Choreographic Labor, FTFO

This paper examines how Gabrielle Zevin’s Tomorrow, and Tomorrow, and Tomorrow (2022) offers a feminist critique of the patriarchal culture of the video game industry, challenging it on structural and thematic levels. Drawing on feminist game studies and feminist narratology, the paper focuses on Sadie Green, a female protagonist whose authorial and creative agency is constantly undermined. This reflects real-world issues exposed by movements such as #1ReasonWhy and #GamerGate. Positioning Sadie’s struggles within the contexts of Shira Chess’s Play Like a Feminist (2020) and Susan Lanser’s Fictions of Authority (1992), this study argues that Zevin’s text embodies Chess’s concept of “radical play.” It challenges market-driven misogyny and redefines the notion of “fun.” Simultaneously, the nonlinear narrative, shifting focalization, and refusal of closure embody Lanser’s “communal voice” and dismantle the expectation of masculine resolution. Thus, Zevin’s narrative contributes to the discourse on feminist game design and acts as a means for change by bringing theory and practice together to envision a more inclusive and unbiased gaming culture and industry.

Most studies of ethnicity and nationalism are limited in their scope in that they merely focus on the'production'of ethnic/national identities and symbols, while neglecting the aspect of'consumption'. This paper attempts to show, with reference to'culture industries'in Japan and Britain, that ethnicity and nationalism can be generated in the consumption process. Japan and Britain may usefully be contrasted with respect to the manners of expression of national distinctiveness. In Japan, national distinctiveness tends to be expressed in an abstract and holistic manner. The British approach is more likely to be objectifying and institutional. The culture industries in Japan and Britain -the nihonjinron and the heritage industry, respectively reflect these differences. The first half of the paper examines the way in which'cultural intermediaries'(esp. business elites) have reproduced and popularised the nihonjinron (thinking elites' ideas of cultural differences) in the form of cross-cultural manuals in such a way that consumers may apply such ideas to practical use in intercultural communication. Attention is given to the way in which mass consumption of cross-cultural manuals results in the promotion of cultural nationalism. The second half focuses on the'heritage industry' in Britain and suggests that national heritage and traditions can be 'invented'as part of the process of creating attractions for tourist consumption. It examines the process whereby the invention of heritage, closely associated with tourism, plays a role in enhancing ethnic and national sentiment. Particular attention is given, throughout the discussion, to'cultural intermediaries'as a new agent of ethnicity and nationalism in globalising consumer society.

A highly developed industry used to be synon-ymous with Osijek and the entire Slavonija and Baranja region in the past, but in modern times the notion of industry has taken on a new meaning. Classic factories have disappeared, making room for the development of more modern and innovative industries, including cultural and creative industries. The problem of recognition and conservation of tangible and intangible cultural heritage, which is increas-ingly often at risk, has also come up in the ur-banisation process. Systematic efforts to con-serve and revitalise cultural heritage are need-ed in order to preserve the identity and the culture of the local community. Otherwise it will fall victim to uncontrolled urbanisation, and disappear. Cultural and creative industries are building ways for the development, con-servation and urban regeneration and revitali-sation of the cultural heritage. Repurposed industrial cultural heritage can serve as a re-minder of former glory, but also as a daily in-spiration for new entrepreneurs, creative pro-fessionals, and all other citizens. Local and national governments must make projects aimed at the revitalisation of all types of cul-tural heritage their priority. These projects are highly attractive. Even though they are also challenging and very expensive, they will con-tinue to bear fruit for many years after their implementation by reinforcing their city’s identity, but also through fast-growing cultural tourism. The main objective of this paper is to explore the potentials of the forgotten (invisi-ble) industrial (now cultural) heritage of Osijek within the sector of cultural and creative in-dustries. With this goal in mind, the authors carried out a survey to gauge public awareness of the economic potential offered by the devel-opment of cultural and creative industries, with a focus on the revitalisation of Osijek’s industrial cultural heritage. One of the objec-tives of the survey was also to identify the opinions of different age and education groups in the public about these matters. Regrettably, the awareness of the importance of conserving cultural heritage remains rather low. Educa-tional campaigns, written guidelines, projects and events are needed to educate the broader community in order for the development po-tential of cultural and creative industries to be really manifested.

