John Iwuh, Nicodemus Adai Patrick, Dominic OluwaGbenga Fayenuwo, Benjamin Uchenna Anaemene, Eunice Uwadinma-Idemudia, Anjola Robbin
The study investigates piracy from three categories of stakeholders outside the 3% elite population that patronizes the mega stores. The youth represent a high population of movie viewers found in the suburban areas of selected cities. It also took account of those in the universities that constitute major patronage but do not actually pay the right price for the films. There was the need to study the unique and peculiarity of Nigerian piracy, the level of awareness of consumers of pirated products, the level of involvement of the youths, and if operates uniquely, and exhibits different dynamics from foreign examples, as well as the effectiveness of the antipiracy bodies. This study selected 16 low-budget filmmakers and sampled the opinions of 500 online-dependent university students including TV/DVD-playback suburban youth population. Findings reveal that those who advertently or inadvertently patronize pirated movies account for 88%, with 93% proliferation of low-quality pic¬tures. 100% of university students sampled depend wholly on online downloads, except if compelled to stream online. Mu¬tual suspicion characterizes Nigeria’s film industry, and the study identified six categories that unfortunately make the list of collaborators of Nigerian pirates with unregistered marketers accounting for 93.8%, unscrupulous practitioners outside the registered unions (75%), while 53.3% implicated the regulators. Nigerian film piracy exhibits a special peculiarity of illegally copying, printing, and publicly selling these counterfeits with impunity. And sadly, to the chagrin of creative artists. The study concludes that Nigerian pirates and their patrons enjoy the unhindered liberty of operating publicly, and the law enforcement agents do not yet have the magic wand to end it. Getting listed by Netflix has become a major breakthrough, while the re¬turn of cinema viewing centres presently serves as another avenue of direct negotiation and control for Nollywood filmmakers.
{"title":"In Search of Statistics for the Monster: Piracy and the Precarity of the Nigerian Film Industry","authors":"John Iwuh, Nicodemus Adai Patrick, Dominic OluwaGbenga Fayenuwo, Benjamin Uchenna Anaemene, Eunice Uwadinma-Idemudia, Anjola Robbin","doi":"10.24140/ijfma.v8.n2.02","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n2.02","url":null,"abstract":"The study investigates piracy from three categories of stakeholders outside the 3% elite population that patronizes the mega stores. The youth represent a high population of movie viewers found in the suburban areas of selected cities. It also took account of those in the universities that constitute major patronage but do not actually pay the right price for the films. There was the need to study the unique and peculiarity of Nigerian piracy, the level of awareness of consumers of pirated products, the level of involvement of the youths, and if operates uniquely, and exhibits different dynamics from foreign examples, as well as the effectiveness of the antipiracy bodies. This study selected 16 low-budget filmmakers and sampled the opinions of 500 online-dependent university students including TV/DVD-playback suburban youth population. Findings reveal that those who advertently or inadvertently patronize pirated movies account for 88%, with 93% proliferation of low-quality pic¬tures. 100% of university students sampled depend wholly on online downloads, except if compelled to stream online. Mu¬tual suspicion characterizes Nigeria’s film industry, and the study identified six categories that unfortunately make the list of collaborators of Nigerian pirates with unregistered marketers accounting for 93.8%, unscrupulous practitioners outside the registered unions (75%), while 53.3% implicated the regulators. Nigerian film piracy exhibits a special peculiarity of illegally copying, printing, and publicly selling these counterfeits with impunity. And sadly, to the chagrin of creative artists. The study concludes that Nigerian pirates and their patrons enjoy the unhindered liberty of operating publicly, and the law enforcement agents do not yet have the magic wand to end it. Getting listed by Netflix has become a major breakthrough, while the re¬turn of cinema viewing centres presently serves as another avenue of direct negotiation and control for Nollywood filmmakers.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135873714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Parasite (Bong Joonho, 2019) attracted global viewers by addressing the intensifying class stratification and Neo-liberal reconstruction of global economy in the contemporary world. Parasite uniquely features class issues and social criticism instead of depicting typical class struggles between the rich and the poor. Parasite addresses the class structure in transition and highlights the precarious class on the margin. By personalizing class relations into family relations, Parasite features the changing family system along with the breakup of the conventional family. Parasite picks up the very point of this social change and the transformation of family types.
