This conversation, originally conducted in Chinese, explores the role of films, movie theaters, screens, streaming platforms, and documentary filmmaking in China during the initial wave of the COVID-19 pandemic. Zhang Zhen and Jiang Jiehong—professors at Tisch School of the Arts, New York University, and Birmingham City University, UK, respectively—discuss the human rights movement prompted by state-sanctioned racist violence, feminist interventions in filmmaking practices, documentation of the pandemic in China, and tensions between state discourse and minjian (unofficial, unaffiliated, grassroots, and among-the-people) narratives.
{"title":"Life in-between Screens","authors":"Zhang Zhen, Jiang Jiehong, E. Y. Chang","doi":"10.1525/FMH.2021.7.1.61","DOIUrl":"https://doi.org/10.1525/FMH.2021.7.1.61","url":null,"abstract":"This conversation, originally conducted in Chinese, explores the role of films, movie theaters, screens, streaming platforms, and documentary filmmaking in China during the initial wave of the COVID-19 pandemic. Zhang Zhen and Jiang Jiehong—professors at Tisch School of the Arts, New York University, and Birmingham City University, UK, respectively—discuss the human rights movement prompted by state-sanctioned racist violence, feminist interventions in filmmaking practices, documentation of the pandemic in China, and tensions between state discourse and minjian (unofficial, unaffiliated, grassroots, and among-the-people) narratives.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"46 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66945861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.1525/fmh.2020.6.1.163
Phillip Penix-Tadsen
This oral and written history examines three generations of pioneering women game developers from Argentina, Uruguay, and Chile—the South American region known as the Southern Cone. Each of the individuals interviewed—Marcela Nievas, Sofía Battegazzore, Maureen Berho, and Martina Santoro—offers insight on female leadership over three generations of precipitous growth in regional game development. Together, their personal and professional trajectories demonstrate how the embodied and material conditions of game production condition diverse histories of game development, challenging universalizing myths of a global game industry in which “anybody can make games.” At the same time, these four developers' histories working outside the conventional centers of the global game industry reflect the transformative role of women developers and game designers across the Global South in shaping three generations of global game culture.
{"title":"Pioneras","authors":"Phillip Penix-Tadsen","doi":"10.1525/fmh.2020.6.1.163","DOIUrl":"https://doi.org/10.1525/fmh.2020.6.1.163","url":null,"abstract":"This oral and written history examines three generations of pioneering women game developers from Argentina, Uruguay, and Chile—the South American region known as the Southern Cone. Each of the individuals interviewed—Marcela Nievas, Sofía Battegazzore, Maureen Berho, and Martina Santoro—offers insight on female leadership over three generations of precipitous growth in regional game development. Together, their personal and professional trajectories demonstrate how the embodied and material conditions of game production condition diverse histories of game development, challenging universalizing myths of a global game industry in which “anybody can make games.” At the same time, these four developers' histories working outside the conventional centers of the global game industry reflect the transformative role of women developers and game designers across the Global South in shaping three generations of global game culture.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/fmh.2020.6.1.163","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66945795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2012 Nina Huntemann wrote, “It isn't difficult to find feminist game studies, or feminist gamers.”1 This is no less true eight years later. It isn't difficult to find feminist game studies. Academics—like me and the contributors to this special issue—produce articles, monographs, special issues, and edited collections with steady regularity, and the broader community of game critics digs in with video essays, podcasts, and op-eds. Those working in industry participate in this discourse as well, as evidenced for instance by panels and events at the Game Developers Conference. Feminist thinkers have been tackling the tangled knot of games culture for at least twenty years. The now-classic From Barbie to Mortal Kombat: Gender and Computer Games (1998) launched multiple follow-up anthologies.2 Game developers like Brenda Laurel, Sheri Graner Ray, and Megan Gaiser helped spearhead a movement