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"An innovative and important contribution to Indigenous research approaches, this revised second edition provides a framework for conducting Indigenous methodologies, serving as an entry point to learn more broadly about Indigenous research."--

The popularity and visibility of video games within American popular culture is prompted debates within from a spectrum of institutions, ranging from the media and the academy to Main Street and the political sphere. Erasing the complexity, much of the discourse focuses instead on questions of violence and the impact of gaming culture on (White) American youth. While focusing on Grand Theft: San Andreas specifically, this essay explores the culture wars surrounding American video game culture, arguing that the moral panics directed at video games and the defenses/celebrations of virtual reality operate through dominant discourses and hegemonic ideologies of race. Erasing their racial content and textual support for state violence directed at communities of color, the dominant discourse concerning youth and video games rationalizes the fear and policing of Black and Brown communities.

This chapter examines and responds to the silencing, resistance to any intrusion of questions about race and racism, and overall erasure of race from the debates and broader discourse concerning video game culture. It not only provides insight into the nature and logics guiding claims of colorblindness, but also connects the ideologies and culture of denial to the broader racial discourse of post-civil rights America. Hoping to inspire debate and transformative knowledge sharing, this chapter additionally offers a textually-based racial analysis of Outlaw Volleyball as an example of the type of critical examination required to move beyond a culture that often reduces bodies and voices of people of color to objects of gaze, ridicule, and consumption while denying any sorts of criticism and questions regarding the racial meaning and texts evident within much of today’s gaming.

In the wake of 9/11, US popular culture has played an important role in the manufacture of consent and the mediation of contradictions. In particular, video games have aff orded the production of interactive, narrative spaces for the reassertion of race, nation, and gender. Through a close reading of two video games, Gun and Ghost Recon Advanced Warfighter 2, we unpack the insecurities of empire and how racialized violence, colonial categories, and territorial claims work to resecure Whiteness, masculinity, and Americanness. Special attention is given to the militarization of video games and rhetorical struggles over the meaning of race and culture amid the ‘War on Terror’.

This paper approaches the debate over the notion of “magic circ-le” through an exploratory analysis of the unfolding of identities/differences in gameplay through Derrida’s différance. Initially, différance is related to the notion of play and identity/difference in Derrida’s perspective. Next, the notion of magic circle through Derrida’s play is analyzed, emphasizing the dynamics of diffé-rance to understand gameplay as process; questioning its boun-daries. Finally, the focus shifts toward the implications of the interplay of identities and differences during gameplay.

New Flows in Global TV provides a pioneering investigation into television distribution worldwide and the global trade in television program formats. Topics include explorations of how shows like Who Wants to Be a Millionaire? and Big Brother are reformatted for audiences in diverse markets such as Argentina, South Africa, the Middle East, and China; the international circulation of Dallas in the 1980s; and Australian and United Kingdom programming exports in the last decade. Moran argues that distribution is the crucial link in a chain that dictates the consumption and purchase of television content. Consequently, New Flows in Global TV will be a key text for scholars of global media, providing comprehensive insight into the cultural, social and economic exchanges underlying media programming.

While the violent content of video games has caused wide concern among scholars, gender, and racial stereotypes in video games are still an understudied area. The purpose of this chapter is to provide a better understanding of the stereotypical phenomenon in video games. The book chapter first provides a comprehensive review of previous studies conducted upon gender-role and racial portrayals in video games. Then a small-scale content analysis on a sample of official trailers, introductory sequences and covers of 19 of the most popular video games is introduced. Finally, the implications of stereotype in video games and the possible social and psychological impacts on players, especially adolescent players, are discussed.

Extending Alexander Galloway’s analysis of the action-image in videogames, this essay explores the concept in relation to its source: the analysis of cinema by the French philosopher Gilles Deleuze. The applicability of the concept to videogames will, therefore, be considered through a comparison between the First Person Shooter S.T.A.L.K.E.R. and Andrey Tarkovsky’s film Stalker. This analysis will compellingly explore the nature of videogame-action, its relation to player-perceptions and its loca-tion within the machinic and ludic schema.

This article examines the racialization of informational labor in machinima about Chinese player workers in the massively multiplayer online role playing game World ofWarcraft. Such fan-produced video content extends the representational space of thegame and produces overtly racist narrative space to attach to a narrative that, whilecarefully avoiding explicit references to racism or racial conflict in our world, is premised upon a racial war in an imaginary world*the World of Azeroth. This profiling activityis part of a larger biometric turn initiated by digital culture’s informationalization of thebody and illustrates the problematics of informationalized capitalism. If late capitalism ischaracterized by the requirement for subjects to be possessive individuals, to make claims to citizenship based on ownership of property, then player workers are unnatural subjects in that they are unable to obtain avatarial self-possession. The painful paradox of this dynamic lies in the ways that it mirrors the dispossession of information workers in the Fourth Worlds engendered by ongoing processes of globalization. As long as Asian ‘‘farmers’’ are figured as unwanted guest workers within the culture of MMOs, user-produced extensions of MMO-space like machinima will most likely continue to depict Asian culture as threatening to the beauty and desirability of shared virtual space in the World of Warcraft.

Even video games by Asian creators tend to depict primarily white characters or reference Asian stereotypes such as kung fu fighters or yakuza thugs. Games depicting the Vietnam war are particularly troubling for Asian players expected to identify with white characters. As the game industry continues to expand, its representation of Asians and Asian Americans must change.

