"Drawing on a series of player and developer interviews and surveys conducted over the last five years, including some recent ones, this book provides a sense of how games have become a part of the culture of the region despite its huge diversity and plurality and opens up avenues for further study ...through vignettes and snapshots of the diverse gaming culture. It addresses the rapid rise of videogames as an entertainment medium in South Asia and, as such, also tries to better understand the recent controversies connected to gaming in the region In the process, it aims to make a larger connection between the development of videogames and player culture, in the subcontinent and globally ..." (Publisher)
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"En algunos de los países, en mayor medida España y los EE.UU. Hispanos, la ficción ocupa de un modo consistente al menos el 40% de los tiempos de programación. Esto, en países que por niveles de ingreso deberían ser los con un mayor grado de acceso a otras fuentes de contenidos audiovisuales ...de ficción, como la televisión de pago o las plataformas de streaming. En contraste a estos casos, se observa a Argentina, Brasil y México, donde la ficción apenas supera el 15% en los años de mayor participación y se acerca al 10% en otros. Paradojalmente, tanto Brasil como México son países productores y exportadores de ficción al resto de la región. A medio camino entre ambos extremos se observa a Chile, Colombia, Perú, Portugal, Uruguay y Venezuela, en los años en que ha sido posible observar su comportamiento. Siendo la televisión abierta un sistema de contenidos estructurados en horarios asociados a las rutinas del hogar, cabe preguntarse por diferencias de roles y usos de la televisión por parte de las audiencias o la eventual sustitución de estos roles por medios o géneros alternativos. El segundo plano es de tendencia. Salvo por el caso de España, la tendencia general pareciera ser hacia una disminución de la participación de la ficción en la programación. Y, aunque los Top 10 de títulos de ficción más vistos ofrecen una mirada muy parcial del conjunto, en ellos también se observa una disminución en el tiempo de los niveles de audiencia alcanzados." (p.24-25)
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"In some of the countries, to a greater extent Spain and the Hispanic USA, fiction consistently occupies at least 40% of the programming time. This occurs in countries that, due to income levels, should be those with a higher degree of access to other sources of fiction audiovisual content, such as ...pay TV or streaming platforms. In contrast to these cases, we can observe Argentina, Brazil and Mexico, where fiction barely exceeds 15% in the years of greatest participation and is close to 10% in others. Paradoxically, both Brazil and Mexico are fiction producers and exporters to the rest of the region. Halfway between both extremes, Chile, Colombia, Peru, Portugal, Uruguay and Venezuela can be observed in the years in which it has been possible to observe their behavior. Since open television is a system of contents structured in schedules associated with household routines, it is worth asking about differences in roles and uses of television by audiences or the eventual substitution of these roles by alternative media or genres. The second aspect is one of trends. Except for the case of Spain, the general trend seems to be towards a decrease in the involvement of fiction in programming. And, although the Top 10 most watched fiction productions offer a very partial view of the whole, they also show a decrease in time of the audience levels reached." (p.24-25)
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"Über das Medium Computerspiel findet zunehmend eine Auseinandersetzung mit psychologischen Traumata statt. Posttraumatische Belastungsstörung, Krankheit und Tod sowie Depressionen und Phobien sind hierbei vorherrschende Themen und Motive. Thomas Spies zeigt in einem historischen Überblick und in... vergleichenden Analysen Tendenzen der kulturellen Repräsentation auf. Die Beschäftigung mit Titeln wie »Papers, Please«, »Hellblade: Senua's Sacrifice« und »Disco Elysium« lässt deutlich werden, wie Computerspiele zunehmend medienspezifische Möglichkeiten finden, die Vielfalt und Komplexität traumatischer Erfahrungen zu vermitteln." (Verlag)
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"Die zunehmende Digitalisierung der Alltagskommunikation hat in den vergangenen Jahren eine neue Form der Werbung hervorgebracht: Influencer präsentieren ihren Alltag visuell in Bild- oder Videoform auf sozialen Plattformen und geben ihren Followern Tipps zu Themen wie Kosmetik und Schönheit, Gesu...ndheit und Fitness oder Reise und Mode. Dabei platzieren sie Produkthinweise, für die sie von Unternehmen bezahlt werden – je größer ihre Followerzahl, desto mehr verdienen sie dabei. Influencer sind dabei nicht einfach nur Werbetreibende, sondern häufig auch Vorbilder. Mit ihren Ratschlägen stehen sie für viele ihrer Follower für ein gutes, anzustrebendes Leben. Ole Nymoen und Wolfgang M. Schmitt unterziehen die Sozialfigur des Influencers einer kritischen Analyse. In ihr verkörpere sich der gegenwärtige Konsumkapitalismus in all seiner Widersprüchlichkeit. Die Modernität der Kommunikation kaschiere dabei häufig nur die Vermittlung tradierter Geschlechter-, Körper- und Schönheits- sowie Konsumnormen, die durch ihre Inszenierung auf den sozialen Plattformen als Ideale präsentiert und dadurch verfestigt würden." (Verlag)