to take girls seriously as players in the mid-1990s and have continued to write and speak extensively about games and gender.3 Depictions of women in games have driven inquiry into a number of games, including notably the Tomb Raider series.4 Feminist scholars have long researched complexities of gamer culture, including competitive gaming, arcade culture, fandom, and player identity.5 An energetic flurry of feminist thought about video games helped define game studies in the early part of this decade. Alex Layne and Samantha Blackmon first launched Not Your Mama's Gamer as a feminist game studies blog in 2011.6 The first issue of Ada New Media in 2012 included Mia Consalvo's call to action for game scholars, arguing that feminist scholars must address what she termed “toxic gamer culture,” and Lisa Nakamura's “Queer Female of Color: The Highest Difficulty Setting There Is? Gaming Rhetoric as Gender Capital.”7 The entirety of the journal's second issue, edited by Huntemann, focused on …
2012年，Nina Huntemann写道：“不难找到女权主义游戏研究或女权主义游戏玩家。”1八年后，情况也是如此。女性主义游戏研究并不难找到。像我和本期特刊的撰稿人一样，学术界人士以稳定的规律性撰写文章、专著、特刊和编辑集，更广泛的游戏评论家群体则通过视频文章、播客和评论进行挖掘。业内人士也参与了这场讨论，例如游戏开发者大会上的小组讨论和活动就证明了这一点。女权主义思想家已经解决游戏文化的纠结问题至少二十年了。现在的经典作品《从芭比娃娃到真人快打：性别与电脑游戏》（1998）推出了多个后续选集，梅根·盖瑟（Megan Gaiser）在20世纪90年代中期帮助领导了一场将女孩视为玩家的运动，并继续撰写和广泛谈论游戏和性别。3游戏中对女性的描述推动了对许多游戏的调查，尤其是《古墓丽影》系列。4女权主义学者长期以来一直在研究游戏玩家文化的复杂性，街机文化、粉丝群体和玩家身份。5在本世纪初，对电子游戏充满活力的女权主义思想帮助定义了游戏研究。Alex Layne和Samantha Blackmon于2011年首次推出了《Not Your Mama’s Gamer》，作为一个女权主义游戏研究博客。6《阿达新媒体》2012年的第一期包括Mia Consalvo对游戏学者的行动呼吁，认为女权主义学者必须解决她所说的“有毒的游戏玩家文化”，以及Lisa Nakamura的《有色人种酷儿女性：最高难度设置？游戏修辞作为性别资本》…
{"title":"Editor's Introduction","authors":"Carly A. Kocurek","doi":"10.1525/fmh.2020.6.1.1","DOIUrl":"https://doi.org/10.1525/fmh.2020.6.1.1","url":null,"abstract":"In 2012 Nina Huntemann wrote, “It isn't difficult to find feminist game studies, or feminist gamers.”1 This is no less true eight years later. It isn't difficult to find feminist game studies. Academics—like me and the contributors to this special issue—produce articles, monographs, special issues, and edited collections with steady regularity, and the broader community of game critics digs in with video essays, podcasts, and op-eds. Those working in industry participate in this discourse as well, as evidenced for instance by panels and events at the Game Developers Conference. Feminist thinkers have been tackling the tangled knot of games culture for at least twenty years. The now-classic From Barbie to Mortal Kombat: Gender and Computer Games (1998) launched multiple follow-up anthologies.2 Game developers like Brenda Laurel, Sheri Graner Ray, and Megan Gaiser helped spearhead a movement to take girls seriously as players in the mid-1990s and have continued to write and speak extensively about games and gender.3 Depictions of women in games have driven inquiry into a number of games, including notably the Tomb Raider series.4 Feminist scholars have long researched complexities of gamer culture, including competitive gaming, arcade culture, fandom, and player identity.5\u0000\u0000An energetic flurry of feminist thought about video games helped define game studies in the early part of this decade. Alex Layne and Samantha Blackmon first launched Not Your Mama's Gamer as a feminist game studies blog in 2011.6 The first issue of Ada New Media in 2012 included Mia Consalvo's call to action for game scholars, arguing that feminist scholars must address what she termed “toxic gamer culture,” and Lisa Nakamura's “Queer Female of Color: The Highest Difficulty Setting There Is? Gaming Rhetoric as Gender Capital.”7 The entirety of the journal's second issue, edited by Huntemann, focused on …","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/fmh.2020.6.1.1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41687225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The cultural ubiquity of The Lord of the Rings has shaped our contemporary assumptions about what the fantasy genre looks like, and these assumptions have in turn determined to a great extent what video games look like both historically and today. The Lord of the Rings and video games are, sadly, both well known for their lack of diversity, and this article argues that that is no coincidence. Focusing on the impact of the life and work of J. R. R. Tolkien, it traces fantasy media from the birth of the genre to the present day to discuss how exclusion is remediated, normalized, and justified. It challenges the racism of the “historical accuracy” fallacy and details how very old sexist literary tropes are continually remediated into contemporary fantasy video games. It asks: What can past discourses surrounding diversity in fantasy media tell us about the resistance to diversity in video games in the present?
