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GCST1603 Screen Cultures And Gender

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GCST1603 Screen Cultures And Gender

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GCST1603 Screen Cultures And Gender

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Course Code: GCST1603
University: The University Of Sydney

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Country: Australia

Question:
What you need to do is only answering the Journal Question ‘While there are…’ in the file ‘Assignment requirement’. You need to incorporate engagement with one or two of the required readings and one of the media examples I have given you. All details are included in the attached files and take a look at it, please.
Answer:
Introduction:

It is important to understand the concept of video games first, in order to comprehend the concept of identity of gamers. In this context, Henry Jenkins goes on to defines video games as entities that constitute of virtual playing spaces (Jenkins, 1998). This give a chance to the children who are returning home, to extend their reach, explore and manipulate and interact with an extensive range of imaginary places than make up the often boring, predictable and overly familiar spaces of everyday lives.
According to another argument by Keith Feinstein (1997), President of the Video Game Conservatory, video games help in preserving many aspects of play spaces and culture that are traditional. These maintain such aspects that motivate children to learn about the environment that they live in. He further explains that video games provide the opportunity to explore and discover and fight others having completive skill and to struggle with them in a form similar to wrestling of children, or scrambling for the same ball (Condis, 2015). All of these are not much harmful to the child, yet it feels as if the fight is really important or the child for that given moment. The comment by Feinstein identifies some really important and classical conceptions about game-play, which suggest that video games are not fundamentally different from that of backyard play.
There is a term for the identification of the people who are involved and engaged in the game-play. According to the thesis by Andrienne Shaw, the identification of a gamer is more of a choice than a natural identity those are defined by structures of kinship, and dictated by legislation (Shaw, 2018). The identity of gamers is defined in relation to the discourses that are dominant in nature about the players of the games, along with the deployment of sub-cultural capital and the context in which the players discover themselves and who are the subjects of the texts if the game.
The thesis by the mentioned author also contains interviews of people who have identified themselves as gamers. The identity can be classified into some habits. Firstly, the gamers claim, it takes a particular level of commitment of time along with economic investment in clothing, different types of games and in games that are based on subscription (Paaßen, Morgenroth & Stratemeyer, 2017). However, there are issues that were required to be addressed regarding the violence portrayed in the video games as a result of the evolution of graphics and technology. The hearing by (Violence & Committee, 2018) indicated an address to the violence shown in the games like Mortal Kombat, developed by Midway games at the initial stages.
The senate stated that the violence portrayed in the video games ended up influencing the mass population of children below the age of twelve years and that the exposure of children to such violence could prove to be harmful to their healthy mental growth. The senate also feared that the violence could also prove to be a bigger problem for the country in the future as a whole. This is because the children who would possibly be exposed to the violence would have a different vision of the real world and end up practicing crimes similar to such violence in the real life. Thus, the Video Game Rating Act (Felini, 2015) was introduced in February 1994, which enabled the gaming industry to develop a rating system which would help the consumers segregate the games based on the age group.
References:
Condis, M. (2015). No homosexuals in Star Wars? BioWare,’gamer’identity, and the politics of privilege in a convergence culture. Convergence, 21(2), 198-212.
Felini, D. (2015). Beyond today’s video game rating systems: A critical approach to PEGI and ESRB, and proposed improvements. Games and Culture, 10(1), 106-122.
Jenkins, H. (1998). Complete freedom of movement: Video games as gendered play spaces. From barbie to mortal kombat: Gender and computer games, 1, 262-296.
Paaßen, B., Morgenroth, T., & Stratemeyer, M. (2017). What is a true gamer? The male gamer stereotype and the marginalization of women in video game culture. Sex Roles, 76(7-8), 421-435.
Shaw, A. (2018). On Not Becoming Gamers: Moving Beyond the Constructed Audience. [online] Ada New Media. Available at: https://adanewmedia.org/2013/06/issue2-shaw/ [Accessed 3 Oct. 2018].
Violence, V., & Committee, S. (2018). Video Game Violence. Retrieved from https://www.c-span.org/video/?52848-1/video-game-violence.

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