"Robert J. Patterson and his contributors interrogate how African American writers and cultural producers use black modes of cultural expressivity to engage, make, and change history in order to imagine the future and to provide alternate ways of thinking, existing, and being for black subjects in particular, and American citizens in general, in the midst of this historical paradox. This volume insists that black cultural production during the 1970s anchors the philosophical, aesthetic, and political debates that animate contemporary debates in African American studies, and insists that, despite abject social and political conditions, black cultural production keeps imagining black thriving. Simultaneously, it demonstrates the specific ways that the cultural production itself re(imagines) ways to transform that which prevents black thriving. Thus, the volume argues that African American cultural production continues to engage in social critique and transformation and remains an important site for the (re)making of black politics"--
Viimeisen vuosikymmenen aikana akateeminen pelitutkimus on keskittynyt kasvavassa määrin pelituotannon eri osa-alueisiin, kuten teollisuuden rakenteisiin, tuotantomalleihin ja työolosuhteisiin. Tämä väitöskirja tutkii kriittisen tutkimuksen lähtökohdista tuoretta riippumattoman pelituotannon aluetta, pelien joukkorahoittamista. Pyytämällä tuotantorahoitusta suoraan tukija-faneilta, pelintekijät ovat kyenneet ohittamaan perinteisen peliteollisuuden veräjänvartijat, pelijulkaisijat. Joukkorahoituksen käyttäminen vaikuttaa kuitenkin monilla tavoilla pelintekijöiden päivittäiseen työhön, tuotantoverkostoihin ja pelien myyntiin ja vastaanottoon. Yhdistellen pelitutkimusta, poliittista taloustiedettä, kulttuurintutkimusta ja monimenetelmällistä metodologiaa tämä väitöskirja käsitteellistää pelien joukkorahoituksen 'tuotantologiikaksi', joka vaikuttaa pelituotannon jokaiseen osaalueeseen. Sivuuttaessaan perinteiset pelijulkaisijat pelintekijöiden täytyy omaksua monia uusia taitoja ja tehdä paljon ylimääräistä työtä. Tukija-faneilla on projekteissa monia muitakin rooleja rahoittamisen lisäksi, ja tuotantoprosessiin osallistutaan monesta muustakin syystä kuin vain rahoitettavan pelin saaminen. Samalla kun pelien joukkorahoituksesta on tullut standardisoidumpaa ja ammattimaisempaa, monet tukija-fanit ovat alkaneet suhtautua siihen ennakkotilaamisen muotona, joka aiheuttaa ristiriitoja joukkorahoittamiseen liitetyn altruistisen eetoksen kanssa. Väitöskirjan diskussio-osiossa pelien joukkorahoittaminen kontekstualisoidaan osaksi 'kulttuurisen tuotannon platformisaatiota', jossa pelinkehityksen ja talouden osatekijät kytkeytyvät keskuksena toimivaan alustaan ja sen sidosryhmäverkkoon. Pelien joukkorahoitus paljastuu tutkimuksessa ristiriitaiseksi alueeksi, jossa yhdistyvät epävarmat työolot, lupaukset emansipatorisesta tuotantomallista, kaupallistumisprosessi ja uudenlaiset käyttäjien osallistumismahdollisuudet. ; The recent decade has seen an increasing number of 'game production studies', with critical examinations on industry structures, production models and labour issues. This study critically examines an emerging area of independent production of digital games, games crowdfunding. Asking funding directly from 'backer' audiences, game developers have been able to sidestep the publishers of the traditional game industry. However, crowdfunding has had a myriad of repercussions for everyday game work, production networks, and how games are received and sold, amongst other things. Through a mixed-methods approach combining elements from game studies, critical political economy and cultural studies, this dissertation conceptualises games crowdfunding as a production logic that affects every area of game production. In getting rid of the traditional publisher, developers need to acquire a lot of new competencies and shoulder a lot of work previously handled by the publishers. Backers are found to possess several other roles beyond just funding and hold a wide variety of participation motivations beyond just acquiring the crowdfunded game. As projects have become more professional, many backers treat crowdfunding as a form of pre-ordering. In the discussion, games crowdfunding is contextualised as a form 'platformisation of cultural production', with game development and economics revolving around a central platform and intermediaries connected to it. The production model is revealed as a site of tension between alternative production opportunities, precarious game work, commercialisation and emerging user opportunities. Further studies are needed to understand the full gamut of games crowdfunding, including small campaigns.
