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This article explores how the political economy of the cultural industries changes through platformization: the penetration of economic and infrastructural extensions of online platforms into the web, affecting the production, distribution, and circulation of cultural content. It pursues this investigation in critical dialogue with current research in business studies, political economy, and software studies. Focusing on the production of news and games, the analysis shows that in economic terms platformization entails the replacement of two-sided market structures with complex multisided platform configurations, dominated by big platform corporations. Cultural content producers have to continuously grapple with seemingly serendipitous changes in platform governance, ranging from content curation to pricing strategies. Simultaneously, these producers are enticed by new platform services and infrastructural changes. In the process, cultural commodities become fundamentally "contingent," that is increasingly modular in design and continuously reworked and repackaged, informed by datafied user feedback.

by Cheung Hiu Wan. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. ; Includes bibliographical references (leaves [135-140]). ; Abstracts in English and Chinese. ; Acknowledgement ; Abstract ; List of figures ; Chapter Chapter 1. --- Introduction ; Chapter 1.1 --- Scope of Study --- p.1 ; Chapter 1.2 --- Literature Review --- p.3 ; Chapter 1.3 --- Methodology --- p.13 ; Chapter 1.4 --- Structure of the Thesis --- p.17 ; Chapter Chapter 2. --- Historical Development of Comics in China ; Chapter 2.1 --- Comics History before1949 --- p.24 ; Chapter 2 . 2 --- Comics under the Reign of Chinese Communist Party --- p.29 ; Chapter 2.3 --- Beijing Cartoon after the Open Door Policy --- p.31 ; Chapter 2.4 --- Concluding Remarks --- p.39 ; Chapter Chapter 3 . --- Interaction with the Leaders of Beijing Publishing House ; Chapter 3.1 --- Leaders´ةExpectation for Beijing Cartoon --- p.41 ; Chapter 3.2 --- The Discrepancy between the Senior and Junior Editors --- p.51 ; Chapter 3.3 --- Editors' Comments on Interaction with the Leaders of the Beijing Publishing House --- p.54 ; Chapter Chapter 4. --- Interaction with the Senior Artists ; Chapter 4.1 --- Cartoon Art Festival98 --- p.57 ; Chapter 4.2 --- The Invasion of Japanese Comics --- p.59 ; Chapter 4.3 --- The Essence of Comics with Chinese Features --- p.63 ; Chapter 4.4 --- The Expected Role of the Chinese Government --- p.67 ; Chapter 4.5 --- The Editors´ة Comments on Cartoon Art Festival98 --- p.68 ; Chapter 4 . --- 6 Concluding Remarks --- p.70 ; Chapter Chapter 5. --- Interaction with the Junior Artists ; Chapter 5.1 --- Social Status of the Junior Artists --- p.12 ; Chapter 5.2 --- Cooperation with Beijing Cartoon --- p.11 ; Chapter 5.3 --- Why do they Join the Comics Business --- p.79 ; Chapter 5.4 --- Agreement and Terms of Payment --- p.87 ; Chapter 5.5 --- Summer Camping: Market Mechanism and Autonomy in Artists' Creation --- p.88 ; Chapter 5.6 --- The Editors' Expectation on the Roles of The Artists --- p.96 ; Chapter 5.7 --- Artists' Comments on the ...

Cover -- Title Page -- Copyright Page -- Dedication -- Contents -- Foreword by Jeffrey Lesser -- Acknowledgments -- A Note on Translation -- Introduction: Diasporas, Unstable Identities, and Nikkei Discourse -- 1. Historical Memory and Claiming Place -- 2. Between Assimilationism and Cultural Celebration -- 3. Female Agency, Nostalgia, and Generational Gaps -- 4. The Impact of World War II on the Nikkeijin -- 5. Contested Modernities: Dekasegi (Self-)Representations and the Nipponization of Brazil -- 6. Brazilian Dekasegi Children in Japanese Film -- Epilogue -- Chronological List of Analyzed Works -- Works Cited -- Index.

This paper analyzes exemplary art projects including and about refugees, projects committed to both, the arts scene and the community they want to serve. Considering the dilemmas of participation, we develop a conceptual framework: In that, we focus on the "figure of the third", playing a split and ambiguous role within the production as well as in the representation of these performances. Using the concept, we try to explain irony and cynicism as rhetorical effects and solidarity and paternalism as political effects. The framework is applied to investigate different stagings of (1) Charges: (The Supplicants) by Elfriede Jelinek and (2) Homohalal by Ibrahim Amir. In these stagings, participation proved to be overburdened with promises, but also allowed for diverse and partly unexpected results.