{"title":"Precarious Subjectivities and Neoliberal Reconstruction of Modern Family","authors":"Sunny Yoon","doi":"10.24140/ijfma.v8.n2.01","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n2.01","url":null,"abstract":"Parasite (Bong Joonho, 2019) attracted global viewers by addressing the intensifying class stratification and Neo-liberal reconstruction of global economy in the contemporary world. Parasite uniquely features class issues and social criticism instead of depicting typical class struggles between the rich and the poor. Parasite addresses the class structure in transition and highlights the precarious class on the margin. By personalizing class relations into family relations, Parasite features the changing family system along with the breakup of the conventional family. Parasite picks up the very point of this social change and the transformation of family types.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135873715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Artists and intellectuals living in precarious conditions (or: belonging to the cognitariat), find themselves at the crossroad between precarity and privilege. Julian Radlmaier’s Selbstkritik eines bürgerlichen Hundes (Self-Criticism of a Bourgeois Dog GER, 2017) deals with this issue in a very explicit, self-reflexive way. Its protagonist is a filmmaker on the dole who is sent by the German workfare program to work seasonally as an apple picker. Once at the orchard, when the other workers attempt a revolt, he discovers that his attachment to his status as an artist impedes him to join their struggle. The autofictional form of the film, I demonstrate, reflects a subjectivation dynamic that turns into a spiral of perceived debt, guilt, and political paralysis. By internalizing a widespread anti-intellectual bias, the film offers a paradigmatic account of why it is difficult for members of the cognitariat to solidarize with other segments of the precariat or the working class: the difficulty depends largely on the internalization of neoliberal capitalism’s ambivalent consideration of immaterial, cognitive, and creative work.
艺术家和知识分子生活在不稳定的条件下(或:属于认知者)，发现自己在不稳定和特权之间的十字路口。朱利安·拉德迈尔(Julian Radlmaier)的《资产阶级狗的自我批评》(Selbstkritik eines b rgerlichen Hundes)以一种非常明确的、自我反思的方式处理了这个问题。它的主人公是一位靠救济金生活的电影制作人，他被德国的福利计划派去做季节性的苹果采摘工。一到果园，当其他工人试图反抗时，他发现自己对艺术家身份的依恋阻碍了他加入他们的斗争。我证明，这部电影的自虚构形式反映了一种主体化的动力，这种动力变成了一种感知债务、内疚和政治瘫痪的螺旋。通过内化普遍存在的反智偏见，这部电影提供了一个典型的解释，说明为什么认知阶层的成员很难与不稳定阶级或工人阶级的其他部分团结起来:这种困难在很大程度上取决于新自由主义资本主义对非物质、认知和创造性工作的矛盾考虑的内化。
{"title":"Autofiction of the Cognitariat: Self-Criticism of a Bourgeois Dog","authors":"Elisa Cuter","doi":"10.24140/ijfma.v8.n2.05","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n2.05","url":null,"abstract":"Artists and intellectuals living in precarious conditions (or: belonging to the cognitariat), find themselves at the crossroad between precarity and privilege. Julian Radlmaier’s Selbstkritik eines bürgerlichen Hundes (Self-Criticism of a Bourgeois Dog GER, 2017) deals with this issue in a very explicit, self-reflexive way. Its protagonist is a filmmaker on the dole who is sent by the German workfare program to work seasonally as an apple picker. Once at the orchard, when the other workers attempt a revolt, he discovers that his attachment to his status as an artist impedes him to join their struggle. The autofictional form of the film, I demonstrate, reflects a subjectivation dynamic that turns into a spiral of perceived debt, guilt, and political paralysis. By internalizing a widespread anti-intellectual bias, the film offers a paradigmatic account of why it is difficult for members of the cognitariat to solidarize with other segments of the precariat or the working class: the difficulty depends largely on the internalization of neoliberal capitalism’s ambivalent consideration of immaterial, cognitive, and creative work.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135873129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Underlying the idea of precarity and the moving image, this paper describes the and theorizes about the original artwork 24TH FEBRUARY 2022 as a video-installation interconnected with the concepts of precarity in production, circulation, and participation in media culture today, this art-based research artwork tries to underpin the very nature of found material as a gateway from the public to the private, commenting on the spectacle of mass media images and also the production of “anarchival” gestures through which its possible to research a specific historic event. Included in a research project entitled FrameScapes that the authors are undergoing at this time, this research outcome relates to the war that Russia brought again to the gates of Europe when it invaded the Ukrainian territory, and also to the conflict in real-time - live action we could call it - in a way we haven’t seen since Desert Storm back in 1991. A continuous feed of videos and photographs in an era of multi-screen distraction and tiktokian dystopias, artists and creatives have the upper hand in constructing from scratch, just like the cubists would glue together a piece of old newspaper and a matchbox to paint a still-life. The precarious nature of found material to make art is present since the first vanguard movements, from Picasso to Duchamp. Through the arts, we’ve been always confronted with gestures of appropriation, quotation, found-footage, archival art, collage or the ready-made, all of these related to meager images. From