The debate about the responsibility of museums to respect Indigenous peoples’ rights (Kelly and Gordon; Butts) has caught our attention on the basis of our previous research experience with regard to the protection of the tangible and intangible heritage of the San (former hunter gatherers) in Southern Africa (Martin and Vermeylen; Vermeylen, Contextualising; Vermeylen, Life Force; Vermeylen et al.; Vermeylen, Land Rights). This paper contributes to the critical debate about curatorial practices and the recovery of Indigenous peoples’ cultural practices and explores how museums can be transformed into cultural centres that “decolonise” their objects while simultaneously providing social agency to marginalised groups such as the San.

한류 등으로 인한 콘텐츠산업에서의 수출은 2000년 이후 빠르게 확산되어 국가 브랜드의 확산 및 타 산업의 연계 효과 확대 등 긍정적인 역할을 담당하며 국가 경제의 큰 역할을 수행해왔다. 그러나 국내 콘텐츠 기업들의 수출 확대와 이를 통한 국제화 전략의 전개 과정이 과연 기업 수익성과 연결되었는지에 대하여 실증적으로 입증된 연구는 부족한 실정이다. 본 연구에서는 국내 콘텐츠산업 중에서도 영상 및 게임 업종에서의 수출 확대가 기업 성장성 및 수익성에 미치는 영향에 대하여 실증적으로 분석하였다. 분석 결과, 게임 업종에서는 영업수익 대비 수출 비중의 확대가 기업의 양적 성장에 유의미한 영향을 주고 있는 것으로 나타났으나, 수익성은 오히려 감소시키는 것으로 나타났다. 그러나 영상 업종의 경우, 수출비중의 재무성과에 대한 영향은 유의미한 결과가 도출되지 않았다. 또한, 수출이 기업성과에 미치는 영향에 대한 비선형성 관계에 대한 검증에 있어서는 전 업종 모두 유의미한 결과가 도출되지 않았다. 본 연구결과는 콘텐츠산업의 수출 활동에 대한 보다 전략적 접근과, 내수시장에서의 영업수익 확대 및 프로젝트기반의 꾸준한 시장테스트를 통해 수출을 위한 기반 마련의 중요성을 정책적 시사점으로 제시한다. The export on visual and game industry has grown very rapidly and is expanding its role in economic growth. In contrast, researches on these firms' financial performances in strategic and policy point of view are difficult to be found regarding the export of cultural industry. In this study, we analysis the effects of firms export in cultural industry on their financial performances focusing on game and visual industry. We find that the recent activities of export in game industry have positive effect on firm's growth in game industry. However, we find that the export deteriorate the net profit. On the other hand, we find no significant results in the case of visual game industry. Our results suggest that we need more strategic approaches in exporting goods in contents industry.

In recent years, due to the advancement of game production techniques, the modeling accuracy of buildings in games has become increasingly realistic. This article aims to explore whether technological updates and development in the game industry can drive the economic growth of the real-world cultural and tourism industry. The article employs the questionnaire survey method as the primary research approach to investigate the relevant factors and specific circumstances that influence the empowerment of cultural heritage clusters by technological innovations in the game industry. By analyzing the data and charts from 153 questionnaires, it examines the relationship between the types of respondents and the development of the game industry and local tourism, verifies the authenticity and validity of the data, and analyzes the prerequisites and transformation process for players to shift from being consumers of games to consumers of cultural and tourism products. The article aims to prove the prerequisites and feasibility of technological innovations in the game industry, empowering cultural heritage clusters, and demonstrates that the architectural modeling design in games has a positive and practical impact on the economic development of tourism in the filming locations.

Content Curators as Cultural Intermediaries: “My reputation as a curator is based on what I curate, right?”

Taiwanese culture holds immense value, with its rich heritage and history being recognized worldwide. While efforts have been made to preserve tangible cultural heritage, intangible aspects such as knowledge and beliefs have often been overlooked. To address this gap and contribute to the preservation of Taiwanese cultural heritage, technology has been harnessed, with games emerging as a popular medium.This study explores the advantages of using games to promote understanding and appreciation of Taiwanese culture. Through a literature review and examination of existing serious games related to Taiwanese culture, a research game was developed. Expert interviews were then conducted with professionals from the game industry and cultural creativity sector, providing diverse perspectives and invaluable insights.The feedback obtained from these expert interviews demonstrates a positive reception towards the concept of using games as a tool for cultural education. Furthermore, the suggestions and recommendations provided by the experts have significantly contributed to the enhancement and refinement of the prototype game. As a result, valuable guidelines have been derived, serving as a roadmap for future designers interested in creating serious games centered around Taiwanese culture.

