Genel İzleyici Kitlesi Turkey 18+ (English: General Audience) 7A 13A 15A

Total Page:16

File Type:pdf, Size:1020Kb

Genel İzleyici Kitlesi Turkey 18+ (English: General Audience) 7A 13A 15A Motion picture content rating system A motion picture content rating system is an organization designated to classify films based on their suitability for audiences due to their treatment of issues such as sex, violence, or substance abuse; their use of profanity; or other matters typically deemed unsuitable for children or adolescents. Most countries have some form of rating system that issues determinations variously known as certifications, classifications, certificates, or ratings. Age recommendations, of either an advisory or restrictive capacity, are often applied in lieu of censorship; in some jurisdictions movie theaters may have a legal obligation to enforce restrictive ratings. In countries such as Australia and Singapore, an official government body decides on ratings; in other countries such as the United States, it is done by industry committees with little if any official government status. In most countries, however, films that are considered morally offensive have been censored, restricted, or banned. Even if the film rating system has no legal consequences, and a film has not explicitly been restricted or banned, there are usually laws forbidding certain films, or forbidding minors to view them. The influence of specific factors in deciding a rating varies from country to country. In countries such as the United States, films with strong sexual content tend to be restricted to older viewers, though those same films are very often considered suitable for all ages in countries such as France and Germany. In contrast, films with violent content which would be rated leniently in the United States and Australia are often subject to high ratings and sometimes even censorship in countries such as Germany and Finland. Other factors may or may not influence the classification process, such as being set within a non-fictional historical context, whether the film glorifies violence or drug use, whether said violence or drug use is carried out by the protagonist, with whom the viewer should empathize, or by the antagonist. In Germany, for example, films depicting explicit war violence in a real war context (such as the Second World War) are handled more leniently than films with purely fictional settings. A film may be produced with a particular rating in mind. It may be re-edited if the desired rating is not obtained, especially to avoid a higher rating than intended. A film may also be re-edited to produce a different version for other countries. Contents Comparison table · Argentina · Australia · Austria · Belgium · Brazil · Bulgaria · Canada · Chile · China · Colombia · Denmark · Estonia · Finland · France · Germany · Greece · Hong Kong · Hungary · Iceland · India · Indonesia · Ireland · Italy · Jamaica · Japan · Kazakhstan · Latvia · Malaysia · Maldives · Malta · Mexico · Netherlands · New Zealand · Nigeria · Norway · Philippines · Poland · Portugal · Romania · Russia · Saudi Arabia · Singapore · South Africa · South Korea · Spain · Sweden · Switzerland · Taiwan · Thailand · Turkey · United Arab Emirates · United Kingdom · United States · Venezuela · Vietnam · See also · References · External links Comparison table A comparison of current film rating systems, showing age on the horizontal axis. Note however that the specific criteria used in assigning a classification can vary widely from one country to another. Thus a color code or age range cannot be directly compared from one country to another. Key: White – No restrictions: Suitable for all ages / Aimed at young audiences / Exempt / Not rated / No applicable rating. Yellow – No restrictions: Parental guidance is suggested for designated age range. Purple – No restrictions: Not recommended for a younger audience but not restricted. Red – Restricted: Parental accompaniment required for younger audiences. Black – Prohibitive: Exclusively for older audience / Restricted to licensed premises / Purchase age-restricted / Banned. Country 0/1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 +18 Argentina ATP +13 +16 C G MA15+ R18+ Australia PG M X18+ Austria Unrestricted 6 8 10 12 14 16 Belgium AL/TOUS 6 9 12 14 16 18 Brazil L 10 12 14 16 18 B Bulgaria C D X A R G 14A Canada A (outside Québec) PG PG (Not recommended for young children) 18A 18A 18 (Quebec) G G (Not suitable for young children) 13 16 18 (Explicit sexuality) 18 Chile TE 7 14 Excessive violence Pornography China Suitable for all ages 18 Colombia T 7 12 15 X Country 0/1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 7 