West of the Magic Circle

The Race Card ◽  
2019 ◽  
pp. 113-137
Author(s):  
Tara Fickle

This chapter radically revises our understanding of game studies’ conceptual foundations by revealing the Orientalist assumptions embedded in Johan Huizinga’s Homo Ludens (1938) and Roger Caillois’s Man, Play, and Games (1958). These founding fathers’ discussions of play as a liberating “magic circle” have been endlessly cited, excerpted, and romanticized, most recently by popular and academic rhetoric extolling video games as the cure for a “broken” and alienating twenty-first-century reality. Unsurprisingly, contemporary scholars have regarded the patronizing and exotifying references to Japan and China which crop up nearly from the very first pages of these tomes as embarrassing but irrelevant signs of the times. Recontextualizing these early chapters within the longer and rarely read remainders of both monographs, however, reveals that those initial ludic schemas were in fact the raison d’être for an elaborate ethnocentric sociology that rationalized the cognitive and cultural inferiority of nonwhites by ranking them according to the “primitivity” of their play. Showing how these theorists legitimized their taxonomies by naturalizing fantasies of a ritualized, stagnant East and an innovative, rational West, this chapter demonstrates that Orientalist discourse was not tangential but essential to the seemingly global theories of play that form the basis of modern game studies.

Author(s):  
Richard Carlin

Country performers have always balanced two contradictory impulses: on the one hand, they value their musical influences and the many earlier styles that made the music what it is today; on the other, they are interested in adding to the tradition by incorporating the latest technical and musical innovations. The Coda shows how, in the twenty-first century, we see the same scenario playing out among the latest country stars. While some stars adjust their music to fit the times, others continue to perform pretty much in the same style for decades. Country music keeps trucking along, despite many transformations and changes over the years.


Author(s):  
Terence McSweeney

This chapter analyzes the film The Hurt Locker, including its stylistic and narrative devices, cultural impact, reception, and relationship to the genre. It analyzes what The Hurt Locker ultimately portrays about the Iraq War, which was officially brought to an end by President Barack Obama on the 18 December 2011, but still continues to be fought onscreen. It also explores the central contentions that are key to the affective impact of The Hurt Locker during the time of its release and after a decade later. The chapter talks about The Hurt Locker as one of the definitive American war films of the twenty-first century and as the first film from the genre to win an Academy Award for Best Picture. It describes The Hurt Locker as a vivid and dynamically realised film, which should be regarded as a powerful cultural artefact intrinsically connected to the times in which it was made.


Gaming Sexism ◽  
2020 ◽  
pp. 1-22
Author(s):  
Amanda C. Cote

Video games in the early twenty-first century face a deep contradiction. On the one hand, the spread of casual, social, and mobile games has led researchers, journalists, and players to believe that video gaming is opening up to previously marginalized audiences, especially women. At the same time, game culture has seen significant incidents of sexism and misogyny. The introduction outlines this contradiction and lays out the book’s key questions. First, how and why do these contradictory narratives coexist? Second, what impact does this have on marginalized game audiences, specifically women, as they try to enter game culture and spaces? And finally, what are the impacts of this struggle, and what can be learned from women’s strategies for managing their presence in a masculinized, often exclusionary space? The chapter also addresses the main theoretical concepts that undergird the book’s argument, including gender, hegemony, and feminism/postfeminism.


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