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"Welcome to the world of melodrama—and to the melodramas of the world. This book introduces nearly one hundred cinematic masterpieces from various periods and different cultural contexts—ranging from early Hollywood to emergent and popular Bollywood, from Latin American and New German Cinema to ...contemporary Nollywood, from classic melodrama and commercial blockbusters to arthouse film and meta-melodrama, while also encompassing a number of other local forms and styles in their hybrid or revisionist varieties. Our collection features discussions of seemingly timeless stories of love and loss, demonstrating the possibility and power of melodramatic plots to portray the overcoming of differences and antagonisms. Yet it also reveals how the melodramatic code is time and again used for asserting political claims and articulating critique—and hence for (re)producing powerful dichotomies of good vs. evil, innocence vs. corruption, virtue vs. vice. Melodrama performs and rehearses moral conflict and emotional crisis management on a broad scale, involving intimate relationships and familial relations, on the one hand, and global constellations of oppression, violence, war, and regime changes, on the other. Thus, like no other genre, melodrama indeed makes the political personal and the personal political." (Introduction, p.13)
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"This book is about television in Latin America. Its national and regional industries create most television programming there within genres developed over time in the region. However, part of the programming has always come from the U.S., Europe and elsewhere. With cable, satellite and now streamin...g TV, that inflow of foreign programming has increased substantially. While many in the audience still prefer national or regional programs for their cultural proximity, an increasing number among the upper-middle and middle classes, particularly the young, are turning to the new foreign services, like Netflix, Amazon and Disney for class distinction, cosmopolitanism or other motives. Among the television industries global regional and national actors are creating a variety of programs and channels (broadcast, pay-TV and streaming) to segment and appeal to different parts of the audience." (Publisher)
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"Despite lack of funding and institutional support, not since the mid-twentieth century have comics in the region been so dynamic, so diverse and so engaged with pressing social and cultural issues. Comics are being used as essential tools in debates about, for example, digital cultures, gender iden...tities and political disenfranchisement. Rather than analysing the current boom in comics by focusing just on the printed text, however, this book looks at diverse manifestations of comics ‘beyond the page’. Contributors explore digital comics and social media networks; comics as graffiti and stencil art in public spaces; comics as a tool for teaching architecture or processing social trauma; and the consumption and publishing of comics as forms of shaping national, social and political identities. Bringing together authors from across Latin America and beyond, and covering examples from Argentina, Brazil, Colombia, Mexico, Peru and Uruguay, the book sets out a panoramic vision of Latin American comics, whether in terms of scholarly contribution, geographical diversity or interdisciplinary methodologies." (Publisher)
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"Focusing in particular on Argentina, Brazil and Mexico, Tamara Falicov examines commonalities among Latin American film industries, such as the challenges of procuring funding, competition from Hollywood, state funding battles, and the fickle nature of audiences, as well as censorship issues, compe...tition from television, and the transnational nature of Latin American film. She addresses production, exhibition, and distribution contexts and financing and co-production with Europe and the United States, as well as the role of film festivals in funding and circulating films both within and outside of Latin America. Newer trends such as the revival of protectionist measures like the screen quota are framed in contrast to the U.S.'s push for trade policy liberalization and issues of universal concern such as film piracy, and new technologies and the role of television in helping and hindering Latin American cinema." (Publisher)
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"Combining theoretical and empirical discussions with shorter thick description case studies, this book offers an anthropological exploration of the emergence in Malaysia of lifestyle bloggers – precursors to current social media microcelebrities and influencers. It tracks the transformation of pe...rsonal blogs, which attracted readers with spontaneous and authentic accounts of everyday life, into lifestyle blogs that generate income through advertising and foreground consumerist lifestyles. It argues that lifestyle blogs are dialogically constituted between the blogger, the readers, and the blog itself, and challenges the assumption of a unitary self by proposing that lifestyle blogs can best be understood in terms of the dividual self." (Publisher)
