Disciplining the screen through education: The Royal Commission into the moving picture industry in Australia

In this article, we investigate the complex relationship between concerns about children and young people’s exposure to cinema in 1920s Australia and the use of film in education. In part, the Royal Commission into the Moving Picture Industry in Australia aimed to ‘ascertain the effect and the extent of the power of film upon juveniles’ and Commissioners spoke to educationalists, psychologists, medical professions, police officers and parents to gain insight into the impacts of movies on children. Numerous issues were canvassed in the Commission hearings such as exposure to sexual content, ‘excesses’ in film content, children’s inability to concentrate at school following cinema attendance and the influence of cinema on youth crime. While the Commission ultimately suggested it was parents’ role to police children’s engagements with cinema, it did make recommendations for restricting children’s access to films with inappropriate themes. Meanwhile, the Commission was very positive about film’s educational role stating that ‘the advantage to be gained by the use of the cinematograph as an adjunct to educational methods should be assisted in every possible way by the Commonwealth’. We draw on the Commission’s minutes of evidence, the Commission report and newspaper articles form the 1920s to the 1940s to argue that the Commission provides valuable insight into the beginnings of the use of screen content in formal schooling, both as a resource across the curriculum and as a specific focus of education through film appreciation and, later, broader forms of media education. The article argues debates about screen entertainment and education rehearsed in the Commission are reflected today as parents, concerned citizens and educators ponder the dangers and potential of new media technologies and media content used by children and young people such as video games, social media and interactive content.

Social media, data analytics and videogames development : Halfbrick case study

Social media platforms are of interest to interactive entertainment companies for a number of reasons. They can operate as a platform for deploying games, as a tool for communicating with customers and potential customers, and can provide analytics on how players utilize the; game providing immediate feedback on design decisions and changes. However, as ongoing research with Australian developer Halfbrick, creators of $2 , demonstrates, the use of these platforms is not universally seen as a positive. The incorporation of Big Data into already innovative development practices has the potential to cause tension between designers, whilst the platform also challenges the traditional business model, relying on micro-transactions rather than an up-front payment and a substantial shift in design philosophy to take advantage of the social aspects of platforms such as Facebook.

Online Gaming in Context : the Social and Cultural Significance of Online Games

There is little question of the social, cultural and economic importance of video games in the world today, with gaming now rivalling the movie and music sectors as a major leisure industry and pastime. The significance of video games within our everyday lives has certainly been increased and shaped by new technologies and gaming patterns, including the rise of home-based games consoles, advances in mobile telephone technology, the rise in more 'sociable' forms of gaming, and of course the advent of the Internet. This book explores the opportunities, challenges and patterns of gameplay and sociality afforded by the Internet and online gaming. Bringing together a series of original essays from both leading and emerging academics in the field of game studies, many of which employ new empirical work and innovative theoretical approaches to gaming, this book considers key issues crucial to our understanding of online gaming and associated social relations, including: patterns of play, legal and copyright issues, player production, identity construction, gamer communities, communication, patterns of social exclusion and inclusion around religion, gender and disability, and future directions in online gaming.

Boys 'doing' and 'undoing' media education : new possibilities for theory and practice

The purpose of this study is to investigate how secondary school media educators might best meet the needs of students who prefer practical production work to ‘theory’ work in media studies classrooms. This is a significant problem for a curriculum area that claims to develop students’ media literacies by providing them with critical frameworks and a metalanguage for thinking about the media. It is a problem that seems to have become more urgent with the availability of new media technologies and forms like video games. The study is located in the field of media education, which tends to draw on structuralist understandings of the relationships between young people and media and suggests that students can be empowered to resist media’s persuasive discourses. Recent theoretical developments suggest too little emphasis has been placed on the participatory aspects of young people playing with, creating and gaining pleasure from media. This study contributes to this ‘participatory’ approach by bringing post structuralist perspectives to the field, which have been absent from studies of secondary school media education. I suggest theories of media learning must take account of the ongoing formation of students’ subjectivities as they negotiate social, cultural and educational norms. Michel Foucault’s theory of ‘technologies of the self’ and Judith Butler’s theories of performativity and recognition are used to develop an argument that media learning occurs in the context of students negotiating various ‘ethical systems’ as they establish their social viability through achieving recognition within communities of practice. The concept of ‘ethical systems’ has been developed for this study by drawing on Foucault’s theories of discourse and ‘truth regimes’ and Butler’s updating of Althusser’s theory of interpellation. This post structuralist approach makes it possible to investigate the ways in which students productively repeat and vary norms to creatively ‘do’ and ‘undo’ the various media learning activities with which they are required to engage. The study focuses on a group of year ten students in an all boys’ Catholic urban school in Australia who undertook learning about video games in a three-week intensive ‘immersion’ program. The analysis examines the ethical systems operating in the classroom, including formal systems of schooling, informal systems of popular cultural practice and systems of masculinity. It also examines the students’ use of semiotic resources to repeat and/or vary norms while reflecting on, discussing, designing and producing video games. The key findings of the study are that students are motivated to learn technology skills and production processes rather than ‘theory’ work. This motivation stems from the students’ desire to become recognisable in communities of technological and masculine practice. However, student agency is not only possible through critical responses to media, but through performative variation of norms through creative ethical practices as students participate with new media technologies. Therefore, the opportunities exist for media educators to create the conditions for variation of norms through production activities. The study offers several implications for media education theory and practice including: the productive possibilities of post structuralism for informing ways of doing media education; the importance of media teachers having the autonomy to creatively plan curriculum; the advantages of media and technology teachers collaborating to draw on a broad range of resources to develop curriculum; the benefits of placing more emphasis on students’ creative uses of media; and the advantages of blending formal classroom approaches to media education with less formal out of school experiences.

