Video Games and Learning: Teaching and Participatory Culture in the Digital Age

2013 ◽  
Vol 7 (2) ◽  
pp. 277-280 ◽  
Author(s):  
Amy Shirong Lu
Keyword(s):  
Video Games ◽  
Digital Age ◽  
Participatory Culture ◽  
Games And Learning

Video games and learning: Teaching and participatory culture in the digital age

2012 ◽  
Vol 96 (5) ◽  
pp. 963-965 ◽  
Author(s):  
Mandy Kirchgessner ◽  
Diane Jass Ketelhut
Keyword(s):  
Video Games ◽  
Digital Age ◽  
Participatory Culture ◽  
Games And Learning

Sonic Participatory Cultures within, through, and around Video Games

2017 ◽  
Author(s):  
Jared O'Leary ◽  
Evan Tobias
Keyword(s):  
Video Games ◽  
Leisure Activity ◽  
Participatory Culture ◽  
Review Of Literature

This chapter is concerned with the diverse ways that people engage with music or sound within, through, and around video games. It begins with a review of literature on games as a leisure activity and sonic space, followed by highlighting various frameworks of participatory cultures. The bulk of the chapter connects these participatory culture frameworks with examples of engagement in sonic participatory cultures and sonic participation within, through, and around video games. Although these categories of sonic participation are divided into three sections, the chapter concludes with a discussion on the overlapping nature of sonic participation and implications for leisure as sonic participation.

scholarly journals Fan film on the final frontier: Axanar Productions and the limits of fair use in the digital age

2018 ◽  
Vol 28 ◽  
Author(s):  
Sarah Elizabeth Lerner
Keyword(s):  
Case History ◽  
Digital Age ◽  
Fair Use ◽  
Participatory Culture ◽  
Legal Action ◽  
The Gift ◽  
History Of ◽  
Definition Of ◽  
Media Fandom ◽  
Case Frames

In an analysis of the copyright case Paramount/CBS v. Axanar Productions Inc. and Alec Peters (2016), which centers on a high-budget Star Trek fan film, I consider how the case frames digital-age media fandom's challenges to the law, and concomitantly, how the case frames the law's challenges to media fandom. Even while legal action of this kind does not dampen participatory culture on the whole, it raises questions about the legal definition of a fan and the limits of fair use doctrine, and it delineates the changing relationships between media industries and fans. Paramount/CBS v. Axanar Productions reveals the tension between the gift-giving ethos of fandom and online crowdfunding as a type of gift; it also reveals the negative industrial and legal reactions to fan filmmaking and crowdfunding as threats to the way film has traditionally been constituted. I analyze Axanar's use of Kickstarter and Indiegogo campaigns, the introduction of Paramount/CBS's restrictive fan film guidelines, and finally, the rejected fair use argument proposed by the defense. I take up the rejected fair use argument by situating it alongside the case history of appropriation art in order to consider another way to argue for fan films as transformative works.

Return of Fandom in the Digital Age With the Rise of Social Media

2020 ◽  
pp. 193-210
Author(s):  
Shuojia Guo
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Digital Communication ◽  
Digital Age ◽  
Dynamic Interaction ◽  
Participatory Culture ◽  
Fan Culture ◽  
Profound Impact ◽  
Fan Communities

In the digital age, the rise of social media has enabled the fan culture transitioning from “static” consumption to “dynamic” interaction. This is not only a result of the advancement of ICTs, but also a shift in digital communication driven by participatory culture. This chapter explores why social media in digital age have such a profound impact upon fandom. In particular, what is new with these fan communities that social media has done so much to enable. There is a blurring in the lines between fandom producers and consumers in the participatory fandom. Given the new forms of cultural production, fan culture has been enabled by social media and is more powerful than it was ever before. Finally, how the changing relationships between fans and producers have redefined the fandom economy.

Video games and the crowdfunding ideology: From the gamer-buyer to the prosumer-investor

2015 ◽  
Vol 17 (3) ◽  
pp. 620-638 ◽  
Author(s):  
Antonio José Planells
Keyword(s):  
Decision Making ◽  
Video Games ◽  
Qualitative Analysis ◽  
Major Change ◽  
Participatory Culture ◽  
Top Down ◽  
The Past ◽  
Digital Convergence ◽  
Game Industry ◽  
Financing Model

Digital convergence and Web 2.0 have led to the emergence of new forms of involvement and participation of consumers in the game industry. Prosumers are now participating in productive and decision-making structures at the highest level using collective financing model or crowdfunding. In this system, the traditional business relations based on hierarchy have undergone a major change repositioning the creative focus on the player. The top-down culture of game business becomes bottom-up participatory culture intervening mainly in game genres, topics, and mechanics. This research frames crowdfunding in the participatory culture and the conversion from consumer to prosumer-investor to later analyze the 10 most funded games on Kickstarter. A qualitative analysis focused on the ideology of crowdfunding discourses concludes that positive arguments for video games collective financing model develop an emancipatory-utopian framework, which is critical with publishers, libertarian with users, and melancholic-postmodern with the content developed in the past.

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