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In this article I argue that the structural conditions of global capitalism and postcolonialism encourage game developers to rearticulate hegemonic memory politics and suppress subaltern identities. This claim is corroborated via an application of Edward Herman and Noam Chomsky's propaganda model to the Japanese-developed video game Metal Gear Solid V: The Phantom Pain. This case study highlights that the hegemonic articulations of colonial histories are not exclusive to Western entertainment products where instead modes of production matter in the 'manufacturing of mnemonic hegemony'. I also propose that the propaganda model, while instructive, can be improved further by acknowledging a technological filter and the role of the subaltern. Thus, the article furthers the understanding of the relation between production and form in contemporary technological phenomena like video games and how this relation motivates hegemonic articulations of the past in contemporary mass culture. ; In this article I argue that the structural conditions of global capitalism and postcolonialism encourage game developers to rearticulate hegemonic memory politics and suppress subaltern identities. This claim is corroborated via an application of Edward Herman and Noam Chomsky's propaganda model to the Japanese-developed video game Metal Gear Solid V: The Phantom Pain. This case study highlights that the hegemonic articulations of colonial histories are not exclusive to Western entertainment products where instead modes of production matter in the 'manufacturing of mnemonic hegemony'. I also propose that the propaganda model, while instructive, can be improved further by acknowledging a technological filter and the role of the subaltern. Thus, the article furthers the understanding of the relation between production and form in contemporary technological phenomena like video games and how this relation motivates hegemonic articulations of the past in contemporary mass culture. ; In this article I argue that the structural conditions of global capitalism and postcolonialism encourage game developers to rearticulate hegemonic memory politics and suppress subaltern identities. This claim is corroborated via an application of Edward Herman and Noam Chomsky's propaganda model to the Japanese-developed video game Metal Gear Solid V: The Phantom Pain. This case study highlights that the hegemonic articulations of colonial histories are not exclusive to Western entertainment products where instead modes of production matter in the 'manufacturing of mnemonic hegemony'. I also propose that the propaganda model, while instructive, can be improved further by acknowledging a technological filter and the role of the subaltern. Thus, the article furthers the understanding of the relation between production and form in contemporary technological phenomena like video games and how this relation motivates hegemonic articulations of the past in contemporary mass culture.

How do global audiences use streaming platforms like YouTube, Netflix and iPlayer? How does the experience of digital video change according to location? What strategies do people use to access out-of-region content? What are the commercial and governmental motivations behind geoblocking? Geoblocking and Global Video Culture explores the cultural implications of access control and circumvention in an age of VPNs. Featuring seventeen chapters from diverse critical positions and locations – including China, Iran, Malaysia, Turkey, Cuba, Brazil, USA, Sweden and Australia.

"Indigenous video", a disputed signifier between different agents, fields of knowledge and cultures, is a controversial field for anthropology. This article explores, on the one hand, the conceptualizations about indigenous video in anthropology and, on the other hand, the definitions offered by indigenous organizations and filmmakers. It confronts them to question ethnographic authority, indigenous thought, and the politics of knowledge when it is produced using audiovisual technologies. Finally, it delves into the life, the discourse, and the work of the Ecuadorian filmmaker Alberto Muenala as an example of visual alter-anthropology. ; El "video indígena", un significante en disputa entre distintos actores, campos de saber y culturas, plantea una controversia para la antropología. Este artículo explora, por un lado, las conceptualizaciones acerca de este en antropología y, por otro, las definiciones ofrecidas por organizaciones y cineastas indígenas. A partir de esta confrontación cuestiona la autoridad etnográfica y el pensamiento indígena en el contexto de las políticas del saber producidas mediante las tecnologías audiovisuales. Por último, ahonda en la vida, el discurso y la obra del cineasta ecuatoriano Alberto Muenala como ejemplo de alter-antropología visual. ; O "vídeo indígena", um significante em disputa entre diferentes atores, campos de saber e culturas, propõe uma controvérsia para a antropologia. Por um lado, este artigo explora as conceituações sobre o vídeo em antropologia; por outro, as definições oferecidas por organizações e cineastas indígenas. A partir desse confronto, questiona a autoridade etnográfica e o pensamento indígena no contexto das políticas do saber produzidas mediante as tecnologias audiovisuais. Por último, aprofunda na vida, no discurso e na obra do cineasta equatoriano Alberto Muenala, como exemplo de alterantropologia visual.

PLASMATIC (Advanced Predictive Maintenance for the Valencian plastic industrial sector) is a project funded by the Valencian Institute for Business Competitiveness (IVACE) and the European Union through the European Regional Development Fund (FEDER). The general objective of this project is to help the Valencian plastic sector companies to incorporate solutions from the so-called Factory 4.0, via knowledge and technologies in the fields of Big Data, Machine Learning and Business Intelligence. The main result will be an advanced predictive maintenance system to deal with: (i) anomalies detection; (ii) wear prediction; and (iii) maintenance planning optimization. This document shows, in video format,the main project result: SMPa. ; PLASMATIC. Project funded by the Valencian Institute of Business Competitiveness (IVACE) and European Union through the European Regional Development Fund (ERDF), within the public grant program adressed to Technological Institutes of the Valencian Community for the development of non-economic R&D projects carried out in cooperation with companies during 2017 with 157.381€. File number: IMDEEA/2018/88

"Netflix and Streaming Video is the first book to provide a comprehensive foundation for understanding the business of subscriber-funded streaming video and its implications for the role of these services in culture. Drawing on Lotz's two decades of research, it highlights the similarities and differences among streaming video services (Netflix; Amazon) and video distribution technologies (broadcast; satellite; internet). Making a number of provocative and thought-provoking arguments, the book first reveals how the reliance on subscriber payment and video on demand produces different norms and strategies compared to previous video businesses. It then investigates Netflix and how its particular blend of characteristics distinguishes it from other subscriber-funded video on demand services. The author expertly shows that, by understanding the underlying economic and technological dynamics of these services (and their differences), it is possible to better assess the actions taken by the companies and what the future of video may encompass. The book is a must-read for students and scholars of Media and Communications Studies, as well as those wishing to learn more about Netflix and streaming video services."--publisher.