Rechercher

In mainstream media, gays and lesbians of color are either woefully present or predictably absent. The litany of black gay and lesbian characters in Hollywood films and network television reads like its own form of blackface. They range from the burly, black “bulldagger” as whore house madam in the 1933 film The Emperor Jones (starring Paul Robeson) to the predatory lesbian vamp in Spike Lee’s 1983 She’s Gotta Have It ; from Eddie Murphy’s ultracamp Miss Thing hairdresser on NBC’s Saturday Night Live to the snap! queen duo on Fox TV’s In Living Color. These relentless stereo types are part of

People of color comprise a large proportion of the US player base, yet are systematically and grossly underrepresented in digital games. We constructed a survey to assess if players perceive this underrepresentation, how they experience these representations, and sample their beliefs about diversity and gaming. Mixed-methods analyses show significant differences between players of color and White players on perception of racial norms in gaming, effects on behavior, emotions, player satisfaction, engagement, and beliefs stemming from a lack of diversity. Players from all races-ethnicities overwhelmingly expressed a desire for greater diversity. We discuss reasons why our methodology shows higher dissatisfaction than previous research and discuss our findings in the context of industry's challenge to meet audience demands for greater racial diversity in games.

Interview With Ben Joseph P. Banta, Founder Of Ranida Games

Interview with With Kurt Prieto, Games Designer Of Boo! Dead Ka! Game

Interview with Ryan Sumo, Lead Artist/Business Developer at Squeaky Wheel Studio

Bringing Latin American popular art out of the margins and into the center of serious scholarship, this book rethinks the cultural canon and recovers previously undervalued cultural forms as art. Juan Ramos uses "decolonial aesthetics," a theory that frees the idea of art from Eurocentric forms of expression and philosophies of the beautiful, to examine the long decade of the 1960s in Latin America--a time of cultural production that has not been studied extensively from a decolonial perspective. Ramos looks at examples of "antipoetry," unconventional verse that challenges canonical poets and often addresses urgent social concerns. He analyzes the militant popular songs of nueva canción by musicians such as Mercedes Sosa and Violeta Parra. He discusses films that use visually shocking images and melodramatic effects to tell the stories of Latin American nations. He asserts that these different art forms should not be studied in isolation but rather brought together as a network of contributions to decolonial art. These art forms, he argues, appeal to an aesthetic that involves all the senses. Instead of being outdated byproducts of their historical moments, they continue to influence Latin American cultural production today.

Shari Frilot is a filmmaker and curator whose creative practice has been driven by sustained explorations of sexuality, technology, desire, cosmic and subatomic structures, mixed-raced identity, and chaos. She has often expressed her modus operandi in the following terms: “It’s impossible to see a cloud when you’re in the middle of it. You have to move outside of the cloud to really get a sense of it.” By continually shifting between the outside and inside of a given framework—whether institutional or personal—Frilot has developed keen modes of challenging conventional structures for understanding and engaging the moving image.

Shelley Niro is widely known for her ability to explode myths, transgress boundaries and embody the ethos of her matriarchal culture in a wide variety of mediums including photography, installation, film and painting. Niro creates photographic series that emphasize the medium?s inherent capacity for narrative and representation. She pushes the limits of photography by incorporating Mohawk imagery, re-appropriating traditional stories such as Skywoman and The Peacemaker, and by focusing on contemporary subjects with wit, irony and campy humor. Niro marries portraiture, performance art and satire by having her subjects and herself perform for the camera in ways that gently invite audiences to rethink their beliefs and preconceptions about indigenous peoples and themselves. With compassion and deep insight, Niro opens up the fault lines and desires of gender, sexuality and culture to create images of freedom from the status quo in representation. Photography was a medium that helped subjugate indigenous peoples, but in Niro?s revolutionary hands it empowers