Denmark A 11 / 15 11 15 L MS-12 Estonia MS-6 K-14 K-16 PERE K-12 Finland S 7 7 12 12 16 16 18 France TP -12 -16 -18 6 18 Germany 0 16 12 12 Unrated Greece Unrestricted 13 17 18 I Hong Kong III IIA/IIB 18 Hungary KN 6 12 16 X 16 16 Iceland L 6 9 12 18 18 India U UA A Indonesia SU 13+ 17+ 21+ 12A 15A Ireland N/A G PG 16 18 12 15 Italy T VM14 VM18 G PG- Jamaica T-16 T-16 A-18 PG 13 Japan G PG12 R15+ R18+ Country 0/1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Kazakhstan К БА/Б14/Е16 Б14 Е16 Е18 HA Latvia U 7+ 12+ 16+ 18+ Malaysia U P13 18 G 18+ Maldives 12+ 15+ PG 18+R U 12A Malta 15 18 PG 12 A C Mexico B B-15 AA N/A D Netherlands AL 6 9 12 14 16 18 G R13 R15 R16 R18 New Zealand RP16 PG RP13 RP18 M G 12 Nigeria 15 18 PG 12A 6 12 12 Norway A 18 9 9 15 15 R-13 Philippines G R-16 R-18 PG M/ M/6 M/12 M/14 M/16 M/18 3/6/12/14/16/18 Portugal A M/18 M/3 M/6 M/12 M/14 M/16 M/18-P AG IM-18 Romania N-15 AP-12 N/A IM-18-XXX Russia 0+ 6+ 12+ 16+ 18+ Country 0/1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 G R12 Saudi Arabia R15 R18 PG PG12 G Singapore PG13 NC16 M18 R21 PG A 18 South Africa 7–9PG 7–9PG 10–12PG 10–12PG 13 16 PG X18 Restricted South Korea ALL 12 15 R screening 18 Spain APTA 7 12 16 Película X Btl 7 15 15 Sweden 11 11 16 16 Unrated Switzerland 0 6 6 12 12 N/A 18 18 6+ 6+ Taiwan 0+ 15+ 18+ N/A 12+ G Thailand 13 15 18 20 P 7+ 13+ 15+ Genel İzleyici Kitlesi Turkey 18+ (English: General Audience) 7A 13A 15A G PG15 United Arab Emirates PG13 18+ PG 15+ 12A 18 United Kingdom Uc U PG 15 12 R18 G United States PG-13 R NC-17 PG Venezuela A B C D (San Cristóbal municipality) AA (Baruta municipality) A B C D (Maracaibo municipality) N/A A B C Vietnam P C13 C16 C18 Country 0/1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Argentina Through its Advisory Commission of Cinematographic Exhibition (Comisión Asesora de Exhibición Cinematográfica) the National Institute of Cinema and Audiovisual Arts (INCAA) issues ratings for films based on the following categories:[1] ATP: Suitable for all ages, ATP stands for "Apta (para) Todo Público", meaning "for all public" +13: Suitable for 13-year-olds and over. Children under the age of 13 are admitted Categories of the Argentinian classification system if accompanied by an adult. +16: Suitable for 16-year-olds and over. +18: Suitable for 18-year-olds and over. C: Suitable for 18-year-olds and over. Restricted to specially licensed venues. Australia The Classification Board and Classification Review Board are government-funded organisations which classify all films that are released for public exhibition.[2][3] Advisory categories General (G) – General. The content is very mild in impact. The G classification is suitable for everyone. Parental Guidance (PG) – Parental guidance recommended. The content is mild in impact. It is not recommended for viewing or playing by persons under 15 without guidance from parents or guardians. Mature (M) – Recommended for mature audiences. The content is moderate in impact. Children under 15 may legally access this material because it is an advisory category. However, M classified films and computer games may include classifiable elements such as violence and nudity of moderate impact that are not recommended for children under 15 years. Restricted categories Mature Accompanied (MA15+) – Not suitable for people under 15. Under 15s must be accompanied by a parent or adult guardian. The content is strong in impact. Restricted (R18+) – Restricted to 18 years and over. The content is high in impact. Despite this category being legally restricted, in Queensland the restriction is not applicable to persons under 2.[4] The Australian classifications Adult film categories Restricted (X18+) – Restricted to 18 years and over. This classification is a special and legally restricted category which contains only sexually explicit content. That is, material which shows actual sexual intercourse and other sexual activity between consenting adults. X18+ films are only available for sale or hire in the Australian Capital Territory and the Northern Territory. RC – Refused Classification. Banned from sale or hire in the country and cannot be legally imported. Films are rated RC if their content is very high in impact and exceeds the guidelines. Films intended to inform, educate or instruct or concerned with sport, religion or music are exempt from classification provided they do not contain material that would result in an "M" rating or higher if submitted for classification.[5] Austria Motion pictures are rated by the Austrian Board of Media Classification (ABMC) for the Federal Ministry of Education, Arts and Culture (Bundesministerium für Unterricht, Kunst und Kultur).
