During the planning process, a number of cultural and political factors emerged that could have created problems between the collaborating groups. In their entry, McDaniel and Kuang review a case in which a team comprised of individuals in the US and the PRC collaborated to co‐host an international film festival spanning two nations. Rudy McDaniel and Lanlan Kuang’s article “Cross‐cultural Cinematic Communication: Learning from the Information Design Process for a Sino‐American Film Competition” examines the complexities of such cross‐cultural collaborations.
Chapters explore a diverse range of pedagogical techniques and online forums used in global distance education. The volume offers a pedagogical framework that addresses three interconnected and overarching objectives: using online media to contact audiences from other cultures to share ideas presenting ideas in a manner that invites audiences from other cultures to recognize, understand, and convey or act upon them and composing ideas to connect with global audiences to engage in ongoing and meaningful exchanges via online media. "Thinking Globally, Composing Locally" explores how writing and its pedagogy should adapt to the ever-expanding environment of international online communication. They must also prepare to address friction that may arise from cross-cultural rhetorical situations, variation in available technology and in access between interlocutors, and disparate legal environments. Her account reveals surprising cross-cultural interactions between Japanese games and Western game developers and players, between Japaneseness and the market.Communication to a global audience presents a number of new challenges writers seeking to connect with individuals from many different cultures must rethink their concept of audience. Finally, she compares different approaches to Japaneseness in games sold in the West and considers how Japanese games have influenced Western games developers.
GLOBAL CONTEXTS PROFESSIONAL
She examines indie and corporate localization work, and the rise of the professional culture broker. She analyzes several Japanese games released in North America and looks in detail at the Japanese game company Square Enix. In this book, Mia Consalvo looks at what happens when Japanese games travel outside Japan, and how they are played, thought about, and transformed by individuals, companies, and groups in the West.Ĭonsalvo begins with players, first exploring North American players' interest in Japanese games (and Japanese culture in general) and then investigating players' DIY localization of games, in the form of ROM hacking and fan translating.
Games were “localized,” subjected to sociocultural and technical tinkering. Game developers try to decide whether a game's Japaneseness is a selling point or stumbling block critics try to determine what elements in a game express its Japaneseness-cultural motifs or technical markers. But since then, fans, media, and the games industry have thought further about the “Japaneseness” of particular games. In the early days of arcades and Nintendo, many players didn't recognize Japanese games as coming from Japan they were simply new and interesting games to play. The cross-cultural interactions of Japanese videogames and the West, from DIY localization by fans to corporate strategies of “Japaneseness.”
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