This groundbreaking collection focuses on what may be, for cultural studies, the most intriguing aspect of contemporary globalization-the ways in which the postnational restructuring of the world in an era of transnational capitalism has altered how we must think about cultural production. Mapping a ""new world space"" that is simultaneously more globalized and localized than before, these essays examine the dynamic between the movement of capital, images, and technologies without regard to national borders and the tendency toward fragmentation of the world into increasingly contentious e
In this absorbing new study, Niyi Afolabi exposes the tensions between the official position on racial harmony and the reality of marginalization experienced by Afro-Brazilians by exploring Afro-Brazilian cultural production as a considered response to this exclusion. The author examines major contributions in music, history, literature, film, and popular culture in the nineteenth and twentieth centuries to reveal how each performance by an Afro-Brazilian artist addresses issues of identity and racism through a variety of veils that entertain, ridicule, invoke, provoke, protest, and demand change at the same time. Raising cogent questions such as the vital role of Afro-Brazilians in the making of Brazilian national identity; the representation of Brazilian women as hapless, exploited, and abandoned; the erosion of the influence of black movements due to fragmentation and internal disharmony; and the portrayal of Afro-Brazilians on the national screen as domestics, Afolabi provides insightful, nuanced analyses that tease out the complexities of the dilemma in their appropriate historical, political, and social contexts. Niyi Afolabi teaches Luso-Brazilian, Yoruba, and African Diaspora studies in the Department of Spanish and Portuguese as well as the John L. Warfield Center for African and African American Studies at the University of Texas at Austin
Frontmatter -- Contents -- Acknowledgments -- Introduction -- 1. The Class Character of Boys Don't Cry -- 2. Queer Visibility and Social Class -- 3. Every Queer Thing We Know -- 4. Recognition: Queers, Class, and Dorothy Allison -- 5. Queer Relay -- 6. Plausible Optimism -- Conclusion: A Cultural Politics of Love and Solidarity -- Notes -- References -- Films -- Television Programs -- Index -- About the Author
Love and Money argues that we can't understand contemporary queer cultures without looking through the lens of social class. Resisting old divisions between culture and economy, identity and privilege, left and queer, recognition and redistribution, Love and Money offers supple approaches to capturing class experience and class form in and around queerness. Contrary to familiar dismissals, not every queer television or movie character is like Will Truman on Will and Grace -rich, white, healthy, professional, detached from politics, community, and sex. Through ethnographic encounters with rea
This essay explores the role of Istanbul's 'cultural productions' as components of the city's structure and texture. Istanbul is a city of tensions generated by its countless conflicting and divergent flows which are constantly influenced by socio-economic political and cultural fusions and confusions. It is constantly expanding both horizontally and vertically as evidenced by its central and peripheral settlements illegal dwellings and squatted lands. With each and every new inhabitant further cumulative cultural input is added to the city which also blends social exclusion and transgression (together with axiomatic de facto regulations). The city 'operates' as a jumbled mode of excessive information ; the repetitive collapse and replenishment of this information overload opens up diverse 'realities'. Within this picture 'cultural productions' of the city have emerged as indicators of inhabitants' reactions exposing ways of coping with/surviving in the city. These cultural productions are locally temporarily and spontaneously produced. Consequently this essay investigates how such cultural productions have been processed by the inhabitants of the city since the 1980s and specifically focuses on the latest research and project models navigating through projects undertaken by academics artists and architects who correspond and have connections with international institutions - most notably in the field of contemporary art. Resume Cet essai examine le role des 'productions culturelles' d'Istanbul en tant que composantes de la structure et de la texture urbaines. Cette ville est faite de tensions generees par un nombre infini de flux contradictoires et divergents influences en permanence par des fusions et confusions socio-economiques politiques et culturelles. Elle ne cesse de se developper tant au plan horizontal que vertical comme le montrent ses implantations centrales et peripheriques ses habitats illegaux et ses terrains squattes. Chaque nouvel habitant apporte une contribution culturelle cumulative a la ville qui melange egalement exclusion sociale et transgression (ainsi que des regles axiomatiques de fait). La ville 'fonctionne' comme un enchevetrement d'informations excessives: l'effondrement et la reconstitution reiteres de cette surcharge d'informations revelent diverses 'realites'. Dans cette representation les 'productions culturelles' de la ville sont apparues comme des indicateurs des reactions des habitants traduisant leurs manieres d'affronter la ville et d'y survivre. Les modalites de ces productions sont locales temporaires et spontanees. L'etude s'interesse donc au traitement de ces productions culturelles par les habitants depuis les annees 1980 et porte en particulier sur les modeles de recherches et de projets les plus recents en passant par des travaux d'universitaires d'artistes ou d'architectes qui correspondent et ont des liens avec des institutions internationales notamment dans le domaine de l'art contemporain.