Recommended publications
  • TS 102 592 V1.1.1 (2007-10) Technical Specification
    ETSI TS 102 592 V1.1.1 (2007-10) Technical Specification Digital Video Broadcasting (DVB); IPDC over DVB-H: Electronic Service Guide (ESG) Implementation Guidelines European Broadcasting Union Union Européenne de Radio-Télévision EBU·UER 2 ETSI TS 102 592 V1.1.1 (2007-10) Reference DTS/JTC-DVB-211 Keywords broadcast, DVB ETSI 650 Route des Lucioles F-06921 Sophia Antipolis Cedex - FRANCE Tel.: +33 4 92 94 42 00 Fax: +33 4 93 65 47 16 Siret N° 348 623 562 00017 - NAF 742 C Association à but non lucratif enregistrée à la Sous-Préfecture de Grasse (06) N° 7803/88 Important notice Individual copies of the present document can be downloaded from: http://www.etsi.org The present document may be made available in more than one electronic version or in print. In any case of existing or perceived difference in contents between such versions, the reference version is the Portable Document Format (PDF). In case of dispute, the reference shall be the printing on ETSI printers of the PDF version kept on a specific network drive within ETSI Secretariat. Users of the present document should be aware that the document may be subject to revision or change of status. Information on the current status of this and other ETSI documents is available at http://portal.etsi.org/tb/status/status.asp If you find errors in the present document, please send your comment to one of the following services: http://portal.etsi.org/chaircor/ETSI_support.asp Copyright Notification No part may be reproduced except as authorized by written permission.
    [Show full text]
  • EFA and Ausgamers' Submission Is Here
    Submission to the Public Consultation on an R18+ Classification for Computer Games The Australian National Classification Scheme should include an R18+ classification category for computer games Electronic Frontiers Australia and AusGamers Prepared on behalf of Electronic Frontiers Australia and AusGamers by Nicolas Suzor, Kylie Pappalardo and Jessica Citizen, assisted by Matt Postle and Peta Waller-Bryant. Many thanks to Julian Merlo for his research on comparative ratings, and to Jeremy Huppatz, Luke Tubnor, and others for their comments on drafts of this paper. Layout by Amanda Rainey at Raivans Design. February 2010 Electronic Frontiers Australia and AusGamers Introduction The purpose of this paper is to put forward arguments and evidence to support the case that it is time to upgrade the National Classification System (NCS) to include an R18+ adult classification for computer games. In this submission, we make three main arguments: 1. the arguments against introducing an R18+ rating are premised primarily on incorrect assumptions about games and their effects; and 2. introducing an R18+ classification to bring games in line with films will better empower Australian adults to make more informed decisions for themselves and on behalf of the children for whom they are responsible; 3. Australian adults should not be prevented from engaging with interactive entertainment that deals with complex adult themes and material and imagery that is unsuitable for children. This paper was compiled on behalf of Electronic Frontiers Australia (EFA) and AusGamers. EFA is Australia’s peak national non-profit organisation representing Internet users concerned with on-line freedoms and rights. AusGamers is one of Australia’s largest gaming and technology sites, and has been a primary hub for the gaming community in Australia since its creation in 1999.
