170230 PS Introductory Seminar "Theatre and Media Spaces" (2022S)
Gendering Gaming. Gendered approaches to digital games and gaming culture
Continuous assessment of course work
Labels
MIXED
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from Mo 07.02.2022 09:00 to Mo 21.02.2022 23:55
- Registration is open from Fr 25.02.2022 09:00 to Th 03.03.2022 23:55
- Deregistration possible until Fr 01.04.2022 23:55
Details
max. 35 participants
Language: German
Lecturers
Classes (iCal) - next class is marked with N
In the case distance learning should be necessary, the course will be held online during the regular hours, mostly via synchronous distance learning.
- Wednesday 09.03. 09:45 - 11:15 Digital
- Wednesday 23.03. 09:45 - 13:00 Seminarraum 1 2H316 UZA II Rotunde
- Wednesday 06.04. 09:45 - 13:00 Seminarraum 1 2H316 UZA II Rotunde
- Wednesday 04.05. 09:45 - 13:00 Seminarraum 1 2H316 UZA II Rotunde
- Wednesday 18.05. 09:45 - 13:00 Seminarraum 1 2H316 UZA II Rotunde
- Wednesday 01.06. 09:45 - 13:00 Seminarraum 1 2H316 UZA II Rotunde
- Wednesday 15.06. 09:45 - 13:00 Seminarraum 1 2H316 UZA II Rotunde
- Wednesday 29.06. 09:45 - 13:00 Seminarraum 1 2H316 UZA II Rotunde
Information
Aims, contents and method of the course
Ever since terms like “gamergate” and “Feminist Frequency” became household names both inside and outside the blogosphere, it is hard to ignore how our understanding of digital games and the way we talk about gaming are shaped by gender. Gaming culture itself is by no means a monolithic formation but a pluralistic landscape consisting of heterogenic subcultures. Therefore, gendered movement animation and game narratives perpetuate heteronormative notions of gender and sexuality, while, at the same time, especially the indie sector is putting forward queer concepts to destabilize categories of difference. Though YouTube-commenters are discursively awarded or denied a position to speak from by utilizing hate speech, fan cultures celebrating diversity are also thriving thanks to the open nature of the internet. As a discursive field, gaming culture is shaped and permeated by a multitude of power relations and in-/exclusions – and exactly this is what we will discuss and analyse from gender studies perspectives in this introductory course.After a few introductory units discussing (1) theories and approaches essential to the game studies and (2) concepts and models fundamental to the gender studies, in the middle and main portion of the course, we will focus on gender studies approaches to digital games in the context of processes of gendering, resistance, and sexualities. Finally, we will discuss the impact of gender in internet (sub)cultures surrounding gaming to conclude the course.
Assessment and permitted materials
Grading is based on five differently weighted components:
three written tasks, 1.) excerpting two discussed texts (20% of the final grade), 2.) test analysis / trial chapter as preparation for the final paper (20 % of the final grade), 3.) the final paper (40 % of the final grade),and up to two oral tasks, 4.) possibly a presentation or moderation (not obligatory), and finally 5.) attendance and active participation (20 % of the final grade).The presentation and moderation aside, all other tasks are obligatory and must be completed to pass the course.
three written tasks, 1.) excerpting two discussed texts (20% of the final grade), 2.) test analysis / trial chapter as preparation for the final paper (20 % of the final grade), 3.) the final paper (40 % of the final grade),and up to two oral tasks, 4.) possibly a presentation or moderation (not obligatory), and finally 5.) attendance and active participation (20 % of the final grade).The presentation and moderation aside, all other tasks are obligatory and must be completed to pass the course.
Minimum requirements and assessment criteria
For details regarding the grading, please take a look at the information you find in section "Art der Leistungskontrolle". Furthermore, because attendance is obligatory, you can miss a maximum of two (2) classes.
