The chapters in The Oxford Handbook of Canadian Cinema present a rich, diverse overview of Canadian cinema. Responding to the latest developments in Canadian film studies, this volume takes into account the variety of artistic voices, media technologies, and places which have marked cinema in Canada throughout its history. Drawing on a range of established and emerging scholars from a range of disciplines, this volume will be useful to teachers, scholars, and to a general readership interested in cinema in Canada. Moving beyond the director-focused approach of much previous scholarship, this book is concerned with communities, institutions, and audiences for Canadian cinema at both national and international levels. The choice of subjects covered ranges from popular, genre cinema to the most experimental of artistic interventions. Canadian cinema is seen in its interaction with other forms of art-making and media production in Canada and at the international level. Particular attention has been paid to the work of Indigenous filmmakers, members of diasporic communities and feminist and LGBTQ artists. The result is a book attentive to the complex social and institutional contexts in which Canadian cinema is made and consumed.

The video game industry in Quebec is not only the largest in terms of the number of studios operating there, but it is also the largest jurisdiction in terms of employment, accounting for 10,850 FTEs in direct employment in 2015. [...] Canada's Video Game Industry in 2015 6 of 58 Glossary of Terms Video game company: A company directly involved in the development, publishing, and/or sale of video game products; and/or the provision of services directly related to the development, publishing or sale of video game products. [...] Canada's Video Game Industry in 2015 9 of 58 1.2 Employment Apart from the number of active companies, perhaps the most accessible gauge of the size of an industry is the number of people that it employs. [...] Return to Table of Contents Canada's Video Game Industry in 2015 15 of 58 2. The Structure, Output and Geography of Canada's Video Game Industry The following section turns to the structure (types of company, ownership, etc.), the output (completed projects), and the geography (in Ontario, Quebec, and British Columbia) of the video game industry in Canada. [...] The upshot of the growing game watching trend in whatever form is that developers and publishers now need to consider the entertainment value of watching the game being played, not just the quality of the game play itself.

In the last decade our mobile phones have been infiltrated by angry birds, our computers by leagues of legends and our social networks by pleas for help down on the farm. As digital games have become networked, mobile and casual they have become a pervasive cultural form. Based on original empirical work, including interviews with workers, virtual ethnographies in online games and analysis of industry related documents, Global Games provides a political, economic and sociological analysis of the growth and restructuring of the digital games industry over the past decade. Situating the games industry as both cultural and creative and examining the relative growth of console, PC, online and mobile, Aphra Kerr analyses the core production logics in the industry, and the expansion of circulation processes as game services have developed. In an industry dominated by North American and Japanese companies, Kerr explores the recent success of companies from China and Europe, and the emergent spatial politics as countries, cities, companies and communities compete to reshape digital games in the networked age.

As technology continues to rapidly advance, individuals and society are profoundly changed. So too are the tools used to measure this universe and, therefore, our understanding of reality improves. Boundaries of Self and Reality Online examines the idea that technological advances associated with the Internet are moving us in multiple domains toward various "edges." These edges range from self, to society, to relationships, and even to the very nature of reality. Boundaries are dissolving and we are redefining the elements of identity. The book begins with explorations of the digitally constructed self and the relationship between the individual and technological reality. Then, the focus shifts to society at large and includes a contribution from Chinese researchers about the isolated Chinese Internet. The later chapters of the book explore digital reality at large, including discussions on virtual reality, Web consciousness, and digital physics. - Cyberpsychology architecture - Video games as a tool for self-understanding - Avatars and the meaning behind them - Game transfer phenomena - A Jungian perspective on technology - Politics of social media - The history and science of video game play - Transcendent virtual reality experiences - The theophoric quality of video games

The precarious reality of videogame production beyond the corporate blockbuster studios of North America. The videogame industry, we're invariably told, is a multibillion-dollar, high-tech business conducted by large corporations in certain North American, European, and East Asian cities. But most videogames today, in fact, are made by small clusters of people working on shoestring budgets, relying on existing, freely available software platforms, and hoping, often in vain, to rise to stardom—in short, people working like artists. Aiming squarely at this disconnect between perception and reality, The Videogame Industry Does Not Exist presents a much more accurate and nuanced picture of how the vast majority of videogame-makers work—a picture that reveals the diverse and precarious communities, identities, and approaches that make videogame production a significant cultural practice. Drawing on insights provided by over 400 game developers across Australia, North America, Europe, and Southeast Asia, Brendan Keogh develops a new framework for understanding videogame production as a cultural field in all its complexity. Part-time hobbyists, aspirational students, client-facing contractors, struggling independents, artist collectives, and tightly knit local scenes—all have a place within this model. But proponents of non-commercial game making don't exist in isolation; Keogh shows how they and their commercial counterparts are deeply interconnected and codependent in the field of videogame production. A cultural intervention, The Videogame Industry Does Not Exist challenges core assumptions about videogame production—ideas about creativity, professionalism, labor, diversity, education, globalization, and community. Its in-depth, complex portrayal suggests new ways of seeing, and engaging in, the videogame industry that really does exist.