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Globalized communication flows transcend and transform national borders. Transnational media outlets targeting audiences around the globe, issues of global concern are subjected to border-crossing public debates, media events receive transnational attention, and public diplomacy efforts succeed—and fail—in characteristic patterns around the world. In response to these phenomena the article shows how the study of transnational communication can benefit from combining 3 theoretical perspectives that are rarely studied together: communication as deliberation, as ritual, and as strategy. Particularly in explaining the failures of transnational communication, explanatory potential often seems to lie just outside the limited vision of each of the 3 perspectives—and outside the scope of empirical analyses that are limited to Western contexts.

This article analyzes the term ‘citizen journalism’ against the backdrop of the Arab uprisings in order to show how it overlooks the local context of digital media practices. The first part examines videos emanating from Syria to illustrate how they blur the lines between acts of witnessing, reporting, and lobbying, as well as between professional and amateur productions, and civic and violent intentions. The second part highlights the genealogies of citizenship and journalism in an Arab context and cautions against assumptions about their universality. The article argues that the oscillation of Western narratives between hopes about digital media's role in democratization in the Arab World and fears about their use in terrorism circumscribe the theorization of digital media practices.

This article presents the ways in which Japanese survival horror employs video games as a tool for cultural representation. First, it analyses the main differences between American and Japanese horror, and how the historical relationships of competition/collaboration between both have led to a constant exchange of cultural references present in their games. This relationship of domination/submission traces back to the post-war period in which the United States began exercising control over Japan. It is as a result of this period that Japanese terror begins to take shape and take its first steps towards the current J-Horror. Second, it analyses the work of game designer Keiichiro Toyama, namely Silent Hill and Siren, as a well-known example of the construction of a cultural identity halfway between the devotion to the Other and the respect for tradition. Finally, the article addresses other examples of Japanese survival horror to analyse more deeply which stance Japanese industry takes in this era of cultural globalization, or hyperculturality, which is seriously transforming our conception of culture in digital media.

This article explores the attitudes of EVE Online players toward their Russian counterparts. Popular community opinion paints Russian players as aggressive, cliquish and hostile, and as cheats who exploit the game in order to make (real-world) money. The article also analyzes the ways in which Russian pilots challenge, subvert, and discuss these attitudes. Two key arguments are presented. First, that although perceptions of Russian EVE players are often negative, these discourses in EVE are complicated by the fact that aggression, organization, and tight player groups are prerequisites for success within the game. Second, the opinions and agency of Russian players are highlighted. By examining both Russian- and English-language discussions, we see that rather than being silent victims of discrimination, or economic migrants “ruining” the game for other players, Russian pilots inhabit a complex space in a community engaged in two-way dialogue about culture, ethnicity, and play practices in EVE.

Parution dans la revue Diogène d’un article co-écrit avec James Berclaz-Lewis. En dépit de la publication de travaux importants depuis les années 1990, le champ disciplinaire des études ciném…

Peut-on envisager une autre histoire du jeu vidéo ?

Qualifié parfois de « dixième art », après que les jeux de rôles sur table (comme Donjons & Dragons) eurent commencé à céder du terrain dans les loisirs de la jeunesse à partir du mil…

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…

En 2007, le monde du jeu vidéo est secoué par une violente polémique au sujet du jeu vidéo Resident Evil 5. Ce dernier est accusé de faire commerce du racisme, en invitant à se glisser dans la peau d'un américain blanc body-buildé, missionné dans une région africaine anonyme, et tuant des dizaines d'hommes et de femmes noires présentées comme de dangereux zombies infectés du virus T. Depuis, la communauté des joueurs et joueuses de jeux vidéo interpelle régulièrement les créateurs et créatrices des jeux sur les questions du racisme et du sexisme.Dans son ouvrage, Mehdi Derfoufi analyse les rapports de force qui structurent l'industrie du jeu vidéo, dévoilant comment le racisme se niche parfois insidieusement au cœur de scénarios de jeux vidéo à succès. Il nous invite à nous questionner. Quels sont les pays qui pèsent sur les milliards d'euros du marché mondial du jeu vidéo ? Qui sont les game designers et auteurs des jeux ? Comment les représentations racistes sont-elles véhiculées à travers les personnageset les imaginaires vidéoludiques ? L'auteur nous dévoile avec brio les logiques racialisantes à l’œuvre au sein d’un marché économique très concurrentiel où des stéréotypes exotisants servent régulièrement à faire vendre un jeu. Il nous montre aussi comment la division internationale du travail et la hiérarchie économico-politique Nord/Sud pèse sur le marché du jeu vidéo et ralentit l’émergence de nouvelles représentations. Pourtant, de nombreux espoirs, notamment dans les pays du Sud participent au renouvellement de la culture geek : face aux violences racistes, la riposte s’organise.