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"El presente libro ofrece una visión general de fácil comprensión sobre la historia de la telenovela en América Latina. Las telenovelas, una variedad aparte de series televisivas que se originan en América Latina, invoucran temas clave de raza, clase, identidad sexual y violencia, entretejiendo... historias con aventuras melodramáticas y la búsqueda de la identidad. June Carolyn Erlick analiza las implicancias sociales de estos temas en las telenovelas, en el contexto de la evolución de la televisión, como parte integral de la modernización de los países latinoamericanos." (Tapa posterior)
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"The end of the twentieth century and the turn of the new millennium witnessed an unprecedented flood of traumatic narratives and testimonies of suffering in literature and the arts. Graphic novels, free at last from long decades of stern censorship, helped explore these topics by developing a new s...ubgenre: the trauma graphic novel. This book seeks to analyze this trend through the consideration of five influential graphic novels in English. Works by Paul Hornschemeier, Joe Sacco, Art Spiegelman, and Alan Moore and Dave Gibbons will be considered as illustrative examples of the representation of individual, collective, and political traumas." (Publisher)
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"To thrive in a marketplace that is increasingly competitive, slower-growing, and dependent on personal recommendations, companies must develop strategies that engage, grow, and monetize their most valuable customers — i.e., their fans. To do so, they must combine excellent content with breadth an...d depth of distribution, and then bring it all together in an innovative user experience, in which the content is discoverable easily on an array of screens and at an attractive price. Simply capturing the natural growth in consumers and their uptake of services and content with existing approaches is no longer sufficient. Across the industry, the resulting quest to create the most compelling, engaging, and intuitive user experiences is now the primary objective for growth and investment strategies — and technology and data lie at their center." (Executive summary)
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"Despite the repressive power of the current regime the immense creativity of popular cultural practices, that negotiate and resist a repressive system, is a potent and dynamic force. This book draws on the expertise and experience of Iranian and international academics and activists to address dive...rse areas of social and cultural innovation that are driving change and progress. While religious conservatism remains the creed of the establishment, this volume uncovers an underground world of new technology, media and entertainment that speaks to women seeking a greater public role and a restless younger generation that organises and engages with global trends online." (Publisher)
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"The subject of this paper is communicating with indigenous communities via grassroots comics, in this case the Khwe San who live in Platfontein in the Northern Cape province of South Africa. The study is largely informed by contemporary shifts in development theory, particularly that of participato...ry communication, which values individuals who live in the community as active participants in the research process. The use of grassroots comics is based on theoretical concepts surfacing in current literature regarding the field of development communication nd is somewhat critical of older, top-down theories of development." (Abstract)
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"El primer capítulo, titulado “Hacia una conceptualización del humor gráfico”, se propone aportar herramientas conceptuales y teóricas que nos permitan concebir al humor gráfico como un tipo particular de discurso social. El capítulo comienza con un intento de organización conceptual de l...os campos semánticos relacionados con el llamado humor gráfico (comic, historieta, cartoon, viñeta de humor, tira cómica y tira de humor) y, desde luego, de la categoría de humor gráfico misma, con el objetivo de lograr desprender de los usos habituales de estas categorías (a las que llamaremos categorías nativas) una conceptualización erudita que permita organizar y fundamentar tanto una metodología para la investigación histórica como los criterios que guían la escritura de este libro. El capítulo ofrece, asimismo, un breve mapa conceptual para ubicar al humor gráfico en el marco de la teoría psicoanalítica del humor, y finalmente, algunos lineamientos para caracterizar al humor gráfico como discurso social, a partir del cual podemos abordar tanto la dimensión representacional de la experiencia