Marcel Duchamp to Kurt Schwitters, from Douglas Gordon to Christian Marclay, artists have always looked into the metaphor of the precarious as a recontextualization and remediation of image and sound. The artwork 24TH FEBRUARY 2022 is an exploratory artwork about the world-as-camera-screen, responding critically and creatively to different structures of the social, economic and political contexts in today’s art research practice that deals with found materials. The phenomenon of a tele-visual structure presupposes different atopic tele-communities, built under the aegis of tele-presence and tele-objectivity – a dissolution of real space, that embraces geocinematics as a strong narrative contemporary structure, constructed with and bound by precarious images – images that are consistent with a tangible structure of the Real.
{"title":"24 February 2022 - for a Geocinematic Use of Found Images","authors":"Hugo Barata, Júlio Alves","doi":"10.24140/ijfma.v8.n2.07","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n2.07","url":null,"abstract":"Underlying the idea of precarity and the moving image, this paper describes the and theorizes about the original artwork 24TH FEBRUARY 2022 as a video-installation interconnected with the concepts of precarity in production, circulation, and participation in media culture today, this art-based research artwork tries to underpin the very nature of found material as a gateway from the public to the private, commenting on the spectacle of mass media images and also the production of “anarchival” gestures through which its possible to research a specific historic event. Included in a research project entitled FrameScapes that the authors are undergoing at this time, this research outcome relates to the war that Russia brought again to the gates of Europe when it invaded the Ukrainian territory, and also to the conflict in real-time - live action we could call it - in a way we haven’t seen since Desert Storm back in 1991. A continuous feed of videos and photographs in an era of multi-screen distraction and tiktokian dystopias, artists and creatives have the upper hand in constructing from scratch, just like the cubists would glue together a piece of old newspaper and a matchbox to paint a still-life. The precarious nature of found material to make art is present since the first vanguard movements, from Picasso to Duchamp. Through the arts, we’ve been always confronted with gestures of appropriation, quotation, found-footage, archival art, collage or the ready-made, all of these related to meager images. From Marcel Duchamp to Kurt Schwitters, from Douglas Gordon to Christian Marclay, artists have always looked into the metaphor of the precarious as a recontextualization and remediation of image and sound. The artwork 24TH FEBRUARY 2022 is an exploratory artwork about the world-as-camera-screen, responding critically and creatively to different structures of the social, economic and political contexts in today’s art research practice that deals with found materials. The phenomenon of a tele-visual structure presupposes different atopic tele-communities, built under the aegis of tele-presence and tele-objectivity – a dissolution of real space, that embraces geocinematics as a strong narrative contemporary structure, constructed with and bound by precarious images – images that are consistent with a tangible structure of the Real.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135873127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Blind Massage, a film directed by Lou Ye (2014), depicts disability and sexuality through stories of blind masseurs. It employs “blind vision”, a novel form of cinematography that depicts blindness, assisting the film in unfolding the subjective experience of the blind masseurs in both sexual and non-sexual scenes. With the invention of blind vision, Blind Massage introduced a non-normative cinematic experience that decentres vision, while cinema had previously been perceived as an intrinsically visual-centred art form. This paper, therefore, asks: How does the ambivalent representation of vision contribute to the cinematic representation of disabled sexuality? Does it reinvent or reinforce the normative understanding of disabled sexuality? As a response, the paper argues that the invention of blind vision destabilises the ableist foundation of cinema that centres on visual experience as the source of pleasure. It mainly grounds the argumentation on criticism of Mulvey’s (1975) gaze theory, which discusses visual pleasure and narrative cinema with the psychoanalytic gaze notion. The notion of blind vision will be elaborated on, not only in cinematography but also as a cultural implication that touches on disability studies and sexuality studies. Methodologically, this paper will, use crip theory, feminist film theories, and psychoanalysis to understand the representation of disabled sexuality in Blind Massage. The paper will be structured as follows. It will first review previous academic discussions on disabled sexuality in cinema. Then, it will elaborate on the invention of blind vision through scene and cinematography analyses and consider how Blind Massage echoes with a Mulveyian gaze theory in terms of marking the gaze as a normative power. Finally, I argue that blind vision could be regarded as an approach to reverse such power and release the potential resistance towards normativity in cinema, with a Lacanian revisit and reworking of the Mulveyian gaze theory.
