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La crise d'Oka marque un véritable moment de rupture dans lesrelatlons entre les premiers peuples et les colonies de peuplement. Dans les suites immédiates de l’échec de l’accord du lac Meech, ce long siège armé de 78 jours rend visible une présence autochtone que les sociétés québécoise et canadienne avaient imaginée évanouie. Àl’inverse, l’opposition à l’empiétement mis en œuvre à Kanehsatàke età Kahnawàke réactive une longue histolre de résistance au projet colonial d'appropriation des terres et d'effacement des peuples autochtones. Ce livre envisage la crise d'Oka, ou la résistance à Kanehsatàke, comme un espace de focalisatlon où se donne à voir larelation globale entre les peuples. Qu'est-ce que l'événement fait surgir, transforme et crée, dans la scénographie du siège, mais aussi dans les films documentaires et les récits littéraires, autochtones et allochtones? À l'heure où une nouvelle génération revient sur cette crise politique aux enjeux non résolus, ce livre ouvre un espace où entrent en relation et s'affrontent différents intérêts, connaissances et expressions relatifs à ce conflit territorial. Il engage une réflexion épistémologique essentielle à un processus de décolonisation aussi impératif qu'exigeant.

One may argue that Chinese television has already received more than its fair share of attention in the study of Chinese media. As compared with radio and cinema, which developed in the socialist era (1949-78), television has been seen as the dominant medium in the decades of marketization and economic reforms since the late 1970s (Zhu and Berry 2008 ). Television has been studied as a metonym for the ongoing tension and complicity between the Chinese state and the market (e.g., Zhao 1998 ; 2008a) and as a metaphor for the contradictions between a legacy of socialist rhetoric and ethos and a neoliberal market agenda. It is precisely these contradictions that make up what is often referred to as the ‘Chinese characteristics’ (Zhao 2008a; Sun and Zhao 2009 ) of China’s television culture.

Television dramas, both serials and series, have been a long-term recruiter of large-scale national audiences for television broadcasters as they are potentially able to speak to their audience in affective and imaginative ways (Chan 2011 ; Sun and Gorfi nkel 2014). Usually it is the locally produced drama that resonates most with a national audience, the familiarity of the setting and context often carrying signifi cant implications for social and sometimes political life (Blandford et al. 2011 , Chan 2011 ). These television texts can pick up on popular strands of discourses in the public sphere and succeed in establishing a form of dialogue with audiences; in the instances examined in this chapter, this dialogue is about the formation of national identities or citizenships. There is good reason, then, for broadcasters and governments to attempt to use television drama to educate and persuade, although Sugg and Power ( 2011 : 26-7), long-term drama producers at the BBC World Service Trust, warn that for dramas to succeed in this manner, they first have to be entertaining, otherwise they are unlikely to generate an audience in the fi rst place. Audiences are not easily fooled and can sniff out the difference between being entertained and being preached at in a didactic way. This chapter deals with a period in the history of Singapore where television historical drama played a signifi cant role in creating a national past upon which the promotion of a distinctive national identity might be based. In addition to a consideration of a selection of drama series themselves, the chapter draws upon interviews where viewers are encouraged to share their memories of these dramas, and the part they played in the construction of a Singaporean identity.

"Native Studies Keywords explores selected concepts in Native studies and the words commonly used to describe them, words whose meanings have been insufficiently examined. This edited volume focuses on the following eight concepts : sovereignty, land, indigeneity, nation, blood, tradition, colonialism, and indigenous knowledge. Each section includes three or four essays and provides definitions, meanings, and significance to the concept, lending a historical, social, and political context. Take sovereignty, for example. The word has served as the battle cry for social justice in Indian Country. But what is the meaning of sovereignty? Native peoples with diverse political beliefs all might say they support sovereignty-without understanding fully the meaning and implications packed in the word. The field of Native studies is filled with many such words whose meanings are presumed, rather than articulated or debated. Consequently, the foundational terms within Native studies always have multiple and conflicting meanings. These terms carry the colonial baggage that has accrued from centuries of contested words. Native Studies Keywords is a genealogical project that looks at the history of words that claim to have no history. It is the first book to examine the foundational concepts of Native American studies, offering multiple perspectives and opening a critical new conversation"--Résumé du site web de l'éditeur

Film scholarship on the movie-making, movie-viewing, and movie-circulating practices that have developed since the mid-1990s in China has appropriately emphasized the role played by the rise of digital video (DV) and its impact on independent and, in particular, documentary filmmaking. In this chapter, I want to explore one line of development in DV independent production that has received much less attention—what I call animateur cinema—which concerns short digital animations that are made by and/or circulated for online (or on-mobile) moviemakers/viewers. Fan-originated digital animation or egao animation can also be found online, but my focus is on animateur cinema

The call for the “De-Westernization” (Curran & Park, 2000) of media studies hasattracted much attention in recent years. It is generally associated with the need to giveserious considerations to media systems outside the West. This paper critically reviewsthe meaning of “de-Westernization,” and argues that the main challenge is not simply to broaden the geographic scope by considering cases from the global South. The inclusionof non-Western cases could lead to the consolidation of “area studies”, a balkanizedresearch that may not contribute to a common set of questions and unifying theories.Instead, it is necessary to approach de-Westernization in order to promote cosmopolitanscholarship, an analytical approach that is open to the globalization of problems andacademic production. Rather than being constrained by geographical divisions, de-Westernization should help to expand analytical perspectives and brings theoretical andcomparative questions to the forefront of media studies.

