scholarly journals Meanings Made in Students’ Multimodal Digital Stories: Resources, Popular Culture, and Values

2020 ◽  
Vol 12 (1) ◽  
pp. 45-55
Author(s):  
Helene Dahlström ◽  
Ulla Damber
Author(s):  
Jane Caputi

The proposed new geological era, The Anthropocene (a.k.a. Age of Humans, Age of Man), marking human domination of the planet long called Mother Earth, is truly The Age of the Motherfucker. The ecocide of the Anthropocene is the responsibility of Man, the Western- and masculine-identified corporate, military, intellectual, and political class that masks itself as the exemplar of the civilized and the human. The word motherfucker was invented by the enslaved children of White slave masters to name their mothers’ rapist/owners. Man’s strategic motherfucking, from the personal to the planetary, is invasion, exploitation, spirit-breaking, extraction and toxic wasting of individuals, communities, and lands, for reasons of pleasure, plunder, and profit. Ecocide is attempted deicide of Mother Nature-Earth, reflecting Man’s goal to become the god he first made in his own image. The motivational word Motherfucker has a flip side, further revealing the Anthropocene as it signifies an outstanding, formidable, and inexorable force. Mother Nature-Earth is that “Mutha’ ”—one defying translation into heteropatriarchal classifications of gender, one capable of overwhelming Man, and not the other way around. Drawing upon Indigenous and African American scholarship; ecofeminism; ecowomanism; green activism; femme, queer, and gender non-binary philosophies; literature and arts; Afrofuturism; and popular culture, Call Your “Mutha’ ” contends that the Anthropocene is not evidence of Man’s supremacy over nature, but that Mother Nature-Earth, faced with disrespect, is going away. It is imperative now to call the “Mutha’ ” by decolonizing land, bodies, and minds, ending rapism, feeding the green, renewing sustaining patterns, and affirming devotion to Mother Nature-Earth.


2021 ◽  

The history of European videogames has been so far overshadowed by the global impact of the Japanese and North American industries. However, European game development studios have played a major role in videogame history, and prominent videogames in popular culture, such as <i>Grand Theft Auto</i>, <i>Tomb Raider</i> and <i>Alone in the Dark</i> were made in Europe. This book proposes an exploration of European videogames, including both analyses of transnational aspects of European production and close readings of national specificities. It offers a kaleidoscope of European videogame culture, focusing on the analysis of European works and creators but also addressing contextual aspects and placing videogames within a wider sociocultural and philosophical ground. The aim of this collective work is to contribute to the creation of a, so far, almost non-existent yet necessary academic endeavour: a story of the works, authors, styles and cultures of the European videogame.


Author(s):  
Sinan Kaya

The purpose of this chapter is, as a self-regulated learning tool, to focus on digital storytelling by uncovering relationship between digital storytelling and self-regulated learning process/based on research findings made in the its field. Within this focus, firstly, concept of digital storytelling was theoretically addressed; researches made in learning-teaching for use have been presented; later, self-regulated learning processes and strategies have been defined and given examples. Finally, research findings on the use of digital stories as self-regulated learning tools have been shared.


Author(s):  
Reyes Abad Flores ◽  
Macarena Gross Ariza

RESUMEN: La serie fotográfica Salinas. Paisajes de silencio presentada en el Seminario internacional Paisajes de la sal (UPM 2019) se inserta en un proyecto de investigación estética que busca retratar espacios pensados, diseñados para/desde el silencio dentro de los límites de Andalucía. Este conjunto de paisajes evocadores y cautos, estimula una percepción ajena a ciertos estereotipos culturales y estéticos vinculados, fundamentalmente, a la tradición urbana. En la búsqueda intuitiva de estos espacios imprecisos, las salinas se convierten en objetivo clave por su fórmula paisajística natural, artesanal y su plástica cambiante. Las imágenes generan una ficción, un lugar idealizado y necesario donde la naturaleza es protagonista y la presencia humana relegada. Siguiendo un juego de sinestesias, una serie de objetos interactúan con el medio, evocando un sonido, un sabor, un estado, una historia y una luz. La serie está realizada por completo en las salinas de Bonanza de Sanlúcar de Barrameda (Cádiz). ABSTRACT:The photographic serie Salt flats. A silent landscape was presented in the International Seminary Cultural Landscapes of Artisan Salt (UPM 2019) as part of an artistic research proyect about a range of scenaries and territories whitin the limits of Andalusia that embodies the aestehtic values of silence. These evocative and guarded landscapes bring a perspective that differs from the stereotyped views of the local traditions and cultural identity. The beauty of the salt flats soon became an inspiration and a main focus of the work. The mix of natural landscape, artisanal production and the changing appearance of plastic elements generates a fiction and an idealistic vision of a silent landscape, a particular concept of photography that emphazises the beauty of nature and relegates the human presence to a second place. A number of objects related to the popular culture and the artisanal production of salt interact with the enviroment and the artistic intentionality is build around a shared body of synesthesia: a sound, a light, a taste, a story, an emotion... The photographic serie was made in the historic salt flats of Sanlúcar de Barrameda (Cádiz).