{"title":"The Ambivalent Vision: The \"Crip\" Invention of \"Blind Vision\" in Blind Massage","authors":"Sihan Wang-Xu","doi":"10.24140/ijfma.v8.n2.06","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n2.06","url":null,"abstract":"Blind Massage, a film directed by Lou Ye (2014), depicts disability and sexuality through stories of blind masseurs. It employs “blind vision”, a novel form of cinematography that depicts blindness, assisting the film in unfolding the subjective experience of the blind masseurs in both sexual and non-sexual scenes. With the invention of blind vision, Blind Massage introduced a non-normative cinematic experience that decentres vision, while cinema had previously been perceived as an intrinsically visual-centred art form. This paper, therefore, asks: How does the ambivalent representation of vision contribute to the cinematic representation of disabled sexuality? Does it reinvent or reinforce the normative understanding of disabled sexuality? As a response, the paper argues that the invention of blind vision destabilises the ableist foundation of cinema that centres on visual experience as the source of pleasure. It mainly grounds the argumentation on criticism of Mulvey’s (1975) gaze theory, which discusses visual pleasure and narrative cinema with the psychoanalytic gaze notion. The notion of blind vision will be elaborated on, not only in cinematography but also as a cultural implication that touches on disability studies and sexuality studies. Methodologically, this paper will, use crip theory, feminist film theories, and psychoanalysis to understand the representation of disabled sexuality in Blind Massage. The paper will be structured as follows. It will first review previous academic discussions on disabled sexuality in cinema. Then, it will elaborate on the invention of blind vision through scene and cinematography analyses and consider how Blind Massage echoes with a Mulveyian gaze theory in terms of marking the gaze as a normative power. Finally, I argue that blind vision could be regarded as an approach to reverse such power and release the potential resistance towards normativity in cinema, with a Lacanian revisit and reworking of the Mulveyian gaze theory.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135873128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nelson Zagalo, A. Oliveira, Pedro Cardoso, M. Vairinhos
There are no recipes or rules to develop games, any more than there are to develop stories. When we try to define a game system that not only has to create a balanced experience, but also has to tell a story, which can engage players in creating empathy and meaning, everything gets complicated. We faced this problem when we had to develop a serious game with the goal of promoting discussion and awareness among children around nutrition: FlavourGame. In this regard, we needed not only to design game mechanics that would feel complete and progressive, but also to create a narrative that provided meaning to the game experience, in order to ensure an underlying layer to the context of nutrition. For that, we had to develop a framework that could help the team in guiding the telling of the story while designing the progression of the game. In this article, we present the full framework as a story-game design approach to be employed in the creation of serious narrative games.