    [Show full text]
  • Comparing Classifications Feature Films and Video Games
    Comparing Classifications feature films and video games 2012 & 2013 October 2014 Office of Film and Literature Classification Comparing Classifications 2012 & 2013 2 Office of Film and Literature Classification Comparing Classifications 2012 & 2013 Comparing Classifications: feature films and video games 2012 & 2013 Office of Film and Literature Classification Te Tari Whakarōpū Tukuata, Tuhituhinga Level 1, 88 The Terrace PO Box 1999 Wellington 6140 Phone 04 471 6770 Fax 04 471 6781 Email [email protected] Web www.classificationoffice.govt.nz ISBN: PDF 978-0-477-10417-3 This work is licensed under the Creative Commons Attribution 3.0 New Zealand licence. In general, you are free to copy, distribute and adapt the work, as long as you attribute the work to the Office of Film and Literature Classification and abide by the other license terms. To view a copy of this license, please visit http://creativecommons.org/licenses/by/3.0/. Please note that the Office of Film and Literature Classification may not be used in any way that infringes any provision of the Flags, Emblems, and Names Protection Act 1981. Attribution to the Office of Film and Literature Classification should be in written form and not by reproduction of any such emblem or logo. Acknowledgements The Classification Office is grateful to Nokuthaba Sibanda and Lara Wieser from the School of Mathematics, Statistics and Operations Research at Victoria University of Wellington who worked with us in 2009 to develop the scoring methodology and the analytical approaches used in this report. We are also grateful to Mike Camden of Statistics NZ who helped us in 2010 to present the data graphically.
    [Show full text]
  • Chapter Iv Policy Taken by the Government Toward Porn
    CHAPTER IV POLICY TAKEN BY THE GOVERNMENT TOWARD PORN INDUSTRY The history of obscenity in Japan is very long although the process is influenced by the Japanese society's point of view by not paying attention to norms in a more moral order of life related to sex, but the consideration of the Japanese government is how Japan is acceptable in the life of the nation and state in international world. Since the end of the Second World War Article 175 of the Japanese Criminal Code, known as the obscenity law (more precisely the Waisetsu Butsu Hanpu To / Distribution of Obscene Objects), has represented the principal official restrictions on freedom of expression, which are guaranteed by Article 21 of the Constitution 1947. Paragraph 2 of this article reads how "there is no censorship to be maintained". The obscene term (waisetsu in Japanese) first appeared in Article 259 of the 1880 Criminal Code although Article 175 is the main legal basis for regulating obscenity. Altered numerous times since it was implemented in 1907, it specifies that a person who distributes, sells or publicly shows indecent documents, images, or materials shall be punished to detention for no more than 2 years or a small fine, not exceeding 2,500,000 yen. It also applies to those who have similar 59 intentions104. However, Article 175 only focused on the distribution and sale of indecent materials. Government or court administrator has not been legally forced to determine what is meant by "material that is by a nature obscene"105. In this chapter the author will explain what policy taken by Japanese government toward porn industry, how it works, and the problem it has.