In lieu of an abstract, here is a brief excerpt of the content: introduction While digital games hold promise for learning and socialization, emerging research and popular debates have critiqued inclusive access to these practices and literacies. This essay examines digital games for their potential to integrate diverse individuals and communities for learning and socialization, especially in online play and broadcasting of gameplay. For example, a level of cultural competency can be attained in well-developed games to overcome essentialist notions and assumptions about women and people of color. Using Black Cyberfeminism as a theoretical lens to make sense of players’ experiences, and Racialized Pedagogical Zones (RPZs) as an analytical frame to situate digital games’ entrenched ideologies of race and racism, we contend that games offer highly unproblematized depictions but have extreme potential for cultural competency. We further utilize Communities of Practice (CoP) as a frame for understanding and interrogating equitable access to community-supported collaborative learning and mastery within game culture, more broadly, and interest-driven guilds, clans, and affinity spaces, more specifically. In our extension of CoP, we integrate inclusive to highlight the resistive and resilient strategies employed by supportive communities for diverse women in addressing the systematic nature of oppression and power relations that undergird communities of practice, particularly in marked gendered spaces such as gaming. Marginalizing practices in game culture have become more widely publicized and understood in recent years, most notably because of high profile incidents of harassment. However, representations of women and racial or ethnic minorities by the gaming industry have also been problematic historically. For instance, since the 1980s video games have been critiqued for the hypersexualization of women and women are often the victims of misogynistic [End Page 112] vitriol, as the incidents around Gamergate have exposed. People of color are featured in largely stereotypical ways and are all but absent from the gaming industry. Queer gamers and gamers with dis/abilities are almost entirely absent and, when present, are not depicted fairly. This differential treatment appears to have a symbiotic relationship with the exclusion of marginalized players. As researchers have noted, Internet technologies and virtual communities operate in a manner that benefits privileged identities. These unequal power relations are accepted as legitimate and are embedded in the cultural practices of digital technology. Nevertheless, many gamers—most notably women—have resisted this perpetual state of inequity and the dominant narrative of power, control, and exclusion. Although some in gaming contend that these are not overt practices of exclusion, many players and scholars acknowledge the existence of symbolic exclusion, where those who are valued have the privilege to define legitimate practice and participation within gaming culture. The unequal power relations operating within the gaming community influence not only what gamers consume but also what they learn about themselves and others. Further, the racialized and gendered consumptive practices through gaming are often taken for granted. Commercial gaming culture is, with few exceptions, complicit in these exclusionary practices by continuing to design at a deficit, despite these increasingly apparent realities. But many gamers have begun to resist and challenge not only the imagery but also the practices that sustain white, masculine privilege within gaming and technology in general. While these practices have yet to reach a critical mass to disrupt the power structure operating within game culture as a whole, they exist counter to the mainstream and empower the marginalized operating within them. While the literature will provide an overview of these practices, our purpose is to privilege the resistance and resilience strategies of the marginalized to disrupt the traditional narrative while they empower themselves. We utilize Kimberlé Crenshaw’s framework of intersectionality to reflect on identity, recognizing that “the problem with identity politics is not that it fails to transcend difference, as some critics charge, but rather the opposite—that it frequently conflates or ignores intragroup differences.” We also want to caution that while we focus on players who have historically been the marginalized in gaming culture and game research, we recognize that men...

En el presente trabajo nos proponemos reflexionar sobre el surgimiento de la categoría Fotografía Latinoamericana hacia fines de la década del setenta. Una reflexión sobre las prácticas fotográficas que refleja un intento de descolonizar las definiciones y categorías sobre la fotografía realizada en América Latina.Desde aquel momento, se estableció un concepto que englobaba bajo una misma rúbrica la fotografía latinoamericana y la representación del Ser latinoamericano, su identidad y su historia compartida en las diferentes naciones de la región. Una definición que cambia en los años noventa donde puede observarse una renovación de los modos de representación que complejizan las miradas sobre el pasado colonial y la heterogeneidad de nuestras identidades.Tras el análisis general de la búsqueda de definir una práctica cultural desde una perspectiva poscolonial de la fotografía latinoamericana, buscaremos centrarnos en el caso de la fotografía brasileña en dicho período.

Se trata de revisar las concepciones canónicas de la modernidad artística latinoamericana desde una perspectiva crítica y situada desde los estudios decoloniales y el hacer en las cátedras Historia de las Artes Visuales III e Historia de la Música III de la Facultad de Bellas Artes de la Universidad Nacional de La Plata. En ambas materias se trabajan contenidossobre las artes locales, nacionales y latinoamericanas/sudamericanas, en comparación conlos movimientos europeos de la modernidad y la contemporaneidad. Este proyecto revisa algunas líneas historiográficas recientes sobre la historia y la teoría de las artes locales ylatinoamericanas. Se revisarán, también, algunos casos de producciones artísticas.

How have video games evolved to now create meaningful stories about race and sports? This essay examines how Spike Lee's film-within-a-game, Livin' Da Dream (2015), reproduces some existing procedural and racial logics that reflect the desire to constantly manage and contain the centrality of black athletic greatness in mainstream sports and video game culture. While Lee's long-form cinematic model for turning sports video games into narrative games has been emulated across the medium as a whole, fans and gamers continually discuss the film as an evidently "broken" part of the popular NBA 2K video game series. As I argue here, however, the film-within-a-game productively insists on a default blackness when it functions as what I call "procedural cinema" (a rules and process based narrative). Ultimately, in functioning procedurally, Lee's otherwise conservative melodramatic story serves as a particularly instructive example of how computational blackness may, in systematically subverting the rules of the game, signify disruptively both within and against the machine.