Governance challenges in the global games industry

Current governance challenges facing the global games industry are heavily dominated by online games. Whilst much academic and industry attention has been afforded to Virtual Worlds, the more pressing contemporary challenges may arise in casual games, especially when found on social networks. As authorities are faced with an increasing volume of disputes between participants and platform operators, the likelihood of external regulation increases, and the role that such regulation would have on the industry – both internationally and within specific regions – is unclear. Kelly (2010) argues that “when you strip away the graphics of these [social] games, what you are left with is simply a button [...] You push it and then the game returns a value of either Win or Lose”. He notes that while “every game developer wants their game to be played, preferably addictively, because it’s so awesome”, these mechanics lead not to “addiction of engagement through awesomeness” but “the addiction of compulsiveness”, surmising that “the reality is that they’ve actually sort-of kind-of half-intentionally built a virtual slot machine industry”. If such core elements of social game design are questioned, this gives cause to question the real-money options to circumvent them. With players able to purchase virtual currency and speed the completion of tasks, the money invested by the 20% purchasing in-game benefits (Zainwinger, 2012) may well be the result of compulsion. The decision by the Japanese Consumer Affairs agency to investigate the ‘Kompu Gacha’ mechanic (in which players are rewarded for completing a set of items obtained through purchasing virtual goods such as mystery boxes), and the resultant verdict that such mechanics should be regulated through gambling legislation, demonstrates that politicians are beginning to look at the mechanics deployed in these environments. Purewal (2012) states that “there’s a reasonable argument that complete gacha would be regulated under gambling law under at least some (if not most) Western jurisdictions”. This paper explores the governance challenged within these games and platforms, their role in the global industry, and current practice amongst developers in the Australian and United States to address such challenges.

All about that base : differing player experiences in video game genres and the unique case of MOBA games

Video games provide unique interactive player experiences (PX) often categorised into different genres. Prior research has looked at different game genres, but rarely through a PX lens. Especially, PX in the emerging area of massive online battle arena (MOBA) games is not well understood by researchers in the field. We address this knowledge gap by presenting a PX study of different game genres, which we followed up with a second semi-structured interview study about PX in MOBA games. Among the results of our analyses are that games that are likely played with other players, such as MOBA games, stimulate less immersion and presence for players. Additionally, while challenge and frustration are significantly higher in this genre, players get a sense of satisfaction from teamwork, competition and mastery of complex gameplay interactions. Our study is the first to contribute a comprehensive insight into key motivators of MOBA players and how PX in this genre is different from other genres.