"Embodied Archive focuses on perceptions of disability and racial difference in Mexico's early post-revolutionary period, from the 1920s to the 1940s. In this period, Mexican state-sponsored institutions charged with the education and health of the population sought to strengthen and improve the future of the nation, and to forge a more racially homogeneous sense of collective identity and history. Influenced by regional and global movements in eugenics and hygiene, Mexican educators, writers, physicians, and statesmen argued for the widespread physical and cognitive testing and categorization of schoolchildren, so as to produce an accurate and complete picture of "the Mexican child," and to carefully monitor and control forms of unwanted difference, including disability and racialized characteristics. Differences were not generally marked for eradication-as would be the case in eugenics movements in the US, Canada, and parts of Europe-but instead represented possible influences from a historically distant or immediate reproductive past, or served as warnings of potential danger haunting individual or collective futures. Weaving between the historical context of Mexico's post-revolutionary period and our present-day world, Embodied Archive approaches literary and archival documents that include anti-alcohol and hygiene campaigns; projects in school architecture and psychopedagogy; biotypological studies of urban schoolchildren and indigenous populations; and literary approaches to futuristic utopias or violent pasts. It focuses in particular on the way disability is represented indirectly through factors that may have caused it in the past or may cause it in the future, or through perceptions and measurements that cannot fully capture it. In engaging with these narratives, the book proposes an archival encounter, a witnessing of past injustices and their implications for the disability of our present and future"--

"Embodied Archive focuses on perceptions of disability and racial difference in Mexico's early post-revolutionary period, from the 1920s to the 1940s. In this period, Mexican state-sponsored institutions charged with the education and health of the population sought to strengthen and improve the future of the nation, and to forge a more racially homogeneous sense of collective identity and history. Influenced by regional and global movements in eugenics and hygiene, Mexican educators, writers, physicians, and statesmen argued for the widespread physical and cognitive testing and categorization of schoolchildren, so as to produce an accurate and complete picture of "the Mexican child," and to carefully monitor and control forms of unwanted difference, including disability and racialized characteristics. Differences were not generally marked for eradication—as would be the case in eugenics movements in the US, Canada, and parts of Europe—but instead represented possible influences from a historically distant or immediate reproductive past, or served as warnings of potential danger haunting individual or collective futures.
Weaving between the historical context of Mexico's post-revolutionary period and our present-day world, Embodied Archive approaches literary and archival documents that include anti-alcohol and hygiene campaigns; projects in school architecture and psychopedagogy; biotypological studies of urban schoolchildren and indigenous populations; and literary approaches to futuristic utopias or violent pasts. It focuses in particular on the way disability is represented indirectly through factors that may have caused it in the past or may cause it in the future, or through perceptions and measurements that cannot fully capture it. In engaging with these narratives, the book proposes an archival encounter, a witnessing of past injustices and their implications for the disability of our present and future."

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgments -- Introduction: Language Machines -- Pens -- 1 The Female Pen: Writing as a Woman -- 2 The Duplicity of the Pen -- Presses -- 3 Pressing Subjects -- Or, The Secret Lives of Shakespeare's Compositors -- 4 Print Culture and Literary Markets in Colonial India -- Screens -- 5 Screening Time -- 6 Screen Wars: Transmedia Appropriations from Eisenstein to A TV Dante and Carmen Sandiego -- 7 The Condition of Virtuality -- Voice -- 8 The Voice in the Machine: Hazlitt, Hardy, James

New online technologies have brought with them a great promise of freedom. The computer and particularly the Internet have been represented as enabling technologies, turning consumers into users and users into producers. Furthermore, lay people and amateurs have been enthusiastically greeted as heroes of the digital era. This thoughtful study casts a fresh light on the shaping of user participation in the context of, among others, popular discourse in and around new media.Schäfer's groundbreaking research into hacking, fan communities and Web 2.0 applications demonstrates how the dynamic of innovation, control and interaction have shifted the boundaries of the traditional culture industry into the user domain. The media industry undergoes a shift from creating content to providing platforms for user driven social interactions and user-generated content. In this extended culture industry, participation unfolds not only in the co-creation of media content and software-based products, but also in the development and defense of distinctive media practices that represent a socio-political understanding of new technologies. - Nieuwe online technologieën brengen een grote belofte van bevrijding met zich mee. Leken en amateurs worden enthousiast als helden van het digitale tijdperk omhelsd. In dit boek analyseert Mirko Tobias Schäfer hoe de participatie van gebruikers daadwerkelijk vorm krijgt door deze in de context te bestuderen van onder meer het populaire discours rondom nieuwe media. Schäfer laat met behulp van onderzoek naar hackers, fancommunities en Web 2.0-applicaties zien hoe de dynamiek van innovatie, controle en interactie zorgt voor een uitbreiding van de traditionele cultuurindustrie naar het domein van de gebruikers.