Catalogue d'exposition avec des textes de Ryan Rice; Jason Baerg; Lori Blondeau; Martin Loft; Cathy Mattes; Nadia Myre; Ariel Lightningchild Smith.

Catalogue d'exposition. This exhibition includes art from artists who live in all parts of Saskatchewan, from Wood Mountain in the south to Turner Lake in the north. From youth to elder, the artists mentor others to ensure the ongoing vitality of traditional arts in the province

Catalogue d'exposition

This chapter examines the relationship between culture, economics and policy within the creative industries (which for the purposes of this paper, are assumed to be equivalent to the cultural industries), and their manifestation in Asia. Addressing any one of these three issues is a challenge in itself, but addressing all three of them together raises the complexity even further. Early writers on the “creative economy” have noted how it works differently from the traditional economy (Florida 2002; Howkins 2001).1 Culture is vitally important to understanding how creative industries develop, but the role of culture in shaping national competitive advantage is not that clear. The same can be said for policy, and a discussion of the triad can be quite convoluted. Having said that, all three levels are still very relevant to the proper description of a creative industry — as I will show in this chapter.This paper attempts to address this triad of issues primarily with a production-and-innovation-oriented view of industrial organisation, bringing in creativity, culture and policy where possible. I shall do this primarily through the lens of one sector in particular — the video games industry — in which Asia has been investing heavily lately, and in which Japan has been an early leader. I will also provide a limited focus on the animation sector for comparative purposes. I will first provide a summary of how creative production in video games occurs in the US, followed by an examination of how Asian patterns compare. In particular, I am interested in whether individual and industrial level creativity differs in Asia. Within Asia, more detailed cases of the Chinese online games industry and the Philippine animation industry will be discussed, but relevant observations are also drawn from general knowledge and a literature review of Japan, Korea and Singapore, as well as interviews which corroborate those observations.

A large-scale content analysis of characters in video games was employed to answer questions about their representations of gender, race and age in comparison to the US population. The sample included 150 games from a year across nine platforms, with the results weighted according to game sales. This innovation enabled the results to be analyzed in proportion to the games that were actually played by the public, and thus allowed the first statements able to be generalized about the content of popular video games. The results show a systematic over-representation of males, white and adults and a systematic under-representation of females, Hispanics, Native Americans, children and the elderly. Overall, the results are similar to those found in television research. The implications for identity, cognitive models, cultivation and game research are discussed.

Through close readings of contemporary made-in-Singapore films (by Jack Neo, Eric Khoo, and Royston Tan) and television programs (Singapore Idol, sitcoms, and dramas), this book analyzes the prospects of resistance in an advanced capitalist-industrial society with "global city" aspirations.

This book explores the political, economic, and cultural forces, locally and globally that have shaped the evolution of Chinese primetime television dramas, and the way that these dramas in turn have actively engaged in the major intellectual and policy debates concerning the path, steps, and speed of China’s economic and political modernization during the post-Deng Xiaoping era. It intertwines the evolution of Chinese television drama particularly with the ascendance of the Chinese New Left that favors a recentralization of state authority and an alternative path towards China’s modernization and China’s current administration’s call for building a "harmonious society." Two types of serial drama are highlighted in this regard, the politically provocative dynasty drama and the culturally ambiguous domestic drama. The book also provides cross-cultural comparisons that parallel the textual and institutional strategies of transnational Chinese language TV dramas with dramas from the three leading centers of transnational television production, the US, Brazil and Mexico in Latin America, and the Korean-led East Asia region. The comparison reveals creative connections while it also explores how the emergence of a Chinese cultural-linguistic market, together with other cultural-linguistic markets, complicates the power dynamics of global cultural flows.

This paper describes a current research integrated in an international and interdisciplinary project and developed in a global environment between two different tendencies: integration and desintegration. In this scenary, television narrative arises as an essential tool to create and consolidate new cultural identities in order to get a popular narrative on the concept of nation. El presente texto hace referencia a un estudio en curso1 que se enclava en un proyecto internacional de corte interdisciplinar y que se desarrolla en un escenario global caracterizado por la complejidad y la confrontación dialéctica existente entre las ambivalentes tendencias que se dan a favor de la integración o de la fragmentación. En este escenario, la narrativa televisiva surge como un instrumento determinante en la creación y consolidación de nuevas identidades culturales compartidas, configurándose como una narrativa popular sobre la nación.

While television in today's world increasingly displays a global character, national television systems are still firmly rooted in a specific locality. But in what ways does this locality actually shape the content and performance of national television? What is the significance of local cultures and local languages in these processes of mediation? And how do the local, the national, and the global intersect in discourses of and discourse on television? Taking a critical discourse analysis perspective, Watching Si Doel investigates these and related questions in the context of contemporary Indonesia. Starting from the nationwide popularity of the local television serial Si Doel Anak Sekolahan ("Educated Doel"), it examines the various ways in which the national government, Indonesian television producers, and local audiences shape, interpret, and struggle over the meaning of the phrase 'national television'. In doing so, the book explores what Indonesian television at the turn of the century sounds and looks like--and, significantly, ought to sound and look like--according to those who create and control television and those who watch and interpret it. While providing insight into the production, nature, and reception of television discourse in general, this book particularly seeks to clarify the relationship between television, language, and power in late New Order and post-Soeharto Indonesia.