Japanese Video Game Localization : A Case Study of Sony's Sairen Series

This thesis is a comparative case study in Japanese video game localization for the video games Sairen, Sairen 2 and Sairen Nyûtoransurêshon, and English-language localized versions of the same games as published in Scandinavia and Australia/New Zealand. All games are developed by Sony Computer Entertainment Inc. and published exclusively for Playstation2 and Playstation3 consoles. The fictional world of the Sairen games draws much influence from Japanese history, as well as from popular and contemporary culture, and in doing so caters mainly to a Japanese audience. For localization, i.e. the adaptation of a product to make it accessible to users outside the original market it was intended for in the first place, this is a challenging issue. Video games are media of entertainment, and therefore localization practice must preserve the games’ effects on the players’ emotions. Further, video games are digital products that are comprised of a multitude of distinct elements, some of which are part of the game world, while others regulate the connection between the player as part of the real world and the game as digital medium. As a result, video game localization is also a practice that has to cope with the technical restrictions that are inherent to the medium. The main theory used throughout the thesis is Anthony Pym’s framework for localization studies that considers the user of the localized product as a defining part of the localization process. This concept presupposes that localization is an adaptation that is performed to make a product better suited for use during a specific reception situation. Pym also addresses the factor that certain products may resist distribution into certain reception situations because of their content, and that certain aspects of localization aim to reduce this resistance through significant alterations of the original product. While Pym developed his ideas with mainly regular software in mind, they can also be adapted well to study video games from a localization angle. Since modern video games are highly complex entities that often switch between interactive and non-interactive modes, Pym’s ideas are adapted throughout the thesis to suit the particular elements being studied. Instances analyzed in this thesis include menu screens, video clips, in-game action and websites. The main research questions focus on how the games’ rules influence localization, and how the games’ fictional domain influences localization. Because there are so many peculiarities inherent to the medium of the video game, other theories are introduced as well to complement the research at hand. These include Lawrence Venuti’s discussions of foreiginizing and domesticating translation methods for literary translation, and Jesper Juul’s definition of games. Additionally, knowledge gathered from interviews with video game localization professionals in Japan during September and October 2009 is also utilized for this study. Apart from answering the aforementioned research questions, one of this thesis’ aims is to enrich the still rather small field of game localization studies, and the study of Japanese video games in particular, one of Japan’s most successful cultural exports.

Balancing entertainment and behaviour value: M-games as a social marketing agent of change

In a marketplace where millions of dollars are spent on the design of mobile games (m-games), social marketers are now using this technology as a tool for behaviour change. Despite high expenditure by governments and non-profits on social marketing m-games, little is known about their effectiveness in terms of creating value. Value creation has been demonstrated to have an important impact on satisfaction and behaviour. This paper reports the results of a qualitative study involving four focus groups with 23 participants to reveal two categories of experiential value, entertainment and behaviour. Additionally, it was discovered that entertainment could be characterised by amusement and social value dimensions. Whereas, behaviour could be made up of information, simulation and distraction value dimensions. The categories of value, as well as the dimensions of information, simulation and distraction are entirely new to the social marketing literature and thus represents a unique contribution to social marketing.

Gameful connectivism: social bookmarking no SAPO Campus

A web moderna, ou web 2.0, assenta nos princípios de abertura e participação dos seus utilizadores. A natureza voluntária do uso de serviços da web 2.0, aliada à dependência da participação por parte dos seus utilizadores, leva a uma forte concorrência entre serviços semelhantes na web. Esta concorrência leva à procura de novas formas de diferenciação entre serviços. Neste contexto surge a indústria de gamification, que procura transferir elementos de videojogos a outros contextos para aumentar o envolvimento dos utilizadores. Contudo, o discurso desta indústria recente é alvo de fortes críticas de profissionais de game design. Neste trabalho de investigação apresenta-se tanto o discurso da indústria de gamification como as suas críticas. Assumindo que a abordagem atual da gamification assenta numa compreensão limitada dos videojogos, parte-se para a elaboração de um novo quadro concetual que possa guiar o desenho da interação em ambientes web. Esta abordagem fundamenta-se num levantamento bibliográfico da teoria do game design. O quadro concetual resultante é usado no desenho e desenvolvimento de um serviço de social bookmarking no Sapo Campus UA, uma plataforma de serviços web 2.0 para contextos educativos, com o objetivo explícito de aumentar a participação dos seus utilizadores na aplicação. A utilidade do quadro concetual é avaliada com sessões de teste com utilizadores do público-alvo do serviço. Os resultados obtidos indicam que o game design pode enriquecer o desenho da interação na web através da criação de ciclos de ação com resultado claro e feedback positivo.

Game Audio in Audio Games : Towards a Theory on the Roles and Functions of Sound in Audio Games

For the past few decades, researchers have increased our understanding of how sound functions within various audio–visual media formats. With a different focus in mind, this study aims to identify the roles and functions of sound in relation to the game form Audio Games, in order to explore the potential of sound when acting as an autonomous narrative form. Because this is still a relatively unexplored research field, the main purpose of this study is to help establish a theoretical ground and stimulate further research within the field of audio games. By adopting an interdisciplinary approach to the topic, this research relies on theoretical studies, examinations of audio games and contact with the audio game community. In order to reveal the roles of sound, the gathered data is analyzed according to both a contextual and a functional perspective. The research shows that a distinction between the terms ‘function’ and ‘role’ is important when analyzing sound in digital games. The analysis therefore results in the identification of two analytical levels that help define the functions and roles of an entity within a social context, named the Functional and the Interfunctional levels. In addition to successfully identifying three main roles of sound within audio games—each describing the relationship between sound and the entities game system, player and virtual environment—many other issues are also addressed. Consequently, and in accordance with its purpose, this study provides a broad foundation for further research of sound in both audio games and video games.