Ce travail s’intéresse à la population trans MtF latino-américaine issue des secteurs populaires. Le travail a pour objectifs de (1) connaître les normes de genre du milieu d’origine de cette population (2) comprendre le lien du milieu d’origine avec leur parcours dans l’identité trans (3) examiner les parcours migratoires et comprendre leur très forte inscription dans la prostitution. L’enquête de terrain a été réalisée principalement en France et en Espagne. Concernant le cheminement identitaire, la recherche montre le poids de la formation sociale du milieu d’origine, et particulièrement le poids des normes relatives au genre dans les milieux populaires (hétéronormativité, homophobie, sanction des masculinités déviantes). Cette imbrication classe/sexe situe les personnes dans la position sociale marginale et stigmatisée de la prostitution. L’article apporte un éclairage sur cet environnement, où l’imaginaire festif côtoie l’ordinaire des violences. L’expérience migratoire, très valorisée dans le pays d’origine, est examinée. Le type de liens tissés avec la famille, et les difficultés liées à l’isolement linguistique et à la solitude sont abordés.

Stresses the crucial importance of LGBT festivals in promoting examples of queer cinema throughout Europe and the USA.

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.

In creating and developing the new genre of the televised novela, a one-hour long dramatic serial, the Brazilian television industry grew, in less than 15 years, from an insignificant player in the international market to one of the largest, most influential in the world. In the first book in English to explore the phenomenon of the telenovela Michele and Armand Mattelart challenge accepted views of the world dominance of United States television and probe the socioeconomic impact of this new genre on a third world country. Using the telenovela and its impact on the medium world-wide, the authors document the important changes in the international circulation of television programs and in the way television is perceived theoretically as a subject of research. The book traces the development of the novela in a country that, in the early 1960s, did not have any nationwide media and later--from 1964 to the 1970s--was ruled by a military dictatorship. It further analyzes the formation of the genre and its mode of production, placing the novela's appearance and development in its cultural, institutional, and economic context. The authors look at the peculiar contradictory relation between the genre's creators and developers--generally left wing intellectuals--and the manipulations required to construct a television industry in a highly competitive marketplace. The book begins with a description of the economic, institutional, and cultural context which produced the genre. It explores the world of soap operas, the development of a national television industry, and the beginnings of an urban consumer society in Brazil. The authors include a valuable and detailed study of the mode of production of the telenovela, placing both the form and content of the genre in their specific economic and institutional context. The book goes on to examine the relationship between the genre and its wider social and cultural environment, explaining its immense popularity and the social function it fulfills. Finally, the authors link the study of Brazilian television to wider debates in media and cultural studies.

This collection of new writing on contemporary Greek cinema builds and expands on existing work in the field, providing a coherent analysis of films which, despite their international importance, have so far received limited critical attention. The volume maps key trends in Greek cinema since the 1990s within the wider context of production and consumption at both national and international levels. It offers a wide range of critical analyses of documentary and avant-garde filmmaking, art house and popular cinema, and the work of established and new directors as well as deliberations on teaching methodologies and marketing strategies. The book seeks to highlight the continuities, mutual influences and common contexts that inform, shape and inspire filmmaking in Greece today.

This book introduces the term "otherism" and looks at the discourse of otherism and the issue of otherness in South Asian religion, literature and film. It examines cultural questions related to the human condition of being the "other," of the process of "othering" and of the representation of "otherness" and its religious, cultural and ideological implications. The book applies the perspectives of ideological criticism, theories of hybridity, orientalism, nationalism, and gender and queer studies to gain new insights into the literature, film and culture of South Asia. It looks at the different ways of interpreting "otherness" today. The book goes on to analyze the ideological implications of the creation of "otherness" with regard to religious and cultural identity and the legitimation of power, as well as how the representation of "otherness" reflects the power structures of contemporary societies in South Asia. Offering a well-thought-out reflection on important cultural questions as well as a deep insight into the study of religion and "otherness" in South Asian literature and film, this book is a pioneering project that is of interest to scholars of South Asian Studies and South Asian religions, literatures and cultures.