Author(s):  
Marcella Lins

Television drama is an important tool to present hypothetical scenarios and imagine various ways to deal with them, while testing the viability of ethical theories that could guide moral judgements and practical decisions made in real life. Buffy the Vampire Slayer (1997-2003) left an important legacy in Popular Culture captivating viewers worldwide and still being relevant 20 years later. The aim of this article is to revisit Buffy’s Season 4 and analyze it through a libertarian perspective. Over this season, a great number of relevant subjects are discussed, such as the form and function of the state, its relationship with society, the subversion of public authorities and the morality of law and punishment. It is expected that the successful adoption of libertarian ethics and principles to understand this TV show might bring out Libertarianism as a valuable philosophical alternative to be taken into account when looking for solutions to current issues.


Robocop ◽  
2018 ◽  
pp. 107-108
Author(s):  
Omar Ahmed

This afterword looks at Michel Gondry's homage to RoboCop in Be Kind Rewind (2008), a film that is ‘sweded’ — a term referring to popular films innovatively re-enacted using a camcorder with the most perfunctory of budgets. The film reiterated the continuing fondness with which RoboCop has become part of popular culture. Gondry's inclusion of RoboCop as part of nostalgia for VHS, old media, as something retro is part of a cultural flow in which cinematic memories were forged in a discordant pattern of adolescent subterfuge and waiting impatiently at the video store for the tape to arrive with the hope it has not been chewed up by someone else's VCR. Perhaps the epitome of RoboCop's cultural popularity was the release of a crowd-funded project, ‘Our RoboCop Remake’, in 2014. Fifty filmmakers worked together to re-tell the story of RoboCop in a celebratory pastiche. Most recently, a comprehensive documentary on the making of RoboCop, ‘RoboDoc: The creation of RoboCop’ (2017), once again reiterates the many ways in which the film continues to capture the imagination. The chapter then highlights how RoboCop was re-made in 2014.


Author(s):  
Justus Nieland

The first feature film of legendary Soviet director Sergei Eisenstein, Strike, is an anatomy of the germination of collective action, its surveillance within modern networks of power, and its violent repression. Based on the 1903 strikes at Rostov-on-the-Don, Strike was conceived as part of a never finished seven-film cycle entitled Toward the Dictatorship of the Proletariat. Made in the aftermath of the Russian Revolution, the film is the first of a series of Eisenstein’s filmic mythologies of revolutionary action – here an historical strike – that includes Battleship Potemkin (1926), a film about a famous mutiny, and October: Ten Days that Shook the World (1927), a picture about the revolution itself. Strike is, of course, a propaganda film for the nascent Soviet state, and rooted in an aspiration towards documentary actuality. But it is also one of the director’s most formally exuberant, theatrical films. Its dazzling display of technical trickery (superimpositions, double-exposures, shifting frame dimensions, hyperactive irises and dissolves), and its non-naturalistic performance styles, betray the strong influence of popular culture on the young Eisenstein. The director’s indebtedness to the anti-psychological, externalized approaches to acting characteristic of 1920s Soviet constructivist theatre of the 1920s – the biomechanical principles of Vsevolod Meyerhold, or the illogical, gag-based performance styles of the Factory of the Eccentric Actor (FEKS), a Petrograd-based acting workshop with which the young Eisenstein was associated – is also evident in Strike’s pile of gags, acrobatics, and clown routines. Strike illustrates Eisenstein’s early desire to structure his films as sensational attractions, whose aggressive montages – as in Strike’s famous intercutting of the slaughtering of an ox and the murder of the striking workers by tsarist forces – were calculated to manipulate spectators’ emotions and allegiances. During the 1930s, under the pressure of a new Soviet demand for Socialist realism, Eisenstein would disavow as youthful excesses the formal experiments of Strike that continue to astonish audiences.


2010 ◽  
Vol 42 (1) ◽  
pp. 6-7
Author(s):  
Fatma Müge Göçek

What has changed in the field of Middle East studies over the last five years, especially when perceived from the vantage point of the United States? Certainly a lot, due mostly to the reverberations of the 9/11 terrorist attacks and the ensuing haphazard U.S. adventure first into Afghanistan and then Iraq in apparent search for the culprits, accompanied by a strong underlying interest in gaining access to oil and other natural resources, as well as sustaining world supremacy. Perhaps as a consequence of these developments, MESA membership escalated, especially among younger cohorts of Americans now interested in the culture and languages of the region, and studies of Middle East and Central Asia as well as Islamic studies once again increased in public significance. Yet the dark side of these developments was of course present once again in the—once again haphazard—associations often made in popular culture among Islam, the region, and terrorism: orientalism tended to rear its ugly head, as all of these were analyzed as the “other,” entirely distinct and separate from “us.”


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