ARTICLE | doi:10.20944/preprints201608.0034.v1
Subject: Arts & Humanities, Media Studies Keywords: piracy; pirate party; political mobilization; political parties; information politics; social media; activism
Online: 3 August 2016 (16:36:14 CEST)
Since the 1990s, the understanding of how and where politics is made has changed radically. Scholars such as Ulrich Beck and Maria Bakardjieva have discussed how political agency is enacted outside of conventional party organizations, and political struggles increasingly focus on single issues. Over the past two decades, this transformation of politics has become common knowledge, not only in academic research but also in the general political discourse. Recently, the proliferation of digital activism and the political use of social media is often understood to enforce these tendencies. This article analyzes the Pirate Party in relation to these theories, relying on almost 30 interviews with active Pirate Party members in Sweden, the UK, Germany, the USA, and Australia. The Pirate Party was initially formed in 2006, focusing on copyright, piracy, and digital privacy. Over the years, it has developed into a more general democracy movement, with an interest in a wider range of issues. This article analyses how the party’s initial focus on information politics and social media connects to a wider range of political issues and to other social movements, such as Arab Spring protests and Occupy Wall Street. Finally, it discusses how this challenges the understanding of information politics as a single issue agenda.
Tue, 3 July 2018
ARTICLE | doi:10.20944/preprints201807.0035.v1
Subject: Arts & Humanities, Media Studies Keywords: choice poetics; poetics; narrative games; choices; player goals; roleplay; complicity
Online: 3 July 2018 (10:41:24 CEST)
Choice poetics is a formalist framework that seeks to capture the impacts choices have on player experiences within narrative games. Developed in part to support algorithmic generation of narrative choices, the theory includes a detailed analytical framework for understanding the impressions choice structures make by analyzing the relationships between options, outcomes, and player goals. The theory also emphasizes the need to account for players’ various modes of engagement, which vary both during play and between players. In this work, we illustrate the non-computational application of choice poetics to the analysis of three different choices, in order to further develop the theory and make it more accessible to others. We focus first on analyzing so-called false choices in the game “Mass Effect”, and show how they actually provide meaningfully different outcomes for players who are utilizing certain modes of engagement. Second, we use choice poetics to examine the central repeated choice in “Undertale”, and show how it can be used to contrast two different player types that will approach a choice differently. Finally, we give an example of fine-grained analysis using a choice from the game “Papers Please”, which breaks down options and their outcomes to illustrate how the choice pushes players towards complicity via the introduction of uncertainty. Through all of these examples, we hope to show the usefulness of choice poetics as a framework for understanding narrative choices, and to demonstrate concretely how one could productively apply it to choices ‘in the wild’.
Fri, 14 September 2018
ARTICLE | doi:10.20944/preprints201809.0263.v1
Subject: Arts & Humanities, Media Studies Keywords: Second World War; North Africa Campaign; Egypt; Cosmopolitanism; Imperial nostalgia; Colonial nostalgia; Collective memory
Online: 14 September 2018 (11:35:59 CEST)
The article addresses the function of (post)colonial nostalgia in a context of multidirectional memory (Rothberg 2009) in contemporary Europe. How can different cultural memories of the Second Word War be put into respectful dialogue with each other? The text is based on a contrapuntal reading (Said 1994) of British and Egyptian popular narratives, using a qualitative content analysis of 10 British tv documentary films about the North Africa Campaign, and data from qualitative interviews collected during ethnographic fieldwork in Alexandria and Cairo, Egypt, during visits 2013--2015. The study highlights considerable differences between the British and Egyptian narratives, but also significant similarities regarding the use and function of nostalgia. In addition, the Egyptian narrative expresses a profound cosmopolitan nostalgia and a longing for what is regarded as Egypt’s lost, modern Golden Age, identified as the decades before the nation’s fundamental change from western-oriented monarchy to Nasser’s Arab nationalist military state. The common elements between the two national narratives indicate a possibly fruitful way to open up for a shared popular memory culture about the war years, including postcolonial aspects.
Tue, 18 September 2018
ARTICLE | doi:10.20944/preprints201809.0339.v1
Subject: Arts & Humanities, Media Studies Keywords: National Cinema; Transnational Japanese Film; taiyōzoku; mukokuseki; ’kimono effect’; youth icons; postwar film festivals.
Online: 18 September 2018 (09:49:29 CEST)
The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the World and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text andproduction-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality.
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