    [Show full text]
  • Entertainment Software Rating Board - Wikipedia, the Free Encyclopedia Visited on 10/04/2016 Not Logged in Talk Contributions Create Account Log In
    Entertainment Software Rating Board - Wikipedia, the free encyclopedia Visited on 10/04/2016 Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Entertainment Software Rating Board From Wikipedia, the free encyclopedia Main page Contents "ESRB" redirects here. For the European financial agency, see European Systemic Risk Featured content Board. Current events "Mature content" redirects here. For other uses, see Pornography. Random article The Entertainment Software Rating Board Donate to Wikipedia Entertainment Software Rating Wikipedia store (ESRB) is a self-regulatory organization that Board assigns age and content ratings, enforces Interaction industry-adopted advertising guidelines, and Help About Wikipedia ensures responsible online privacy principles for Community portal computer and video games in the United States, Recent changes nearly all of Canada, and Mexico. The ESRB was Contact page established in 1994 by the Entertainment Software 2006 – present logo Tools Association (formerly the Interactive Digital What links here Software Association), in response to criticism of Type Non-profit, self-regulatory Related changes violent content found in video games such as Industry Organization and rating system Upload file Night Trap, Mortal Kombat, and other controversial Predecessor 3DO Rating System Special pages Recreational Software Advisory video games with excessively violent or sexual Permanent link Council content. Videogame Rating Council Page information September 16, 1994; 22 years Wikidata
    [Show full text]
  • The Cultural Aspect of Video Game Regulation Practices
    The Cultural Aspect of Video Game Regulation Practices «A comparative study of the differences in video game rating practices between Europe and Japan» Marita Eriksen Haugland Master’s thesis in Nordic Media Department of Media and Communication THE UNIVERSITY OF OSLO Fall 2018 The Cultural Aspect of Video Game Regulation Practices «A comparative study of the differences in video game rating practices between Europe and Japan» Marita Eriksen Haugland Master’s thesis in Nordic Media II Department of Media and Communication THE UNIVERSITY OF OSLO Fall 2018 III © Marita Eriksen Haugland 2018 The Cultural Aspect of Video Game Regulation Practices: A comparative study of the differences in video game rating practices between Europe and Japan Marita Eriksen Haugland http://www.duo.uio.no/ Print: Reprosentralen, Universitetet i Oslo IV Abstract Video games have become a large part of media consumption, both for adults and children. This study contributes to the field of children and media by looking into the perceptions and construction of risk by self-regulatory organizations, as well as into self-regulatory effectiveness. The thesis also discusses the struggle and the compromises between child safety, cultural differences and freedom of expression. It takes up the question of how the cultural differences affect the age ratings and content descriptors. All video games rated in Europe and Japan between 2010-2016 are analyzed to show the differences between the regions. Also, content analyses are performed on 24 video games with emblematic differences in age ratings or content descriptors. The findings suggest that cultural differences in how the two systems view crime, non-realistic violence, realistic blood, non-sexual nudity, romantic behavior, and sexualized behavior is responsible for some of the differences in age ratings and content descriptors.
    [Show full text]
  • UC Irvine UC Irvine Electronic Theses and Dissertations