"Although the fields of media studies and digital humanities are both well established, their overlaps have not been examined in depth. This comprehensive collection fills that gap, giving students, scholars, and media studies practitioners a cutting-edge guide to understanding the array of methodologies and projects operating at the intersection of digital humanities, computing, and culture. Topics covered include: networks; interfaces; media and culture at scale; procedures, programming, code; memory, digitization, and new media; and hacking, queering, and bending."--Provided by publisher

On parle beaucoup au Québec, comme dans le reste du Canada, de réconciliation avec les Premières Nations. Mais pour qu'un rapprochement fécond puisse avoir lieu, qu'une nouvelle ère, égalitaire et respectueuse, s'ouvre, le cadre constitutionnel canadien ne peut à lui seul en définir les règles. Toute entente devra aussi tenir compte des traditions autochtones. C'est dans ce contexte que le livre de Leanne Simpson trouve toute sa pertinence. L'auteure s'y demande comment redonner force, consistance et valeur à un héritage politique, juridique et culturel mis à mal par le processus colonial. D'une façon aussi concrète que tonique et audacieuse, elle y explore la langue, les mythes, les coutumes et les expériences de sa culture ancestrale afin de recouvrer et révéler cette manière singulière et originale d'être au monde trop longtemps méprisée. Si l'entreprise est inspirante pour toute communauté issue des Premières Nations, elle l'est également pour quiconque s'intéresse aux contradictions de la modernité occidentale. -- [Renaud-Bray]

L’article part de la notion wendat d’ohtehra’ pour développer une approche de l’art contemporain autochtone comme processus de « ré-ensauvagement » à l’œuvre, entre autres, chez les artistes Kent Monkman (Cri-Irlandais) et Caroline Monnet (Anishinaabe-Française). L’auteur, en s’appuyant sur les théoriciens Deborah Doxtator (Kanien’kehá:ka), Georges Emery Sioui (Wendat) et Taiaiake Alfred (Kanien’kehá:ka) propose également une analyse de l’autochtonie en Amérique du Nord comme un fait glocal d’Américité.

Video games are inherently transnational by virtue of their industrial, textual and player practices. Until recently, the focus of research on the social and cultural aspects of video games has been on the traditional centers of the video game industry consumption, while the international flows of digital gaming remained largely underexplored. This chapter analyzes the cultural dynamics and technological processes influencing both video game development and the gaming culture in the Middle East. It conceptualizes Middle Eastern video games as imaginary spaces that entangle diverse and contradictory processes: global cultural flows, media policies of nation states, visions and engagements of private entrepreneurs, and migration and appropriation of Western game genres and rule systems. By mapping out dominant trends, the chapter offers the opportunity to think about processes and flows influencing the video game industry in the Middle East during the first fifteen years of its existence

It is the twenty-first century, and there is a black lesbian director and producer making pornography! Porn, a genre of film and media that in the last quarter of the twentieth century many black feminist lesbians viewed as capable only of representing and manifesting violence, abuse, and shame. In this essay I examine one of the early works of the black lesbian filmmaker Shine Louise Houston, In Search of the Wild Kingdom (2007), to explore how and why we have arrived at what is a transition from Blues Legacies and Black Feminisms to Pink and White Productions, and from New

This book examines the representation of blackness on television at the height of the southern civil rights movement and again in the aftermath of the Reagan-Bush years. In the process, it looks carefully at how television's ideological projects with respect to race have supported or conflicted with the industry's incentive to maximize profits or consolidate power. Sasha Torres examines the complex relations between the television industry and the civil rights movement as a knot of overlapping interests. She argues that television coverage of the civil rights movement during 1955-1965 encouraged viewers to identify with black protestors and against white police, including such infamous villains as Birmingham's Bull Connor and Selma's Jim Clark. Torres then argues that television of the 1990s encouraged viewers to identify with police against putatively criminal blacks, even in its dramatizations of police brutality. Torres's pioneering analysis makes distinctive contributions to its fields. It challenges television scholars to consider the historical centrality of race to the constitution of the medium's genres, visual conventions, and industrial structures. And it displaces the analytical focus on stereotypes that has hamstrung assessments of television's depiction of African Americans, concentrating instead on the ways in which African Americans and their political collectives have actively shaped that depiction to advance civil rights causes. This book also challenges African American studies to pay closer and better attention to television's ongoing role in the organization and disorganization of U.S. racial politics.