Examination topics
Reading list
(extract)
• Bopp, Matthias, 2006. „Immersive Didaktik und Framingprozesse in Computerspielen. Ein handlungstheoretischer Ansatz.“ In: Britta Neitzel/ Rolf F. Nohr (Hg.): Das Spiel mit dem Medium. Partizipation – Immersion – Interaktion. Marburg: Schüren. 170-186.
• Connell, R.W., 2012. „Der gemachte Mann. Konstruktion und Krise von Männlichkeiten.“ In: Franziska Bergmann/ Franziska Schößler/ Bettina Schreck (Hg.): Gender Studies. Bielefeld: Transcript. 157-174.
• Cote, Amanda C., 2017. „‘I Can Defend Myself.‘ Women’s Strategies for Coping With Harassment While Gaming Online.“ In Games and Culture Vol. 12(2). 136-155.
• Degele, Nina, 2008. Gender / Queer Studies. Paderborn: Wilhelm Fink. 57-69 & 78-84.
• Deuber-Mankowsky, Astrid, 2007. “Das virtuelle Geschlecht. Gender und Computerspiele, eine diskursanalytische Annäherung.” In: Christian Holtorf/ Claus Pias (Hg.): Escape! Computerspiele als Kulturtechnik. Köln, Weimar, Wien: Böhlau Verl. 85-104.
• Eickelmann, Jennifer, 2017. „Hate Speech“ und Verletzbarkeite im digitalen Zeitalter. Phänomene mediatisierter Missachtung aus Perspektive der Gender Media Studies. Bielefeld: Transcript. 190-228.
• Freyermuth, Gundolf S., 2015. „Der Weg in die Alterität. Skizze einer historischen Theorie digitaler Spiele.“ In: Benjamin Beil/ Gundolf S. Freyermuth/ Lisa Gotto (Hg.): New Game Plus. Perspektiven der Game Studies. Genres – Künste – Diskurse. Bielefeld: Transcript. 303-353.
• Gandolfi, Enrico & Sciannamblo, Mariacristina, 2018. „Unfolding female quiet in wargames. Gender bias in Metal Gear Solid V: The Phantom Pain from representation to gameplay“ In Feminist Media Studies 2018. 1-17. DOI: 10.1080/14680777.2018.1467476.
• Grapenthin, Hella, 2009. „Geschlechterbilder in Computer- und Videospielen.“ In: Tobias Bevc/ Holger Zapf (Hg.): Wie wir spielen, was wir werden. Computerspiele in unserer Gesellschaft. Konstanz: UVK Verlagsgesellschaft. 161-183.
• Hart, Casey, 2015. „Sexual Favors. Using Casual Sex as Currency within Video Games.“ In: Matthew Wysocki/ Evan W. Lauteria (Hg.): Rated M for Mature. Sex and Sexuality in Video Games. New York, London: Bloomsbury. 147-160.
• Ouellete, Marc A., 2013. “Gay for Play. Theorizing LGBTQ Characters in Game Studies.” In: Jason C. Thompson/ Marc A. Ouellette (Hg.): The Game Culture Reader. Newcastle upon Tyne: Cambridge Scholars Publ. 47-65.
• Podrez, Peter, 2016. „Ideologische Effekte, erzeugt vom Spielapparat. Gaming-Dispositive, Spielästhetiken und Subjektpositionen von Spielern.“ In: Martin Hennig/ Hans Krah (Hg.): Spielzeichen. Theorien, Analysen und Kontexte des zeitgenössischen Computerspiels. Glückstadt: Verlag Werner Hülsbusch. 68-91.
• Williams, Linda, 1996. „Die visuelle und körperliche Lust der Pornographie in bewegten Bildern. Ein kurzer historischer Überblick.“ In: Jörg Huber / Alois Martin Müller (Hg.): Die Wiederkehr des Anderen. Basel, Frankfurt am Main: Stroemfeld Verlag. 103-128.