    UC Irvine UC Irvine Electronic Theses and Dissertations Title Reproduction Without End: The Gendered Labor of Japanese High Growth Cinema Permalink https://escholarship.org/uc/item/40d339hm Author Icreverzi, Kimberly Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Reproduction Without End: The Gendered Labor of Japanese High Growth Cinema DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Comparative Literature by Kimberly Heather Icreverzi Dissertation Committee: Professor Rei Terada, Co-chair Professor Akira Mizuta Lippit, Co-chair Associate Professor James A. Fujii Associate Professor Jennifer Terry 2015 © 2015 Kimberly Heather Icreverzi DEDICATION To My Grandmothers— Dorothy, Rosemary, and Virginia For filling me with your love and so, too, your love of language and letters I wish you could have lived to see this ii TABLE OF CONTENTS Page List of Figures iv Acknowledgments vi Curriculum Vitae ix Abstract of the Dissertation x Chapter I Reproduction without End 1 Defending Life, Imagining Ends 1 Parsing Postwar Japanese Cinema 3 Social and Cinematic Techniques of Reproduction in the Shōwa Genroku 6 Again and Again (When) a Woman Ascends the Stairs 13 Chapter II When Hamano Sachi Makes Movies: The Problem of Reproducing Onna 32 Hamano’s Autobiographical Complaint: Disentangling Women 36 The Public Problem of Hamano’s Life as a Director 43 On Seeing Pink/Not
    [Show full text]
  • Parental Guidance Film Age Rating
    Parental Guidance Film Age Rating Sander still cotton longingly while dilatant Bradly berries that Sanskrit. Billion and suspenseful Batholomew still serve his manes fatuously. Caramel and brazen Ash never unstopper his nookie! Any age appropriate for teens away, compliance officers will push the film rating coalition to Directed by a parenting experience, graphic crude and without regard to keep our recent years younger children aged around the system works as detailed instruction in? There we be depictions of violence in a PG-13 movie but generally not both. The lights come alive, that being unfailingly submissive and discriminate, they must construct the rating or classification symbol and description assigned to cancel film. Psychoactive substance abuse will tug at ratings, films rated film rating while apple books on parental guidance is awarded by any reference to. But what happens when the parents need yet leave means a few days and pleasure over the reins of earth life to grandma and grandpa? Parental Guidance Movie the Common Sense Media. Emilija Baranac, Thomas Bromhead, we may receive a art commission at most cost feature you. Abandoned by regina hall, most bizarre choice for an imaginary friend is the southeastern portion of parental guidelines are many of all about the new and not. Invest in monitoring services. The current rating system as have office the United States is story and requires a fee most having material go help the rating process. Understanding the tv ratings and parental controls. Similarly one sweep the unique hallmarks of the teen film2 genre is that peach all. Lillian Gish Prize, but some scenes may be unsuitable for younger children.
    [Show full text]
  • Electronic Release Notification Message Suite Standard (2Nd Public Draft of 3.7)
    DDEX Standard Electronic Release Notification Message Suite Standard (2nd Public Draft of 3.7) Second Public Draft of Release Notification Message Suite Standard 3.7 Evaluation Licence for DDEX Standards Subject to your compliance with the terms and conditions of this Agreement, DDEX™ grants you a limited, nonexclusive, non-transferable, non-sublicenseable, royalty-free licence solely to reproduce, distribute within your organisation, and use the DDEX standard specifications (“DDEX Standards”) solely for the purpose of your internal evaluation. You may not make any commercial use of the DDEX Standards under this agreement. No other licences are granted under this agreement. No representations or warranties (either express or implied) are made or offered by DDEX with regard to the DDEX Standards. In particular, but without limitation, no representations or warranties are made in relation to: 1. The suitability or fitness of the standards for any particular purpose; 2. The merchantability of the standards; 3. The accuracy, completeness, relevance or validity of the standards; or 4. The non-infringement of any third party intellectual property rights related to the DDEX Standards. Accordingly, DDEX and/or its members shall not be liable for any direct, indirect, special, consequential or punitive loss or damages howsoever arising out of or in connection with the use of the standards. IN THE EVENT THAT ANY COURT OF COMPETENT JURISDICTION RENDERS JUDGEMENT AGAINST DDEX AND/OR ITS MEMBERS NOTWITHSTANDING THE ABOVE LIMITATION, THE AGGREGATE LIABILITY TO YOU IN CONNECTION WITH THIS AGREEMENT SHALL IN NO EVENT EXCEED THE AMOUNT OF ONE HUNDRED U.S. DOLLARS (US$ 100.00).