[Extract:] Celebrities are a ubiquitous aspect of contemporary Western culture. Although the phenomenon of celebrity itself predates the twentieth century, the rise of the modern mass media – popular newspapers, cinema, radio, and television, and more recently the Internet and other digital communication technologies – has done much to promote and circulate public knowledge of celebrities during the last 100 years. The presence of multi-channel digital television, radio, and the World Wide Web in Western households at the turn of the twenty-first century has not only increased the number of places in which celebrities can be seen and heard, but has also required media producers to compete with each other and with alternative leisure activities for the attention of fragmented audiences, an increasingly precious commodity. The rise of celebrity culture is inextricably linked to developments in media systems that operate within capitalist systems of commodity exchange. Most obviously, celebrities provide a well-proven route to attracting and retaining audiences, helping to offset the risks inherent in cultural production. They also play out a fantasy of the individual simultaneously performing within public and the private spheres. As P. David Marshall neatly puts it, celebrities might be seen as a “production locale for an elaborate discourse on the individual and individuality” (1997: 4). However the ubiquity of celebrity culture does not mean that its considerable diversity can be ignored. A cursory glance through the prime-time television schedules, for instance, reveals how one might choose between shows featuring celebrity hosts and guests, contest-based reality television shows that participate in the construction of celebrity, personality driven lifestyle programming, sports shows featuring star athletes and commentators, and even political shows with celebrity journalists. All of this is indicative not just of the pervasiveness of modern celebrity culture but also its diversity and breadth.

The policy planning of cultural and creative industries is the leading factor affecting the development of cultural and creative industries and is also an important factor in driving China's economic transformation. How to combine the policy with the actual industrial development and how to scientifically assess the construction effect of cultural and creative industries and build the corresponding planning system are the key points of the current development of cultural and creative industries in Anhui Province, China. The study first analyzes the regional cultural characteristics and development status of Anhui Province, then uses Nvivo12 qualitative software to conduct grounded research and qualitative text analysis on 20 Chinese cultural and creative industry development policy texts, and summarizes three core elements that promote the development of China's cultural and creative industry: “development task,” “development goal,” and “development guarantee.” Then, according to the three core elements of the text, we propose policy recommendations for the innovation and development of Anhui's cultural and creative industries: focus on “cultural heritage and sustainable development” policy formulation, explore Anhui's regional characteristics and culture; strengthen the development of urban-rural cultural integration and mechanism innovation; optimize and adjust the structure and supply of cultural industries; top-level design to clarify the strategic direction of culture, and coordinate the research tasks to empower industrial innovation. Relying on new media means, it integrates three major development strategies to build a new mechanism for internationalized communication of cultural and creative industries in Anhui Province, develop regional advantageous industries, form advantageous cultural industry clusters, effectively spread local culture, and promote sustainable development of local economy.

Editorial: Creative industries at the intersection between local agglomeration, national regulation, and global networks

Cultural industries, according to several international studies, represent 6–9% of GDP. Even if this is a sector without clear-cut borders, it plays an extremely important role as its contribution to GDP is made by industries based on innovation and rapid growth in productivity. The cultural industries can be divided in content industries (cinema, TV, radio, advertising, publishing), material culture (industrial design, arts and crafts, fashion, eno-gastronomic industries), and cultural heritage (museums, contemporary art, architecture, music and performing arts) Each market is analyzed in order to point out its weaknesses and strengths.

This article provides an introduction to, and makes a case for, cultural intermediaries as an entry point for the study of media and cultural production. We offer a strategic parsing of the conceptual foundations provided by Bourdieu with regard to cultural intermediaries and the media, loosely organized in terms of where they are located (working in media); the means of accomplishing their role (working with media); and their economic role in promoting consumption (the work of mediation). We then follow the translation of the concept from Bourdieu to a cultural economy approach that is concerned with the material practices involved in the formation of value. A review and comparison of substantive findings from a range of cultural economic case studies of cultural intermediary occupations serves as an introduction to a three‐fold approach that might guide future studies of occupations in cultural industries, in terms of: historicizing occupations, material practices, and assessments of impact. Finally, we conclude with a claim for the utility of ‘cultural intermediaries’ as a way to think about cultural production, and highlight areas in which work remains to be done.

Pretende-se apresentar um panorama dos discursos e ações sobre o patrimônio cultural brasileiro para, em seguida, discutir contribuições e relações que podem ser estabelecidas a partir dos fundamentos da Ciência da Informação. A primeira é a relação entre patrimônio e o conceito de documento, a segunda sobre os processos documentais e o cientista da informação, e a terceira uma abordagem da mediação e apropriação cultural do patrimônio.

<i>Popular Music in the Nostalgia Video Game: The Way It Never Sounded</i>, by Andra Ivănescu