Soul! was where Stevie Wonder and Earth, Wind & Fire got funky, where Toni Morrison read from her debut novel, where James Baldwin and Nikki Giovanni discussed gender and power, and where Amiri Baraka and Stokely Carmichael enjoyed a sympathetic forum for their radical politics. Broadcast on public television between 1968 and 1973, Soul!, helmed by pioneering producer and frequent host Ellis Haizlip, connected an array of black performers and public figures with a black viewing audience. In It's Been Beautiful, Gayle Wald tells the story of Soul!, casting this influential but overlooked program as a bold and innovative use of television to represent and critically explore black identity, culture, and feeling during a transitional period in the black freedom struggle.

Since its beginning in the early 1990s, independent Chinese documentary has steadily built a reputation with its unflinching presentation of the underbelly of China’s economic boom and social sea changes. Individuals and groups whose experiences register the drastic costs of this process have become the most natural and common subject matter of independent documentaries. From the struggling artists who were among the first to quit state employment and go independent in Bumming in Beijing (Wu Wenguang 1990) to the art-aspiring young migrants from the rural area in The Other Bank (Jiang Yue 1995), from the homeless youngsters in Along the

This paper looks at five documentaries on activism around ending the practice of female genital cutting (FGC) in Africa. All were made by or in partnership with UK and US producers and are distributed by the New York-based non-profit media arts organization Women Make Movies. By tracing changing political and representational strategies in feminist documentaries on the issue and the varying terms on which the films engage their subjects and address their viewers, the chapter aims to put the specificity of independent documentary formats, practices, and institutions in dialogue with feminist theoretical critiques of the wider discourse on women's human rights. The chapter looks at Kaplan and Grewal's critique of the neo-colonialism of Alice Walker and Pratibha Parmar's Warrior Marks, the observational strategies of Kim Longinotto's The Day I Will Never Forget, the diasporic dimensions of Mrs. Goundo's Daughter and Sarabah, and the visual rhetoric of human rights models in Equality Now's Africa Rising. The cultural field of documentary constitutes a public sphere in which activist and theoretical debate, contested reception, and continually renewed cultural production articulate the productively shifting terms of transnational feminism.

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.

In 1990s post-Reform China, a growing number of people armed with video cameras poured out upon the Chinese landscape to both observe and contribute to the social changes then underway. This digital turn has given us a 'DV China' that includes film and media communities across different social strata and disenfranchised groups. This study takes stock of these phenomena by surveying the social and cultural landscape of grassroots and alternative cinema practices

The films of director Gan Xiao’er are the first narrative features to take up Chinese Christians in their everyday concerns. This chapter discusses a pair of his films, one a fiction feature, the other a documentary made about taking that feature on the road and showing it in churches. It is about filmmaking practice—and especially documentary—as social occasion, as the concatenation between people of self-reflective moments of cultural creativity and critique. By social occasion, I mean that Gan has documented in the second film the moments of self-conscious “participation” in the fiction feature and in the documentary itself.

This research examined the identity development of Korean adult players in the online game world. Q methodology was used to investigate the subjectivity of self-development in Mabinogi (Massive Multiplayer Online Role-Playing Game). Thirty-seven adult players sorted 57 behavior statements to reflect the changes in their behaviors from past to present. Three types of self-development were found: achievement-oriented development, control-oriented development, and relational development. The behavior patterns of these three types were compared to identify similarities and differences among them in terms of psychological meanings and values in the online game life. The results illustrate that the online game world can be defined as a new behavioral setting, made possible by digital technology, in which individuals are able to experience three different paths of identity development.

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.

Paix, pouvoir et droiture : un manifeste autochtone, qui tire sa structure des chants rituels de la cérémonie de condoléances rotinohshonni, appelle toutes les Premières Nations à prêter attention aux messages des ancêtres afin de développer une philosophie visant à contrer l'assimilation. L'essai de Taiaiake Alfred est un véritable plaidoyer en faveur de droits et de l'autodétermination des peuples autochtones. Ce manifeste se veut avant-gardiste proposant des pistes de réflexion inédites ayant significativement participé à améliorer la compréhension des enjeux des Première Nations de l'Amérique du Nord.

The chapter argues that Paul Ricouer’s hermeneutics offers a way forward in examining not only the ideological and narrative structures of television, but also particular modalities through which viewers appropriate and interpret televisual texts. To this end, the chapter shall sketch an analytic framework by bringing together Ricoeur’s hermeneutic philosophy, particularly his concepts of narrative identity and temporality, and the notion of social imaginaries developed by postcolonial theory in a productive dialogue. Ricoeur’s hermeneutics presents an understanding of the human subject in terms of an embodied subjectivity that takes us beyond singular conceptions of identity, whether in terms of the abstract Cartesian subject, or various other discourse-centred theorizations of subject. The chapter demonstrates that the notion of embodied subjectivity and social imaginaries enable a better grasp in examining the articulations of class, caste, gender, and religious identities on Indian television.

The Internet distribution of lesbian-focused films seen as an example of the ways in which independent producers and distributors are offering their films for sale on the web. Incl. a table comparing costs and number of films available across a range of legal and illegal sites.

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.