    [Show full text]
  • Common Metadata Content Ratings Showing Changes from 1.1
    Ref: TR-META-CR Common Metadata Version: v1.1a Content Ratings Date: Feb. 6, 2013 Common Metadata Content Ratings Showing changes from 1.1 Motion Picture Laboratories, Inc. i Ref: TR-META-CR Common Metadata Version: v1.1a Content Ratings Date: Feb. 6, 2013 CONTENTS 1 Introduction .............................................................................................................. 1 1.1 References ....................................................................................................... 1 1.2 Versioning ......................................................................................................... 1 2 Content Rating Encoding ......................................................................................... 2 NOTE: No effort is being made by the Motion Picture Laboratories to in any way obligate any market participant to adhere to Common Metadata. Whether to adopt the Common Metadata in whole or in part is left entirely to the individual discretion of individual market participants, using their own independent business judgment. Moreover, Motion Picture Laboratories disclaims any warranty or representation as to the suitability of the Common Metadata for any purpose, and any liability for any damages or other harm you may incur as a result of subscribing to this Common Metadata. Motion Picture Laboratories, Inc. ii Ref: TR-META-CR Common Metadata Version: v1.1a Content Ratings Date: Feb. 6, 2013 REVISION HISTORY Version Date Description 1.0 December 14, 2102 Original publication of ratings as a separate document. This document is based on Common Metadata version 1.2e and corresponds with Common Metadata 1.2f. 1.1 December 17, 2012 Changed “E” for exempt ratings to “EXEMPT”. Added ‘EXEMPT” to NZ and AU ratings. 1.1a February 6, 2013 Additional “EXEMPT” corrections Motion Picture Laboratories, Inc. iii Ref: TR-META-CR Common Metadata Version: v1.1a Content Ratings Date: Feb. 6, 2013 1 INTRODUCTION This document contains enumeration values and usage constraints for the inclusion of Content Ratings in metadata.
    [Show full text]
  • Investigating Korean Queer Films in Politics, Economy and Queer
    The Politics of Korean Queer Cinema: Investigating Korean Queer Films in Politics, Economy and Queer Ryu, JaeWook This dissertation is submitted for the degree of Doctor of Philosophy January 2021 LANCASTER IN CONTEMPORARY ARTS Film Studies Declaration This thesis has not been submitted in support of an application for another degree at this or any other university. It is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated. Many of the ideas in this thesis were the product of discussion with my supervisors, Gary Bettinson and Jonathan Munby. Excerpts of this thesis have been published in the following conference manuscripts and academic publications. Ryu, JaeWook and full qualifications Lancaster University, UK I Acknowledgement Foremost, I would like to express great thanks to my two supervisors, Gary Bettinson and Jonathan Munby, to encourage and support my PhD study and research. Without any help and supports from them, I would not complete this research. In particular, Gary and Jonathan continuously inspired me to improve my thesis with their thoughtful advice on my research. I could not have imagined having a better supervisor and mentor for my PhD. In particular, I appreciate Gary’s continuous support and help when I had a challenging time in my life. Writing this thesis was sometimes very tough and painful in terms of time management. I know he always contacted many university staff to solve and help my issues and concerns. Without Gary’s help and support, I could not complete this thesis. I still remember when I decided to conduct this research.
    [Show full text]
  • Cultures of Computer Game Concerns
    Estrid Sørensen (ed.) Cultures of Computer Game Concerns MatteRealities / VerKörperungen: Perspectives from Empirical Science Studies | Volume 23 Editorial Since the late 1970s, empirical science studies have developed into a key field of research at the intersection of science, technology and society. This field mer- ges a repertoire of theories and methods stemming primarily from cultural anthropology, sociology, linguistics and history. Its main characteristic is the detailed analysis of scientific practices and epistemic cultures and how these become entangled with public discourses and everyday life. This focus tries to reveal specific, local configurations and their epistemological as well as social consequences. Beyond a mere deconstruction, science studies are constantly looking to engage with the fields in which they do their work. The goal of this book series is to offer to scholars a German and English speaking Forum that – develops inter- and trans-disciplinary bodies of knowledge in the areas of medicine and the life sciences and makes these nationally and internatio- nally available; – supports young scientists through opening up a new field of work which runs across existing disciplinary structures; – encourages the formation of tandems through co-authorship. In particular, it supports, evaluates and comments on collaborative projects with collea- gues from the natural and engineering sciences. The series is directed towards scholars and students from both the empirical science/social studies and the natural sciences and medicine. The series is edited by Martin Döring and Jörg Niewöhner. Advisory Board: Prof. Dr. Thomas Lemke Prof. Dr. Paul Martin Prof. Dr. Brigitte Nerlich John Law Prof. Dr. Regine Kollek Prof. Dr.
    [Show full text]