"Debates on the future of the African continent and the role of gender identities in these visions are increasingly present in literary criticism forums as African writers become bolder in exploring the challenges they face and celebrating gender diversity in the writing of short stories, novels, poetry, plays and films. Controversies over the rights of Lesbian, Gay, Bisexual, Trans, Intersex, Queer (LGBTIQ) communities in Africa, as elsewhere, continue in the context of criminalization and/or intimidation of these groups. Residual colonial moralizing and contemporary western identity norms and politics vie with longstanding polyvalent indigenous sexual expression. In addition to traditional media, the new social media have gained importance, both as sources of information exchange and as sites of virtual construction of gender identities. As with many such contentious issues, the variety of responses to the "state of the question" is strikingly visible across the continent. In this issue of ALT, guest editor John Hawley has sampled the ongoing conversations, in both African writing and in the analysis of contemporary African cinema, to show how queer studies can break with old concepts and theories and point the way to new gender perspectives on literary and cinematic output. This volume also includes a non-themed section of Featured Articles and a Literary Supplement."--Publisher's description

The unprecedented increase in lesbian representation over the past two decades has, paradoxically, coincided with queer theory’s radical transformation of the study of sexuality. In Lesbian Cinema after Queer Theory, Clara Bradbury-Rance argues that this contradictory context has yielded new kinds of cinematic language through which to give desire visual form. By offering close readings of key contemporary films such as Blue Is the Warmest Colour, Water Lilies and Carol alongside a broader filmography encompassing over 300 other films released between 1927 and 2018, the book provokes new ways of understanding a changing field of representation. Bradbury-Rance resists charting a narrative of representational progress or shoring up the lesbian’s categorisation in the newly available terms of the visible. Instead, she argues for a feminist framework that can understand lesbianism’s queerness. Drawing on a provocative theoretical and visual corpus, Lesbian Cinema after Queer Theory reveals the conditions of lesbian legibility in the twenty-first century.

De-Westernizing Film Studies aims to consider what form a challenge to the enduring vision of film as a medium - and film studies as a discipline - modelled on ‘Western’ ideologies, theoretical and historical frameworks, critical perspectives as well as institutional and artistic practices, might take today. The book combines a range of scholarly writing with critical reflection from filmmakers, artists & industry professionals, comprising experience and knowledge from a wide range of geographical areas, film cultures and (trans-)national perspectives. In their own ways, the contributors to this volume problematize a binary mode of thinking that continues to promote an idea of ‘the West and the rest’ in relation to questions of production, distribution, reception and representation within an artistic medium (cinema) that, as part of contemporary moving image culture, is more globalized and diversified than at any time in its history. In so doing, De-Westernizing Film Studies complicates and/or re-thinks how local, national and regional film cultures ‘connect’ globally, seeking polycentric, multi-directional, non-essentialized alternatives to Eurocentric theoretical and historical perspectives found in film as both an artistic medium and an academic field of study. The book combines a series of chapters considering a range of responses to the idea of 'de-westernizing' film studies with a series of in-depth interviews with filmmakers, scholars and critics. Contributors: Nathan Abrams, John Akomfrah, Saër Maty Bâ, Mohammed Bakrim, Olivier Barlet, Yifen Beus, Farida Benlyazid, Kuljit Bhamra, William Brown, Campbell, Jonnie Clementi-Smith, Shahab Esfandiary, Coco Fusco, Patti Gaal-Holmes, Edward George, Will Higbee, Katharina Lindner, Daniel Lindvall, Teddy E. Mattera, Sheila Petty, Anna Piva, Deborah Shaw, Rod Stoneman, Kate E. Taylor-Jones

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.

Depuis quelques décennies, certains artistes colombiens cherchent à repenser ce que peut être aujourd’hui l’identité colombienne, et plus concrètement celle de l’artiste. Au-delà du stéréotype de ce qu’est le « Colombien » vu de l’extérieur, au-delà d’une histoire coloniale – et toutes ses problématiques – commune aux pays d’Amérique latine, ainsi que d’une histoire récente plus particulière connue pour son extrême violence, nous pouvons affirmer que l’identité colombienne est le résultat d’identités multiples, diverses et variées. Par ailleurs, il existe un dénominateur commun qui peut la définir car elle s’est construite durant ces deux derniers siècles à partir d’un concept : celui de « l’hybridité ».