{"title":"There and Back Again","authors":"Emma Vossen","doi":"10.1525/fmh.2020.6.1.37","DOIUrl":"https://doi.org/10.1525/fmh.2020.6.1.37","url":null,"abstract":"The cultural ubiquity of The Lord of the Rings has shaped our contemporary assumptions about what the fantasy genre looks like, and these assumptions have in turn determined to a great extent what video games look like both historically and today. The Lord of the Rings and video games are, sadly, both well known for their lack of diversity, and this article argues that that is no coincidence. Focusing on the impact of the life and work of J. R. R. Tolkien, it traces fantasy media from the birth of the genre to the present day to discuss how exclusion is remediated, normalized, and justified. It challenges the racism of the “historical accuracy” fallacy and details how very old sexist literary tropes are continually remediated into contemporary fantasy video games. It asks: What can past discourses surrounding diversity in fantasy media tell us about the resistance to diversity in video games in the present?","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/fmh.2020.6.1.37","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45024794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Radical Media Lab, Episode 1","authors":"Angela J. Aguayo, E. Spiro","doi":"10.1525/fmh.2019.5.4.64","DOIUrl":"https://doi.org/10.1525/fmh.2019.5.4.64","url":null,"abstract":"","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48175728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is a cross-generational exchange of ideas and experiences that explores the intersections of film curating and activism. Its authors set forth accounts of their own experiences as scholars who have worked as film festival curators “on the side” from the 1990s to the present within the context of the new yet rapidly growing field of film festival studies, which provides a useful set of perspectives and methods for understanding how film festivals function and what significance and impact they can have on the multiple stakeholders involved, including but not limited to the filmmakers, festival organizers and staff, and audiences. Their experiences shed light on the ways that identity-based film festivals have evolved through engagement with economic and political forces of globalization and neoliberalism even as they function as important, fluid sites of community building where identities are negotiated, contested, and articulated.
{"title":"Negotiating Political Identity in Community-Based Film Festivals","authors":"Marisa Hicks-Alcaraz, E. Oishi","doi":"10.1525/fmh.2019.5.4.21","DOIUrl":"https://doi.org/10.1525/fmh.2019.5.4.21","url":null,"abstract":"This article is a cross-generational exchange of ideas and experiences that explores the intersections of film curating and activism. Its authors set forth accounts of their own experiences as scholars who have worked as film festival curators “on the side” from the 1990s to the present within the context of the new yet rapidly growing field of film festival studies, which provides a useful set of perspectives and methods for understanding how film festivals function and what significance and impact they can have on the multiple stakeholders involved, including but not limited to the filmmakers, festival organizers and staff, and audiences. Their experiences shed light on the ways that identity-based film festivals have evolved through engagement with economic and political forces of globalization and neoliberalism even as they function as important, fluid sites of community building where identities are negotiated, contested, and articulated.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/fmh.2019.5.4.21","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43889668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Yvonne Welbon, an award-winning filmmaker and founder of the Chicago-based nonprofit Sisters in Cinema, interviews Alexis Pauline Gumbs, cofounder of the Black Feminist Film School, as part of a larger trans-media project on the history of queer Black lesbian media makers, SistersintheLife.com. Gumbs speaks about Black feminist practices of education and filmmaking, delving into the founding and inspiration of the Black Feminist Film School and its mission to “create the world anew.” She explains her “community accountable practice” that is connected to traditions of Black intellectualism, her position as provost of a “tiny Black feminist university” that she calls Eternal Summer of the Black Feminist Mind, as well as how she and her collaborators have been inspired by QWOCMAP (Queer Women of Color Media Arts Project).