{"title":"Beats & Units: A story-game design framework","authors":"Nelson Zagalo, A. Oliveira, Pedro Cardoso, M. Vairinhos","doi":"10.24140/ijfma.v8.n1.03","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n1.03","url":null,"abstract":"There are no recipes or rules to develop games, any more than there are to develop stories. When we try to define a game system that not only has to create a balanced experience, but also has to tell a story, which can engage players in creating empathy and meaning, everything gets complicated. We faced this problem when we had to develop a serious game with the goal of promoting discussion and awareness among children around nutrition: FlavourGame. In this regard, we needed not only to design game mechanics that would feel complete and progressive, but also to create a narrative that provided meaning to the game experience, in order to ensure an underlying layer to the context of nutrition. For that, we had to develop a framework that could help the team in guiding the telling of the story while designing the progression of the game. In this article, we present the full framework as a story-game design approach to be employed in the creation of serious narrative games.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48264941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Vicky Maratou, Firdaous Ennami, F. Luz, Yama Abdullahi, Raimonda Agnė Medeišienė, Indrė Ščiukauskė, Rizos Chaliampalias, A. Kameas, Carla Sousa, Sara Sara
Games have been effective in helping people to interact with one another and learning more about the culture they inhabit (Piaget, 1962). The importance of games and their centrality to culture is pointed out by Huizinga (1944) who suggested using them as a medium to organise our lived experience and as an escape from their pragmatic focus (Ruckenstein, 1992). The “playful” nature of games results in escapism because it often hides the seriousness of their outcomes (Bateson, 2014; Henricks, 2006). For instance, games can be implemented in war where they are viewed as a deadly sort of game, with elaborate rules, strategies, and codes of sportsmanship. Furthermore, the widespread use of games has gained traction as a rapidly evolving teaching and learning tool in the educational sector as well. This rapid growth in the use of games as an educational tool has led to the creation of an immense number of diverse games, aiding teaching and learning in a multitude of disciplines from economics to art, and numerous encyclopaedic websites of previously developed games have been created. Despite this rapid growth, it is debatable whether this is due to increased effective learning from games, or simply the increased engagement and enjoyment observed in comparison to traditional pedagogical methods. To that end, the current paper explores the practices of analogue GBL across European Higher Education Institutions (HEIs) and the challenges and opportunities associated with Game-Based Learning (GBL) from the perspective of educators and game designers. Gamification – including simple game mechanics, such as points for correct answers (Hidi & Renninger, 2006; Kim, Song, Lockee, & Burton, 2018; Rotgans & Schmidt, 2011) – is often used as a teaching aid to increase student engagement and enjoyment. However, simply adding a game mechanic into classic, lecture-based teaching does not necessarily assist in cognitive retention in classrooms, or develop 21st-century skills. As a matter of fact, more academics are seeing the benefits of GBL (Qian & Clark, 2016), in which games are specifically designed to enhance learning and the development of a certain skillset. It may also involve adapting a game that is already designed for use in the classroom, such as using open world-based board games to teach the interaction between geopolitical groups, or the use of LEGO® blocks to help improve comprehension of city planning. A good GBL intervention will ensure that the central mechanic of a game is linked to the expected learning outcomes of the module (Arnab et al., 2014).
{"title":"Game-Based Learning in Higher Education Using Analogue Games","authors":"Vicky Maratou, Firdaous Ennami, F. Luz, Yama Abdullahi, Raimonda Agnė Medeišienė, Indrė Ščiukauskė, Rizos Chaliampalias, A. Kameas, Carla Sousa, Sara Sara","doi":"10.24140/ijfma.v8.n1.04","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n1.04","url":null,"abstract":"Games have been effective in helping people to interact with one another and learning more about the culture they inhabit (Piaget, 1962). The importance of games and their centrality to culture is pointed out by Huizinga (1944) who suggested using them as a medium to organise our lived experience and as an escape from their pragmatic focus (Ruckenstein, 1992). The “playful” nature of games results in escapism because it often hides the seriousness of their outcomes (Bateson, 2014; Henricks, 2006). For instance, games can be implemented in war where they are viewed as a deadly sort of game, with elaborate rules, strategies, and codes of sportsmanship. Furthermore, the widespread use of games has gained traction as a rapidly evolving teaching and learning tool in the educational sector as well. This rapid growth in the use of games as an educational tool has led to the creation of an immense number of diverse games, aiding teaching and learning in a multitude of disciplines from economics to art, and numerous encyclopaedic websites of previously developed games have been created. Despite this rapid growth, it is debatable whether this is due to increased effective learning from games, or simply the increased engagement and enjoyment observed in comparison to traditional pedagogical methods. To that end, the current paper explores the practices of analogue GBL across European Higher Education Institutions (HEIs) and the challenges and opportunities associated with Game-Based Learning (GBL) from the perspective of educators and game designers. Gamification – including simple game mechanics, such as points for correct answers (Hidi & Renninger, 2006; Kim, Song, Lockee, & Burton, 2018; Rotgans & Schmidt, 2011) – is often used as a teaching aid to increase student engagement and enjoyment. However, simply adding a game mechanic into classic, lecture-based teaching does not necessarily assist in cognitive retention in classrooms, or develop 21st-century skills. As a matter of fact, more academics are seeing the benefits of GBL (Qian & Clark, 2016), in which games are specifically designed to enhance learning and the development of a certain skillset. It may also involve adapting a game that is already designed for use in the classroom, such as using open world-based board games to teach the interaction between geopolitical groups, or the use of LEGO® blocks to help improve comprehension of city planning. A good GBL intervention will ensure that the central mechanic of a game is linked to the expected learning outcomes of the module (Arnab et al., 2014).","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41683271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Games are popular as ever. Professionals from every field are trying to build their serious games, combining engaging playability with simulation and learning outcomes. Urban planning is no exception. However, materializing these games is no easy task. We propose a serious game development process to combine modern board game mechanisms with realistic urban maps, profiting from the simplicity, flexibility, and collaboration dynamics analogue games provide. For this, we tested two collaborative games with architecture students. Although different, the games have similar core mechanical and economic systems, modelling urban zones with hexagons and squares. The experience revealed some pitfalls to avoid in game-based planning practice and helped to define a development process for serious games for urban planning.
{"title":"Modeling Urban Spaces with Cubes: Building analogue serious games for collaborative planning","authors":"Micael da Silva Sousa","doi":"10.24140/ijfma.v8.n1.01","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n1.01","url":null,"abstract":"Games are popular as ever. Professionals from every field are trying to build their serious games, combining engaging playability with simulation and learning outcomes. Urban planning is no exception. However, materializing these games is no easy task. We propose a serious game development process to combine modern board game mechanisms with realistic urban maps, profiting from the simplicity, flexibility, and collaboration dynamics analogue games provide. For this, we tested two collaborative games with architecture students. Although different, the games have similar core mechanical and economic systems, modelling urban zones with hexagons and squares. The experience revealed some pitfalls to avoid in game-based planning practice and helped to define a development process for serious games for urban planning.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47653926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hee Jhee Jiow, Xing Yong Poh, Pauline Phoon, Nicholas Gabriel Lim
This study investigates the relationship between video game dependency and player type typology. As video gaming grows to become an integral part of the lives of many youths, concerns about the consequences of excessive gaming have arisen too. These concerns appear to be grounded as video games have been reported to damage family, school, social and psychological functioning – collectively describing the effects of game dependency (akin to pathological gaming measures). Moreover, over the years, various gamer typologies have been developed to provide insights into the different behaviours and motivations of gamers. While these typologies were initially developed for game designers to create more appealing games, their applicability has since extended beyond. This study adopts such gamer typologies and establishes a framework of player types (Achiever, Guru, Socializers, Explorers) and investigates its influence on game dependency. Through literature review, this study hypothesised that (H1) Achievers will be positively associated with Game Dependency, and (H2) Socializers and Explorers will be negatively associated with Game Dependency. Secondary school students, aged 13-17, were invited through schools to participate in an online survey. Data was collected with the permission of the respective schools to be used for research purposes. A total of students (n=999) was included in the sample, gathered from three secondary schools in Singapore. Game Dependency measure satisfied the reliability criteria with a Cronbach alpha of 0.94. Correlational analysis and comparison of means were performed on the data collected. Our findings showed statistically significant support for H1 and H2. This study explains that the Socializer player type, who are more people- than game-centric, are more likely to follow their social contacts in a game and expand their social network and resources. And as such, they are more likely to play with their friends and would hence have a lower game dependency. On the other hand, the Explorer player type may spend less time in games due to the limited exploratory possibilities present; they may choose to exhibit these tendencies by viewing videos or talking to other players. These constitute activities outside video gaming that are not captured in the current tool used to capture game dependency. The Explorer player type also does not enjoy challenges within the game and may thus stop playing once games get difficult. Therefore, the Explorer player type requires the least measure of commitment (i.e., time, effort, money), which in turn causes an opposite influence on their game dependence. While the measures used are theoretically derived and consistent with other studies, this study went a step further by quantitatively showing its association between the two variables and discriminating between game dependency groups. This study provides a nuanced understanding of the Uses and Gratifications Theory, demonstrating how differen
