Suchergebnisse

Chapter 1. David Callahan, University of Aveiro, Portugal: "Preface: Visual Storytelling in the Age of the Fragment" -- Chapter 2. Víctor Navarro Remesal, Tecnocampus, Pompeu Fabra University, Barcelona: "Video Games as Animation: Inquiring into the Ontology of Playable Images." -- Chapter 3. David Callahan, University of Aveiro, Portugal: "Making the World More Just Through Video Games? Rerouting Caroline Levine's Forms." -- Chapter 4. Bartosz Stopel, University of Silesia, Poland: ""Wonder, Awe and Negative Emotions in What Remains of Edith Finch." -- Chapter 5. Rebeca López González, University of Vigo, Spain: "Animated monsters and today's popular culture nightmares." -- Chapter 6. Ana Bessa Carvalho, University of Minho, Braga, Portugal: "Look Behind You, Orpheus: Queer Archaeology and Mythical Lesbians in Contemporary Film." -- Chapter 7. Anthony Barker, University of Aveiro, Portugal: "Bourne-again Bond: Retooling the Spy Story in the new Millennium." -- Chapter 8. Alena Zhylinskaya, Jagiellonian University, Krakow, Poland: "'All these things into position': Radiohead's Street Spirit, the Post-colonial Nigerian Novel, and Feminist Dystopia." -- Chapter 9. Nicoletta Mandolini, University of Minho, Braga, Portugal: "What's the Story? How Hybrid Comics against Gender Violence Rework Narrative." -- Chapter 10. Chen Li, Tilburg University, Netherlands: "The graphic self of public intellectuals: Chinese tiaoman as digital practices of self-representation on WeChat." -- Chapter 11. Patrícia Oliveira & Carlos Vargas & Cristina Montalvão Sarmento, University of Lisbon, Portugal & Nova University, Portugal: "Voices of graffiti in urban settings: symbolic contestation and political narratives." -- Chapter 12. Sheila Brannigan, Nova University, Lisbon, Portugal: "Through Etched Glass: Representing Urban Place in Christina Fernandez's Lavanderia series." -- Chapter 13. Roger Davis, Red Deer Polytechnic, Alberta, Canada: "Imagining the Artwork in Geological Time.".

An inside look at the secretive world of elite philanthropists--and how they're quietly wielding ever more power to shape American life in ways both good and bad. While media attention focuses on famous philanthropists such as Bill Gates and Charles Koch, thousands of donors are at work below the radar promoting a wide range of causes. David Callahan charts the rise of these new power players and the ways they are converting the fortunes of a second Gilded Age into influence. He shows how this elite works behind the scenes on education, the environment, science, LGBT rights, and many other issues--with deep impact on government policy. Above all, he shows that the influence of the Givers is only just beginning, as new waves of billionaires like Mark Zuckerberg turn to philanthropy. Based on extensive research and interviews with countless donors and policy experts, this is not a brief for or against the Givers, but a fascinating investigation of a power shift in American society that has implications for us all.From the Hardcover edition.

Front Cover -- Front Flap -- Front Matter -- Half Title -- Title -- Copyright -- Contents -- Preface -- The Cheating Culture -- 1. "Everybody Does It" -- 2. Cheating in a Bottom-line Economy -- 3. Whatever It Takes -- 4. A Question of Character -- 5. Temptation Nation -- 6. Trickle-down Corruption -- 7. Cheating from the Starting Line -- 8. Crime and No Punishment -- 9. Dodging Brazil -- Sources -- Endnotes -- Index

It is undeniable that video games are among the most important visual, narrative and affective forms of cultural production of the present. Although games are produced in different cultural locations, however, they are often not perceived as cultural productions which tell us something of the countries in which they are produced and consumed. The deterritorialization of such a significant cultural phenomenon has a bearing on video game production in any country that wishes to enter the global market: to succeed it is presumed that a referencing of the local is either absent or muted, at best. Opposed to this is the understanding that creative material emanating from New Zealand will or even should say something about New Zealand specificities. This article will examine the extent to which recent video games produced in New Zealand satisfy such an expectation, albeit focusing only on one key aspect of the local imaginary: the representation of landscape, given that the land constitutes a well-known marker through which New Zealand perceives and constructs identity discourses about itself. This examination will be accompanied by the question as to whether it is a legitimate expectation of video games that they articulate culturally identitarian inventories.