Heritage dynamics : politics of authentication, aesthetics of persuasion and the cultural production of the real / Mattijs van de Port and Birgit Meyer -- Aesthetics as form and force : notes on the shaping of Pataxo Indian bodies / Andre Werneck de Andrade Bakker -- Intangible heritage, tangible controversies : the baiana and the acaraje as boundary-objects in contemporary Brazil / Bruno Reinhardt -- Swinging between the material and the immaterial : Brazilian cultural politics and the authentication of Afro-Brazilian heritage / Maria Paula Fernandes Adinolfi -- News-history and the formation of the Sunday Times Heritage Project / Duane Jethro -- Scaffolding heritage : transient architectures and temporalizing formations in Luanda / Ruy Llera Blanes -- Corpo-reality TV : media, body, and the authentication of 'African heritage' / Marleen de Witte -- Heated discussions are necessary : the creative engagement with Sankofa in modern Ghanaian arts / Rhoda Woets -- Iconic objects : making diasporic heritage, blackness, and whiteness in the Netherlands / Markus Balkenhol -- Ascertaining the future memory of our time : Dutch institutions collecting relics of national tragedy / Irene Stengs -- Heritage under construction : boundary objects, scaffolding, and anticipation / David Chidester -- Can anything become heritage? / David Berliner -- Heritage as process / Ciraj Rassool
Heritage dynamics : politics of authentication, aesthetics of persuasion and the cultural production of the real / Mattijs van de Port and Birgit Meyer -- Aesthetics as form and force : notes on the shaping of Pataxó Indian bodies / André Werneck de Andrade Bakker -- Intangible heritage, tangible controversies : the baiana and the acarajé as boundary objects in contemporary Brazil / Bruno Reinhardt -- Swinging between the material and the immaterial : Brazilian cultural politics and the authentication of Afro-Brazilian heritage / Maria Paula Fernandes Adinolfi -- "Reporting the past" : news history and the formation of the Sunday Times Heritage Project / Duane Jethro -- Scaffolding heritage : transient architectures and temporalizing formations in Luanda / Ruy Llera Blanes -- Corpo-reality TV : media, body, and the authentication of 'African heritage' / Marleen de Witte -- "Heated discussions are necessary" : the creative engagement with Sankofa in modern Ghanaian arts / Rhoda Woets -- Iconic objects : making diasporic heritage, Blackness, and Whiteness in the Netherlands / Markus Balkenhol -- Ascertaining the future memory of our time : Dutch institutions collecting relics of national tragedy / Irene Stengs -- Heritage under construction : boundary objects, scaffolding, and anticipation / David Chidester -- Can anything become heritage? / David Berliner -- Heritage as process / Ciraj Rassool
Foreword : digital intermediation, for better or worse -- Digital intermediation : A theoretical framework -- Digital intermediation : opportunities and challenges -- Digital first personalities -- Micro-platformisation -- Automated media -- Transparent infrastructures -- The role of public institutions for digital intermediation.
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 ...
Phillip McIntyre presents the latest scholarly research into creativity and creative practice. The book provides insights to media practitioners and policy professionals, looking at television, radio, film, journalism, photography, popular music and new media in relation to psychology, sociology and cultural studies