Category Archives: Key Terms

Damsel in Distress

“Damsel in Distress” comes from the French saying “Demoiselle en detresse” where demoiselle means “young lady” and “en detresse” means anxiety and despair which is caused by abandonment and danger. The “Damsel in Distress” trope has been around for hundreds of years, traced back to the story Perseus rescuing his princess Andromeda. Since then it has been perpetuated through books, movies, and most recently video games. Beginning with the creator of Nintendo, Shigeru Miyamoto who also created the game Donkey Kong which eventually lead to the creation of the Mario franchise. In these games Princess Peach is the stereotypical “Damsel in Distress” who gets kidnapped in 13 of the 14 main games. To be a “Damsel in Distress” a character does not necessarily have to be weak of powerless but but must be reduced to helplessness and needs to be rescued by the main protagonist for the benefit of his story arch. This is objectifying because the woman is being acted upon used as a prop in the hero and villian’s battle. There is also the disempowerment of the female which leads to the empowerment of the male main character. When the damsel gets kidnapped she is unable to rescue herself; whereas if the hero gets kidnapped he escapes to showcase his own abilities. Also the damsel’s imprisonment is seen as a trial for the hero to overcome. She might not be a “Damsel in Distress” from start to finish. She may be a helpful damsel who sometimes offers hints or assistance.

 

Source: Feminist Frequency Damsel in Distress Part 1

Social Role Theory

Social Role Theory is the theory that different social roles in which both sexes are socialized in contemporary socialized society direct the individual behaviors that are required for these roles. People subconsciously fulfill these roles because they have become ingrained in contemporary social society. We see this in the gaming world, especially, as a reflection of the gender roles of society. For example, Grand Theft Auto–> the males have power and perform sexual violence and are thugs while the females are strippers and helpless pawns.

* Boys will play certain games and in certain ways as girls will too, only they will play less

* It explains gender differences in the gaming world

* However, the Sims attracts female gamers which breaks away from typical gender roles and social role theory

* Since its launch in 2000, the Sims has been the ultimate example of a game which has been able to attract female characters

Gamer

The term gamer is used to self identify or label a particular person as a participant in gaming and gamer culture. The term is ambiguous in that no one set of attributes subscribes to the identity/label. Gamers may play “hardcore” games or social ones, may dabble in many games or immerse themselves in a few, may be very present on game forums and produce walkthroughs or keep to themselves — no one criterion fully encompasses what it means to be a gamer.

Shaw uses Bhabha’s theory of hybridity to highlight how multiple “gamer” identities can intersect to exist in the meta level of gamer culture (Shaw 35). For example, the term “gaymer” is an identification that encompasses “gamer” and LGBTQ identities into an individual aspect that is greater than the sum of its parts.

A somewhat controversial identity within the term “gamer” is the female or “gamer girl” identity, which often carries a negative connotation both within the misogynistic gaming community (Shaw 33) and from non-gamers (Royse 569). Anita Sarkesian’s work on gendered representations in gaming have made steps towards true gender equality among all gamers.

 

Works referenced:

Shaw, Adrienne. “Do You Identify as a Gamer? Gender, Race, Sexuality, and Gamer Identity.” New Media and Society 14.28 (2011): 28-40. Web. 5 Mar. 2014.

Royse, Pam, Joon Lee, Baasanjav Undrahbuyan, Mark Hobbson, and Mia Consalvo. “Women and Games: Technologies of the Gendered Self” New Media and Society 9.4 (2011): 555-574. Web. 5 Mar. 2014.

Gaming Identity

There are two types of identity when it comes to gaming. There is the identity of the gamer and then that of the the characters in the game. The gamer can fall into several categories, for instance, the casual, moderate, or hardcore gamer while in the game they are not limited to being their own selves, and their identity becomes their own choice. In the case of female gamers, this often “results in a freedom of movement and advancement that are not always afforded to them.”

 

Sources:

http://sanjayjainmd.com/wp-content/uploads/2014/02/url.jpeg

Royce, et. al, “Women and games: technologies of the gendered self” in New Media & Society, August 2007; vol. 9: pp. 555-576.

Hypersexualization

Hypersexualization:

Games present an alternate reality in which its participants can challenge gender norms while allowing users greater control and freedom. Female avatars in modern games have more recently become solely employed to fulfill male ‘fantasies’;  however by sexualizing female avatars, some women were motivated to create a strong and sexy character. For instance, in Lara Croft: Tomb Raider (especially the original games), Lara is deeply hypersexualized due to the focus on her prominent breasts – which has now become almost her claim to fame. Hypersexualization simultaneously sexualizes a character, while also brings down it’s humanist character by also being something to merely stare at.