{"title":"Game Player Types and its Influence on Game Dependency","authors":"Hee Jhee Jiow, Xing Yong Poh, Pauline Phoon, Nicholas Gabriel Lim","doi":"10.24140/ijfma.v8.n1.05","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n1.05","url":null,"abstract":"This study investigates the relationship between video game dependency and player type typology. As video gaming grows to become an integral part of the lives of many youths, concerns about the consequences of excessive gaming have arisen too. These concerns appear to be grounded as video games have been reported to damage family, school, social and psychological functioning – collectively describing the effects of game dependency (akin to pathological gaming measures). Moreover, over the years, various gamer typologies have been developed to provide insights into the different behaviours and motivations of gamers. While these typologies were initially developed for game designers to create more appealing games, their applicability has since extended beyond. This study adopts such gamer typologies and establishes a framework of player types (Achiever, Guru, Socializers, Explorers) and investigates its influence on game dependency. Through literature review, this study hypothesised that (H1) Achievers will be positively associated with Game Dependency, and (H2) Socializers and Explorers will be negatively associated with Game Dependency. Secondary school students, aged 13-17, were invited through schools to participate in an online survey. Data was collected with the permission of the respective schools to be used for research purposes. A total of students (n=999) was included in the sample, gathered from three secondary schools in Singapore. Game Dependency measure satisfied the reliability criteria with a Cronbach alpha of 0.94. Correlational analysis and comparison of means were performed on the data collected. Our findings showed statistically significant support for H1 and H2. This study explains that the Socializer player type, who are more people- than game-centric, are more likely to follow their social contacts in a game and expand their social network and resources. And as such, they are more likely to play with their friends and would hence have a lower game dependency. On the other hand, the Explorer player type may spend less time in games due to the limited exploratory possibilities present; they may choose to exhibit these tendencies by viewing videos or talking to other players. These constitute activities outside video gaming that are not captured in the current tool used to capture game dependency. The Explorer player type also does not enjoy challenges within the game and may thus stop playing once games get difficult. Therefore, the Explorer player type requires the least measure of commitment (i.e., time, effort, money), which in turn causes an opposite influence on their game dependence. While the measures used are theoretically derived and consistent with other studies, this study went a step further by quantitatively showing its association between the two variables and discriminating between game dependency groups. This study provides a nuanced understanding of the Uses and Gratifications Theory, demonstrating how differen","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43963473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.24140/ijfma.v8.n1.edit
Pedro Pinto Neves, Carla Sousa, Micaela Fonseca, Sara Rye
For a long time, Games Research suffered from what Jaakko Stenros and Annika Waern classified as the Digital Fallacy – the tendency to regard analog games as a subset of digital games rather than the other way around. Where boardgames were once associated with the past of games and learning and digital games with the future, there are now fresh insights and applications for boardgames in learning – alongside with their renaissance as games for entertainment. Even as boardgames found new relevance in learning, the already-recognized possibilities in digital games for learning have continued to expand, with more flexible and ubiquitous tools and platforms allowing for a greater variety of avenues of learning research and practice to be explored. Augmented and mixed reality as well as virtual reality are frontiers in learning that beg for further exploration.
{"title":"Editorial - Games and Learning: Consolidating and Expanding the Potential of Analogue and Digital Games","authors":"Pedro Pinto Neves, Carla Sousa, Micaela Fonseca, Sara Rye","doi":"10.24140/ijfma.v8.n1.edit","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n1.edit","url":null,"abstract":"For a long time, Games Research suffered from what Jaakko Stenros and Annika Waern classified as the Digital Fallacy – the tendency to regard analog games as a subset of digital games rather than the other way around. Where boardgames were once associated with the past of games and learning and digital games with the future, there are now fresh insights and applications for boardgames in learning – alongside with their renaissance as games for entertainment. Even as boardgames found new relevance in learning, the already-recognized possibilities in digital games for learning have continued to expand, with more flexible and ubiquitous tools and platforms allowing for a greater variety of avenues of learning research and practice to be explored. Augmented and mixed reality as well as virtual reality are frontiers in learning that beg for further exploration.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45216176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：