Music video and gendered pleasures in the lives of young women and men

The purpose of this thesis is to explore the cultural and social significance of music video in the lives of a group of young women and men. In so doing the thesis pays particular attention to issues of gender and pleasure. This research examines the interaction of a group of young people with music video in relation to four areas of research. Firstly, the importance of music video in terms of social interaction and the pleasure this entails is explored. Secondly the thesis looks at the ways in which gender is seen by the young people in this study to be established by music video performers. Thirdly, how gender becomes inscribed on the body is explored, and fourthly I examine the process of sexualization of the body. Theoretically this thesis draws upon feminist theory, poststructuralist theory, music video scholarship and educational theories. This eclectic approach has been necessary as this research speaks simultaneously to several distinct areas of scholarship: education, cultural studies and feminism. My research with a young audience of music video took place within a secondary school. Over two semesters I conducted research with two separate classes of Media Studies students who were aged fifteen and sixteen. A total of 49 students were interviewed, however I chose mainly to work with a small group of eleven students - five girls and six boys. The school where I conducted this research is located in a working class suburb of a provincial and industrial Australian city . The young people's social positioning in terms of class and ethnicity has been considered in some depth in relation to the construction of the gendered subject. Methodologically the thesis is skewed towards the audience, and also towards dealing with what is normally unspoken in the research process. For example, much academic research does not include the author of the research as an integral part of that research. In this thesis I include myself in a number of ways: historically, personally and as a feminist. This thesis places a high priority on ethics and the effects of research on those who participate in the research process. The thesis uses a number of research methods: structured interviews, informal conversations, memory-work and written responses to music videos. Generally the research methods used in this thesis have been developed reflexively; that is, they have developed directly in relation to the participants’ reactions, responses, suggestions, interests and comments. The research seeks to demonstrate the place of music video in the lives of the young people who participated in the study. I look at how the young people in this study connect music video to other cultural forms and social interactions. In this way the intertextuality of music video is demonstrated. The research looks at how young viewers 'read' the gender of music video performers, and how this affects their own gendering. The social and cultural meanings which are attached to certain parts of the body are also examined. Theorizing the body in terms of its social meanings is a significant part of this thesis. The research argues that young people often experience music video as pleasurable, and that music video can provide young people with access to powerful speaking positions. This is demonstrated through transcripts of our conversations and interviews, and also through the young people's written comments. However, these powerful speaking positions invariably invoke dominant discourses (homophobia and racism, for example). Thus the disruptive potential of music video is called into question. These dominant discourses are gendered in nature. Pleasure in the text (music video) and cultural inscriptions of gender on the body then, are realized differently for the girls and for the boys in this study. My research into music video, gender and young people has implications for research methodology generally, and for music video scholarship specifically. Music video scholarship to date has rarely focussed upon the audience of this cultural form. My research has certain implications for the ways in which research is currently conducted with young people in relation to popular culture generally, and music video specifically, and gendered subjectivity.

Third-generation responses to holocaust video-testimony

This research investigated responses of grandchildren of Holocaust survivors ("third generation") to Holocaust video-testimony. The analysis revealed that video-testimony can transmit memories of survival experiences to viewers, enabling them to "work through" their positions as witnesses and make active decisions relating to remembrance.

Emergence of creativity in learning via social technologies

Creativity is an elusive skill desired by many. Debates on 'What is Creativity' and how it can best be nurtured and supported had resurgence in the 1950's after Guildford's address to the American Psychology Association about the positive benefits of creativity. Since then creativity has been investigated in many forms and within many disciplines. Of note is that creativity is apparent within four components: the person, the process, the product and the environment. On some level creativity is assessed within one of the four components of creativity: person, process, product or environment. In this study creativity and the environment is under investigation, with a number of factors presented that allow creativity to be supported. This paper explores the role of creativity within the education of tertiary students studying Games Design and Development (within an IT discipline) from an Australian University. Particularly this paper focuses on how social factors, such as purpose built collaborative environments and virtual communities, aid in the creative pursuits of the students.

Digital games : literacy in action

Digital Games: Literacy in action is the result of a wide-ranging investigation into the educational possibilities involved in young people's games. From their creation in the classroom to analysing games and the world of games as text, academics and teachers are now taking seriously the serious play of young people.

The contributors use the interaction between the theoretical frameworks of games as text and games as action to explore a wide of range of issues relevant to the teaching of English and literacy. These include understanding games as media texts, the place of digital culture in young people's lives, the narrative and visual design components of games, exploring concepts of role play and identity in games, the potential for games to engage disengaged students, and issues of gender and social interaction in game playing.