Motivation

(Baby, you can be my) Motivation

As game studies is a fairly young field, there are few, if any, established theories that model why people play games. Such a framework of ‘gamer motivation’ may also address why people choose to play a particular game over another, or why men and women might choose to play different games based on gendered lines. Many researchers design their own model of gamer motivation by adapting existing sociological models of use and gratification.

In the study entitled The Sims2, the researchers came  up with six areas that they felt strongly influenced or drove gamers to play the game.

  1.  Fantasy/Escapism – the desire to involve oneself in a world where things that are normally impossible in the real world are possibly experienced by the player.
  2. Control – the ability to have an inordinate amount of control over the experience of the world and, in the case of the Sims in particular, the life of your sims.
  3. Challenge – the oppurtunity to tackle and overcome challenges within the game world.
  4. Diversion – playing games as an act of pure distraction or diversion, to kill time, relax, forget your life.
  5. Enjoyment – a straightforward source of pleasure or enjoyment.
  6. Social Interaction – playing the game as a engine for interacting with other members of the community.

Playing The Sims2: an exploration of gender differences in players’s motivations and patterns of play. Jeroen Jansz, Corinne Avis and Mirjam Vosmeer

 

2013 Tomb Raider

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In the 2013 version of Tomb Raider, Lara Croft is more athletic, wearing cargo pants instead of tiny little shorts as she did in the previous games. However, in this story, and especially deeply implied by the trailer, Lara Croft seems to be sexually assaulted. “A few months ago, executive producer Ron Rosenberg told Kotaku that scavengers on an island where Lara is trapped attempt to rape her. “She is literally turned into a cornered animal.” (Note: Likening victims of attempted rape to “cornered animals,” is the very definition of dehumanizing.) “ (Forbes).

Again, going off the executive producer’s comments, When Rosenberg spoke about Lara, he said, “When people play Lara, they don’t really project themselves into the character…. They’re more like ‘I want to protect her.’ There’s this sort of dynamic of ‘I’m going to this adventure with her and trying to protect her….’” In this, the executive producer is basically saying that it would odd for a boy to relate to a female hero – therefore, they must make them vulnerable in order to to relate to them at all. Consider this when thinking about that concept: How many people can relate to non-human characters? The answer is a lot. So why would a woman be any different?

In general however, the 2013 Tomb Raider is much less hypersexualized than the orginals. Instead of her breasts being the prominent focus, the details and intricacies (which was aided by the better processing systems, of course) of her face becomes the focal point of her character. She is strong and tough, but has moments of weakness, like any person would too. The depth of her character is better: she is much more than just a pretty face.

 

Citation: Pinchefsky, Carol. “A Feminist Reviews Tomb Raider’s Lara Croft.” Forbes. Forbes Magazine, 12 Mar. 2013. Web. 12 Mar. 2014.

Digital Gaming Culture

Digital gaming culture: As implied by its title, digital gaming culture is the alternate reality that exists within the realm of digitized video games. In the context of this article, the author asserts that this culture shifts power relations to put women in a vulnerable position in comparison to men. Digital gaming culture refers not only to the hypersexualization of victimization of women within video games, but also the existence of the trend/belief that men are better than women at actually playing video games. This culture emphasizes gender stereotypes by portraying women largely as objects of sexual desire with little focus on positive skills that women maintain. However, it is not all negative. Digital gaming culture, on the flip side, can also create realities in which men and women can assume any identity they want through the creation of custom characters, etc. The “Women and Games” article also cites an interview recording in which many women state that gender-neutral games allow for a space where equality is achieved through competition and skill, i.e. if women are better than men at certain video games they feel more powerful than they do outside of virtual realities and inside of the reality of human society.

Taken from “Women and games: technologies of the gendered self”

Aesthetic Arrest

This term was first introduced by James Joyce to describe the state of not only seeing art but being in a higher state of awareness while appreciating it. The mind is ‘arrested’ and all desires and loathing become irrelevant to the spectator. M. Wesch, however, uses this term in the context of YouTube. Viewers do not just simply watch YouTube videos, they rather form a deep connection with the ‘vlogger’. The possibility to watch a video over and over again, to ‘stare’ without any inhibitions and to experience people. One gets the sense that the viewers are ‘overwhelmed by the beauty of the human in front of them’.

