By Anthony Fung
This is often the 1st e-book that sheds gentle on worldwide video game industries and cultural coverage. The scope covers the rising and converging thought and versions on cultural industries and its improvement, and their connection to nationwide cultural coverage and globalization. the first concentration of the booklet is on Asian cultural coverage and industries whereas there are implicit comparisons during the ebook to check Asia to different international markets. This e-book is aimed toward complicated undergraduates, graduate scholars and school contributors in courses addressing cultural coverage and electronic video games. it is going to even be of curiosity to these in the cultural coverage group and to electronic video games pros.
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Additional resources for Global Game Industries and Cultural Policy
1997). On the other hand, in the study of media and communication, the tradition of studying the principles of media policy and regulations (Napoli, 2001), and in particular, under the umbrella of telecommunication policy (Litan and Singer, 2013) have always been an important practical ﬁeld of study in departments of communication in the USA, arguably, with a more neoliberal tradition. Even in Europe, possibly with a more critical edge, the study of media policy also becomes a more practical concern especially in the epoch of cultural globalization (Klimkiewicz, 2010).
H. Fung is Director and Professor in the School of Journalism and Communication at the Chinese University of Hong Kong. He is also a Professor in the School of Art and Communication under the Global Experts Scheme at Beijing Normal University, Beijing and Pearl River Chair Professor at Jinan University, Guangzhou, China. His research interests and teaching focus on popular culture and cultural studies, popular music, gender and youth identity, cultural industries and policy, and new media studies.
Akimoto commented that if there is not a large budget for the promotion of cool Japan, a team of ﬁrst-class creators should be formed who would be happy to work for the cool Japan project without any payment. He stated that everyone should be willing to work for the national strategy to rescue Japan in the age of global competition to sell national culture. While his call for free labor was not made to all creators but only to creators at the top, it immediately received much criticism and stirred up a sense of distrust against the eminent creators involved in cultural policy discussion on the Internet, especially among younger creators.