Yvonne Welbon是一位屡获殊荣的电影制作人，也是总部位于芝加哥的非营利组织电影姐妹会的创始人，她采访了黑人女权主义电影学校的联合创始人Alexis Pauline Gumbs，这是一个关于酷儿黑人女同性恋媒体制作人历史的更大跨媒体项目SistersintheLife.com的一部分，深入探讨了黑人女权主义电影学院的成立和灵感，以及它“创造新世界”的使命。她解释了自己与黑人智学传统有关的“社区责任实践”，以及她作为一所“小型黑人女权主义大学”教务长的职位，她称之为“黑人女权主义思想的永恒之夏”，以及她和她的合作者如何受到QWOCMAP（Queer Women of Color Media Arts Project）的启发。
{"title":"Sisters in the Life","authors":"Yvonne Welbon, A. P. Gumbs","doi":"10.1525/fmh.2019.5.4.76","DOIUrl":"https://doi.org/10.1525/fmh.2019.5.4.76","url":null,"abstract":"Yvonne Welbon, an award-winning filmmaker and founder of the Chicago-based nonprofit Sisters in Cinema, interviews Alexis Pauline Gumbs, cofounder of the Black Feminist Film School, as part of a larger trans-media project on the history of queer Black lesbian media makers, SistersintheLife.com. Gumbs speaks about Black feminist practices of education and filmmaking, delving into the founding and inspiration of the Black Feminist Film School and its mission to “create the world anew.” She explains her “community accountable practice” that is connected to traditions of Black intellectualism, her position as provost of a “tiny Black feminist university” that she calls Eternal Summer of the Black Feminist Mind, as well as how she and her collaborators have been inspired by QWOCMAP (Queer Women of Color Media Arts Project).","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41848581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
> “Through this book, I imagine the possibility that later generations of media feminists might not have to do this work again: putting a stop, for a while at least, to this particular feminist ‘re’-cycle.” > > —Alexandra Juhasz, Women of Vision , 20011 > “Theories and concepts help order history, but critically informed production practice, an orientation of learning, thinking, and doing might move us out of these painful historical reveries.” > > —Angela J. Aguayo, Documentary Resistance , 20192 alexandra juhasz: In October 2017 I received …
{"title":"Editors’ Introduction","authors":"Angela J. Aguayo, A. Juhasz","doi":"10.1525/FMH.2019.5.4.1","DOIUrl":"https://doi.org/10.1525/FMH.2019.5.4.1","url":null,"abstract":"> “Through this book, I imagine the possibility that later generations of media feminists might not have to do this work again: putting a stop, for a while at least, to this particular feminist ‘re’-cycle.”\u0000> \u0000> —Alexandra Juhasz, Women of Vision , 20011\u0000> “Theories and concepts help order history, but critically informed production practice, an orientation of learning, thinking, and doing might move us out of these painful historical reveries.”\u0000> \u0000> —Angela J. Aguayo, Documentary Resistance , 20192\u0000alexandra juhasz: In October 2017 I received …","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/FMH.2019.5.4.1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45298938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Toni Adeyemi, a senior in media studies at the University of San Francisco, and Karina Hodoyán, an associate professor in the Spanish Studies program and director of the Master's in Migration Studies at the University of San Francisco, interview filmmaker Cheryl Dunye. The conversation took place across different media platforms and moments in time, and focuses on both Dunye's past work and her recent directorial transition into new platforms of filmmaking and storytelling, including directing episodic television. Dunye mentions the politicization of the breaking of the “fourth wall,” and the advent of social-media storytelling about identity, race, gender, and queer desire. She also discusses her current project Black Is Blue, a work in progress set in the future about a love affair between a trans couple in Oakland. The figures show a related Instagram project touching on Dunye's many influences as well as instances of fourth-wall breaking in contemporary television.
{"title":"The Fourth Wall","authors":"Toni Adeyemi, Karina Hodoyán, Cheryl Dunye","doi":"10.1525/fmh.2019.5.4.68","DOIUrl":"https://doi.org/10.1525/fmh.2019.5.4.68","url":null,"abstract":"Toni Adeyemi, a senior in media studies at the University of San Francisco, and Karina Hodoyán, an associate professor in the Spanish Studies program and director of the Master's in Migration Studies at the University of San Francisco, interview filmmaker Cheryl Dunye. The conversation took place across different media platforms and moments in time, and focuses on both Dunye's past work and her recent directorial transition into new platforms of filmmaking and storytelling, including directing episodic television. Dunye mentions the politicization of the breaking of the “fourth wall,” and the advent of social-media storytelling about identity, race, gender, and queer desire. She also discusses her current project Black Is Blue, a work in progress set in the future about a love affair between a trans couple in Oakland. The figures show a related Instagram project touching on Dunye's many influences as well as instances of fourth-wall breaking in contemporary television.","PeriodicalId":36892,"journal":{"name":"Feminist Media Histories","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43429713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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