Wesch explains in his lecture why people feel this way: in the process of how we express ourselves as individuals and what we wish for, a cultural tension develops. This individualism, at the same time, marks us as a lonely individual that craves a deeper connection. But similarly the wished for connection is often seen as a constraint, as there are usually certain responsibilities involved which just come along naturally when having deeper connections to other human beings. In that respect however, YouTube is able to “offer” deep connections with “no strings attached”.

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Websites used: http://mediatedcultures.net/smatterings/aesthetic-arrest/

Humor, Spectacle and Self-Referentiality

According to Alexandra Juhasz, there are three main qualities of any popular or viral YouTube video that make it entertaining.  These are humor, spectacle, and self-referentiality.  Juhasz claims that a video’s ability to be humorous stems from its ability to be “self-mocking” and “ironic”.  Whether or not a video can be considered a “spectacle” refers to how authentic that video feels to the viewer.  Self-referentiality simply points to a more meta quality of YouTube videos–that is, talking about YouTube within a YouTube video (i.e. – My YouTube Story videos, general YouTube commentary or criticism).

The main idea behind these three qualities of YouTube videos, Juhasz claims, come from methods practiced in earlier media which can be attributed to a sense of convenience and speed.  In other words, videos are easy to get to (if you know what you’re looking for), and easy to understand.  This also speaks to how recognizable a video is in terms of its main focus–Juhasz uses examples like a “big booty” or a “car crash”.  While a big booty or a car crash might not seem like authentic central focuses for a YouTube video, it is the authenticity of that specific big booty or car crash that ultimately makes an audience want to watch it.

Context Collapse

How we present ourselves relies on context, who we are with and where we may be. Talking into a webcam, especially for the first time, can be awkward as “vloggers” often spend several hours at a loss for words. As Michael Wesch pointedly stated, “That’s there. That’s somewhere else. That’s everybody. On the other side of that little glass lens is almost everyone you love, everyone you know, everyone you have ever heard of, and even those you have never heard of. In more specific terms, it is everyone who has or will have access to the internet – billions of potential viewers, and your future self among them.”[i] Like a “black hole sucking all of time and space,” looking into a web camera can result in vloggers being unable to size up their audience.


[i] Wesch, Michael. “Context Collapse.” Digital Ethnography. N.p., n.d. Web. 03 Mar. 2014.

 

YouTube Partner Program

Per the YouTube website, the YouTube Partner Program is described as a program that allows creators to monetize content on YouTube through a variety of ways including advertisements, paid subscriptions, and merchandise. In addition to joining the Partner Program, Creators can take advantage of the variety of resources, features, and programs that YouTube provides to help you build your channel(s) and your audience.

Basically, to make money off of YouTube, you have to be a part of this partner program.

Not just anyone can join, however. Criteria to be admitted to the partnership program is as follows:

“Your YouTube channel may be eligible for the YouTube Partner Program if it meets the following criteria:

  • The program has launched in your country.
  • Your account is in good standing and hasn’t previously been disabled for monetization.
  • You upload original, quality content that is advertiser-friendly.
  • Your video content complies with our Terms of Service and Community Guidelines.
  • You have reviewed our copyright education materials.”

There are also some stipulations regarding what kind of content one can post when using the program, as to avoid copyright issues. Examples are listed below:

  • Music (including cover songs, lyrics, and background music)
  • Graphics and pictures (including photographs and artwork)
  • Movie or TV visuals
  • Video game or software visuals
  • Live performances (including concerts, sporting events, and shows)

Additionally, through the article we read for class today entitled “How Much Money Do YouTube Stars Make?” we learned how much one can realistically make off a “YouTube career.” YouTube gives its content partners, that is those that participate in the program, 55% of the ad revenue that they bring in (while YouTube gets 45% of the profits.) The types of ads that are used to sponsor their videos are a factor in how much money they earn. Pre-roll ads (ads that lead into the beginning of the video) bring in an average of $5 for every 1,000 views. Banner ads bring in an estimate $.80 cents per 1,000 views. 1,000 views is a lot, so clearly to make money off this partnership, the user’s content must have to attract a huge number of viewers.

#YouTube #Media #NewMedia #Advertising

Websites used for information:
http://www.youtube.com/yt/creators/creator-benefits.html
https://support.google.com/youtube/answer/72851?hl=en