colectiva como así también el carácter político de estos actos de lenguaje, en los cuales un autor, llamado humorista, toma la palabra. En el segundo capítulo, titulado “El lenguaje del comic y el cartoon”, se ofrece una descripción sistemática de los principales elementos y componentes del género, desarrollada por la semiología estructural, y se incorporan algunos comentarios de desarrollos posteriores en el marco del posestructuralismo. Allí se describen los principales componentes del comic y sus vínculos, prestando especial atención a los mecanismos de producción de sentido en el marco de las viñetas. Los siguientes dos capítulos se abocan a la historización de los géneros vinculados con el humor gráfico. El capítulo 3 aborda la historia del comic focalizando en el desarrollo de la industria periodística estadounidense, en el seno de la cual nació el comic propiamente dicho, aunque se ofrecen también referencias permanentes a los desarrollos de géneros afines en los países europeos. Por su parte, el capítulo 4 se ocupa de la historia del humor gráfico y de la historieta en la Argentina desde el siglo xix hasta avanzado el proceso de la transición democrática. Siguiendo un criterio similar, los siguientes dos capítulos abordan un recorrido por los principales desarrollos académicos vinculados a estos géneros: el capítulo 5 se centra en los portes y debates internacionales; y el capítulo 6, en los estudios sobre el género en la Argentina, incluyendo, en ambos casos, no solo comentarios sobre las producciones académicas o eruditas, sino también sobre los circuitos de producción y circulación extraacadémicos." (Introducción, p.14-15)
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"Chancen und Risiken von Computerspielen, Retro Gaming, Gamification, Sim Games und Augmented Reality: Im Wintersemester 2013/2014 haben sich Professorinnen und Professoren aus ganz Bayern an der ersten bayernweiten Ringvorlesung Games beteiligt. Der MedienCampus Bayern und Games/Bavaria haben für ...diese Veranstaltungsreihe an fünf Abenden ins WERK1 München eingeladen. Weit über 100 Besucher sind aus verschiedensten Orten gekommen (Exkursionen von Studierenden gab es beispielsweise aus Regensburg, Kempten, Nürnberg und Augsburg) und haben die Ringvorlesung zu einem vollen Erfolg werden lassen." (Vorwort)
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"Premiering in 2006, Ugly Betty, the award-winning US hit show about unglamorous but kind-hearted Betty Suarez (America Ferrera),is the latest incarnation of a worldwide phenomenon that started life as a Colombian telenovela,Yo soy Betty, la fea, back in 1999. The tale of the ugly duckling has since... taken an extraordinary global journey and become the most successful telenovela to date. This groundbreaking book asks what the Yo soy Betty, la fea / Ugly Betty phenomenon can tell us about the international circulation of locally produced TV fictions as the Latin American telenovela is sold to, and/or re-made-officially and unofficially-for different national contexts. The contributors explore what Betty has to say about the tensions between the commercial demands of multimedia conglomerates and the regulatory forces of national broadcasters as well as the international ambitions of national TV industries and their struggle in competitive markets. They also investigate what this international trade tells us about cultural storytelling and audience experience, as well as ideologies of feminine beauty and myths of female desire and aspiration. TV's Betty Goes Global features original interviews with buyers and schedulers, writers, story editors and directors, including the creator of Yo soy Betty, la fea, Fernando Gaitan." (Publisher)
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"This cultivation study examined the effects of South Korean soap operas on Vietnamese female audiences. It also assessed cultivation effects in combination with the theory of reasoned action. Based on a survey of 439 female viewers, it explicated the link between South Korean soap opera consumption... and the emergent phenomenon of transnational marriages involving Vietnamese women and South Korean men. Cultivation effects were confirmed in an international setting. Results also have important real-world implications." (Abstract)
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"Based on a year's research from within a Brazilian slum, this study follows a series of unemployed women who watch up to six hours of telenovelas a day, often in the midst of arduous physical labour in the home. The women suffer in relation to their bodies, but simultaneously invest in a masochisti...c glorification of suffering that links their lives to the soap operas, revealing disturbing valuations of the female body that traverse reality and fiction. Through its exploration of this daily integration of real suffering and fictional glamour and wealth, 'Body Parts on Planet Slum' reveals how fantasy and social exclusion can together induce a form of psychological survivalism, enabling these women to reconfigure the central features of their existence – their suffering, pleasure, sexuality and embodiment." (Publisher)
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