Women’s activism has assumed an international dimension beginning in the nineteenth century. Transnational feminism has been shaped by debates over a wide range of issues: how to name and describe feminist inspired action that crosses national borders; how to create organizations, networks, and movements that acknowledge the multiple power differentials that exist among women while still allowing for concerted political action; and how to craft effective mobilization strategies in the face of highly differing forms of activism. These debates have fueled a surge in scholarly interest in the transnational activities of feminist groups, transforming the ways in which women’s studies, political science, international relations, sociology, and geography investigate the relationships between national and international levels of politics. The scholarship on transnational feminist actions has been influenced in large part by the concept of transnational advocacy networks/transnational feminist networks, which often bring together multiple kinds of actors such as social movements, international nongovernmental organizations, and more nationally or locally based actors. Another issue tackled by scholars who are politically committed to the goals of transnational feminist activism is how feminists are likely to achieve their goals and produce change through their transnational activities. These scholars can be expected to continue to develop their own research agendas on transnational feminist activism and to influence how transnational politics and globalization are studied in other fields.
Melinda Adams and Gwynn Thomas
Entertainment technologies are not new, and neither is their relevance for international studies. As studies evidence, the impact of entertainment technologies is often visible at the intersection of “traditional” international relations concerns, such as national security, political economy, and the relation of citizens to the nation-state, and new modes of transnational identity and social action. Thus the study of entertainment technologies in the context of international studies is often interdisciplinary—both in method and in theoretical framework. Moreover, the production, regulation, and dissemination of these technologies have been at the center of controversies over the flow of news and cultural products since the dawn of popular communication in the nineteenth century. These entertainment technologies include video games, virtual worlds and online role-playing games, recreational social networking technologies, and, to a lesser degree, traditional mass communication outlets. In addition, there are two primary emphases in the scholarly treatment of entertainment technologies. At the level of audience consumption and participation, media outlets considered as entertainment technologies can be discussed as means for acquiring information and cultivating attitudes, and as a “space” for interaction. At the more “macro” level of social relations and production, representation can work to reinforce modes of belonging, identity, and attitudes.