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This paper is based on ongoing research into the gendered use of mobile convergent media in the Asia-Pacific region. In particular, what role does the cute have and how does it correlate with types of consumption? As a region, the Asia-Pacific is marked by diverse penetration rates, subject to local cultural and socio-economic nuances. Two defining locations - Seoul (South Korea) and Tokyo (Japan) - are seen as both mobile centres and gaming centres which the world looks towards as examples of the future-in-the-present. Unlike Japan, which pioneered the keitai (mobile) IT revolution with devices such as i-mode, South Korea has become a centre for mobile DMB (Digital Multimedia Broadband) with the successful implementation of TV mobile phones (TU mobile) in 2005. One of the key features of mobile media technologies is the attempt by the industry to find the next killer application . One such application is the possibility of online multiplayer games accessed through mobile (broadband) telephonic devices such as MMO golf RPG Shot Online (a golf game for mobile phones). Amongst this frenzy of trend spotting and stargazing, Seoul as a mobile broadband and gaming centre provides a curious case study for the social and cultural intricacies informing the rise of gaming as an everyday practice for many Koreans.This article begins by outlining the game play and technoculture particular to South Korea and then explores the phenomenon of Kart Rider in South Korean gaming cultures - and its perception/ reception outside Korea - to sketch some of the issues at stake in playing it cute (particularly in the form of cute avatars), consuming Korea and the endurance of co-present communities. In particular, it contemplates the implications of current emerging online mobile gaming genres such as so-called female games such as the cute' Kart Rider in order to think about changing modes of game play and attendant social spaces.
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This collection of essays explores the mosaic of East Asian cinema by focusing on issues of identity, history and trans-regional cultural flow withnin this dynamic region. The argument of the editors is firstly, cinematic cross-pollination within East Asian film has been a constant since 1945, and second, any discussion of the complex identity of East Asia and its national cinemas must consider regional historical issues. These arguments run counter to recent literature published in the field of East Asian cinema that claim responses to Western globalization and modernization are the shaping forces for Asian cultural identity.
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The US Army developed multiplayer online First Person Shooter video game, America's Army, was examined as the first instance of an entirely state-produced and directed enterprise leveraging video game popular culture. Specifically, this study is concerned with the potential of the America's Army gamespace as a US civilian-military public sphere of the Information Age, as assessed through Habermasian theories of democratic communication. Interview fieldwork was carried out in several America's Army game communities including those of real-life military personnel, Christian Evangelicals, and hackers. The political activities of these exceptional game communities are considered for the ways they escape and transcend current critical theories of Internet-based public spheres.
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Globalization of Japanese popular culture is reshaping the global cultural landscape. Some forms of Japanese popular culture (such as video games animation and sushi) are well-received internationally, whereas others (such as pop music, films and TV dramas) are only popular in Asia. Of all forms of Japanese popular culture, video game is perhaps the most powerful due to its strong universal appeal. It has dominated the world market since the mid-1980s. This article uses Singapore as a case study to demonstrate the global popularization of Japanese video games. There has been a boom of Japanese popular culture in Singapore in the 1990s. In particular, Japanese video games, comics and animation have become an integral part of youth culture in Singapore (Ng, March 2000: 234-246; Ng, May 2000: 44-56; Ng, June 2000: 1-14). Video game is a neglected topic in cultural studies. Although there are some basic studies of Japanese video games in the Western world (Hayes & Disney, 1995; Herz, 1997; Kinder 1991; Monopolies, 1995; Sheff, 1993), its impact in Asia is largely unknown. This article is a preliminary study of the Japanese video game culture and industry in Singapore from historical and socio-cultural perspectives, focusing on consoles, games and players. Based on interviews, questionnaires and data from newspapers and magazines, this research aims at pro viding a general overview of the history and impact of Japanese video games in Singapore. All the data and analyses are basic and this is beyond the scope of this paper to discuss any particular issue or theory in details. This paper consists of four sections. The first three sections outline the development of home video game consoles, handheld electronic games and game arcades respectively. The concluding section pinpoints the characteristics of the video
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