordial.

The queer women's comedic web series that have flourished in the last decade, serving as launching pads for their creators, coincided with media-industry nichification's segmentation of a consumer population regarded by advertisers and content providers as one monolithic LGBTQ community. The series I examine-from The Slope, which premiered in 2010, to Strangers, released in 2017-voice their creators' and characters' marginalization from and even opposition to such an imagined community, through recourse to what I call a "bad queer" rhetorical practice, which uses ironic metacommentary to critique assimilationist values and tropes alongside queer identity policing. These series emerged, at least initially, as an alternative sphere of queer media production and a queer discursive mode that employs disidentification as a politicized strategy to challenge dominant LGBTQ scripts. Offering an irreverent alternative to mainstream and millennial LGBTQ cultural products, these "bad queer" web series express the plurality of the queer "community" and expose political contestations within its ranks, and in so doing serve as brand differentiation for a new generation of queer media producers.

This essay examines the 2010 NBC situation comedy Outsourced, with special attention to its representation of the racial politics surrounding business process outsourcing to India. Specifically, it discusses how Outsourced participates in what Jodi Melamed calls “neoliberal multiculturalism” to work through, symbolically and narratively, the realities and contradictions of globalized economies as they are experienced. By staging the dilemmas of outsourcing through the specter of the white male middle manager traveling to India to train Indian call center workers, Outsourced minimizes the affective labor necessarily performed by Indian call center workers and dramatizes outsourcing as a crisis of white U.S. masculinity alone. Moreover, it figures our white male protagonist as the global multicultural citizen to be emulated insofar as he models the appropriate attitude toward outsourcing and toward “other” cultures in general. Finally it suggests that the failure of the show has less to do with issues of cultural stereotyping and more to do with the failure of neoliberal multiculturalism to soothe anxieties around changing global economies.

There was a time in Indian television when actors who had limited luck in the Hindi film industry would migrate to Indian television. By the 1990s, with the beginning of television’s transformation in India owing to economic liberalization, the converse was also occasionally true with former TV actors such as Shahrukh Khan and Vidya Balan becoming successful in Hindi cinema. The boundaries between Indian film and television were slowly becoming blurred toward the end of the twentieth century. Yet, the migration of stars from the big screen to the small was still considered a “failure” and the less common movement from television to film was deemed more successful. In the twenty-first century, however, television is no longer considered a consolation medium. The Hollywood television debut of the hugely successful Bollywood star Priyanka Chopra in a leading role on the TV show Quantico (USA, ABC, 2015–2018) and her subsequent numerous appearances on American television talk and award shows, including the Oscars, offer a prime example of television as a competitive medium for established stars. However, Chopra’s case is noteworthy for exemplifying not just star mobility between film and TV but also across national industries. Her move to American TV testifies to the increasing transnational viability of Bollywood stars in the twenty-first century. Importantly, the uptake of her rise on the American TV screen has been seen as part of the broader arrival of South Asian performers on American TV. But her success differs from Indian actors of American origin whose trajectory recapitulates the immigrant narrative of breaking free of stereotypical roles to play realistic, meaningful characters on the screen. Chopra’s representational currency and her “global” Indian English accent instantiate the logic of televisual mobility – her transnational screen navigations speak, not to a teleological moment of arrival on the American screen but her ability to make professional choices that enable her to represent Indians everywhere.

Aucune étude n’a jamais démontré que les formes médiatiques disposeraient d’un pouvoir direct de transformation des réalités sociales. Une approche critique un peu sérieuse préférera ainsi appréhender le jeu vidéo comme le site d’un ensemble de rapports de pouvoir opérant au sein de la culture dominante, traversé, à l’instar d’autres formes culturelles, par des contradictions, des résistances et des réappropriations – autrement dit par des circulations dans la production de sens, les formes et les affects, qui viennent renforcer, nuancer ou déstabiliser les normes de l’hégémonie culturelle. Depuis le début des années 2010 et en particulier la polémique du #GamerGate en 2014, la communauté vidéoludique ne peut plus ignorer le sexisme. Les féministes n’ont pourtant pas attendu si longtemps pour se manifester. Mais c’est peut-être l’année 2012 qui marqua un réel tournant, lorsque Anita Sarkeesian lança une campagne de crowdfunding pour une série de vidéos sur sa chaîne YouTube feministfrequency. Sa démarche déclencha une vague de cyberharcèlement qui alla des insultes aux menaces de mort et jusqu’à la publication de données personnelles. Ce modèle de violence sexiste s’est reproduit à de multiples reprises, notamment en France en 2013 à l’encontre de la créatrice de jeu et féministe Mar_Lard, attaquée pour sa critique argumentée du sexisme dans la culture geek. Elle revenait en particulier sur des propos plus que complaisants d’un journaliste à propos d’une séquence où le personnage de Lara Croft, héroïne du mythique je…

Computer Science education research establishes collaboration among students as a key component in learning, particularly its role in pair programming. Furthermore, research shows that girls, an underrepresented population in computing, benefit from collaborative learning environments, contributing to their persistence in CS. However, too few studies examine the role and benefits of collaborative learning, especially collaborative talk, among African-American girls in the context of complex tasks like designing video games for social change. In this exploratory study, we engage 4 dyads of African-American middle school girls in the task of designing a video game for social change, recording the dyads' conversations with their respective partners over an eight-week summer game design experience during the second year of what has now become a six-year study. Qualitative analysis of dyadic collaborative discussion reveals how collaborative talk evolves over time in African-American middle-school girls.