• Bopp, Matthias, 2006. „Immersive Didaktik und Framingprozesse in Computerspielen. Ein handlungstheoretischer Ansatz.“ In: Britta Neitzel/ Rolf F. Nohr (Hg.): Das Spiel mit dem Medium. Partizipation – Immersion – Interaktion. Marburg: Schüren. 170-186.
• Connell, R.W., 2012. „Der gemachte Mann. Konstruktion und Krise von Männlichkeiten.“ In: Franziska Bergmann/ Franziska Schößler/ Bettina Schreck (Hg.): Gender Studies. Bielefeld: Transcript. 157-174.
• Cote, Amanda C., 2017. „‘I Can Defend Myself.‘ Women’s Strategies for Coping With Harassment While Gaming Online.“ In Games and Culture Vol. 12(2). 136-155.
• Degele, Nina, 2008. Gender / Queer Studies. Paderborn: Wilhelm Fink. 57-69 & 78-84.
• Deuber-Mankowsky, Astrid, 2007. “Das virtuelle Geschlecht. Gender und Computerspiele, eine diskursanalytische Annäherung.” In: Christian Holtorf/ Claus Pias (Hg.): Escape! Computerspiele als Kulturtechnik. Köln, Weimar, Wien: Böhlau Verl. 85-104.
• Eickelmann, Jennifer, 2017. „Hate Speech“ und Verletzbarkeite im digitalen Zeitalter. Phänomene mediatisierter Missachtung aus Perspektive der Gender Media Studies. Bielefeld: Transcript. 190-228.
• Freyermuth, Gundolf S., 2015. „Der Weg in die Alterität. Skizze einer historischen Theorie digitaler Spiele.“ In: Benjamin Beil/ Gundolf S. Freyermuth/ Lisa Gotto (Hg.): New Game Plus. Perspektiven der Game Studies. Genres – Künste – Diskurse. Bielefeld: Transcript. 303-353.
• Gandolfi, Enrico & Sciannamblo, Mariacristina, 2018. „Unfolding female quiet in wargames. Gender bias in Metal Gear Solid V: The Phantom Pain from representation to gameplay“ In Feminist Media Studies 2018. 1-17. DOI: 10.1080/14680777.2018.1467476.
• Grapenthin, Hella, 2009. „Geschlechterbilder in Computer- und Videospielen.“ In: Tobias Bevc/ Holger Zapf (Hg.): Wie wir spielen, was wir werden. Computerspiele in unserer Gesellschaft. Konstanz: UVK Verlagsgesellschaft. 161-183.
• Hart, Casey, 2015. „Sexual Favors. Using Casual Sex as Currency within Video Games.“ In: Matthew Wysocki/ Evan W. Lauteria (Hg.): Rated M for Mature. Sex and Sexuality in Video Games. New York, London: Bloomsbury. 147-160.
• Ouellete, Marc A., 2013. “Gay for Play. Theorizing LGBTQ Characters in Game Studies.” In: Jason C. Thompson/ Marc A. Ouellette (Hg.): The Game Culture Reader. Newcastle upon Tyne: Cambridge Scholars Publ. 47-65.
• Podrez, Peter, 2016. „Ideologische Effekte, erzeugt vom Spielapparat. Gaming-Dispositive, Spielästhetiken und Subjektpositionen von Spielern.“ In: Martin Hennig/ Hans Krah (Hg.): Spielzeichen. Theorien, Analysen und Kontexte des zeitgenössischen Computerspiels. Glückstadt: Verlag Werner Hülsbusch. 68-91.
• Williams, Linda, 1996. „Die visuelle und körperliche Lust der Pornographie in bewegten Bildern. Ein kurzer historischer Überblick.“ In: Jörg Huber / Alois Martin Müller (Hg.): Die Wiederkehr des Anderen. Basel, Frankfurt am Main: Stroemfeld Verlag. 103-128.
Association in the course directory
Last modified: Th 11.05.2023 11:27