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170534 UE Gendering Gaming. (2023S)
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 06.02.2023 09:00 to Su 19.02.2023 23:55
- Registration is open from Th 23.02.2023 09:00 to Th 02.03.2023 23:55
- Deregistration possible until Fr 31.03.2023 23:55
Details
max. 30 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.
- Tuesday 07.03. 09:45 - 11:15 Digital
- Tuesday 14.03. 09:45 - 13:00 Seminarraum 3 2H467 UZA II Rotunde
- Tuesday 28.03. 09:45 - 13:00 Seminarraum 3 2H467 UZA II Rotunde
- Tuesday 18.04. 09:45 - 13:00 Seminarraum 3 2H467 UZA II Rotunde
- Tuesday 02.05. 09:45 - 13:00 Seminarraum 3 2H467 UZA II Rotunde
- Tuesday 16.05. 09:45 - 13:00 Seminarraum 3 2H467 UZA II Rotunde
- Tuesday 13.06. 09:45 - 13:00 Seminarraum 3 2H467 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 six differently weighted components. You can earn a grade by completing them in two different ways:A) three written tasks, 1.) two excerpts of the discussed texts (25% of the final grade), 2.) short paper with one’s main hypothesis in preparation for the analysis (20% of the final grade), 3.) test analysis of a source / topic of one’s own choice (25% of the final grade),
& two oral tasks, 4.) feedback and discussions of two short papers by other students (small group discussions) (10% of the final grade), and finally 5.) attendance and active participation (20% of the final grade).B) one written tasks, 1.) three excerpts of the discussed texts (40% of the final grade)
& three oral tasks, 2.) presentation (30& of the final grade), 3.) feedback and discussions of two short papers by other students (small group discussions) (10% of the final grade), and finally 4.) attendance and active participation (20% of the final grade).
& two oral tasks, 4.) feedback and discussions of two short papers by other students (small group discussions) (10% of the final grade), and finally 5.) attendance and active participation (20% of the final grade).B) one written tasks, 1.) three excerpts of the discussed texts (40% of the final grade)
& three oral tasks, 2.) presentation (30& of the final grade), 3.) feedback and discussions of two short papers by other students (small group discussions) (10% of the final grade), and finally 4.) attendance and active participation (20% of the final grade).
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)
• 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.
• Lawlor, Shannon, 2018. “Your Daughter is in Another Castle. Essential Paternal Masculinity in Video Games.” In The Velvet Light Trap Vol. 81(Spring). 29-42. DOI: 10.7560/VLT8104.
• Murray, Soraya, 2017. “The Rubble and the Ruin. Race, Gender, and Sites of Inglorious Conflict in Spec Ops: The Line.” In: Jennifer Malkowski/ Treaandrea M. Russworm (Hg.): Gaming Representation. Race, Gender, and Sexuality in Video Games. Bloomington: Indiana Univ. Press. 147-163.
• 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.
• Shaw, Adrienne, 2010. “What Is Video Game Culture? Cultural Studies and Game Studies.” In Game and Culture Vol. 5(4). 403-424. DOI: 10.1177/1555412009360414.
• Shaw, Adrienne, 2015. “Circles, Charmed and Magic: Queering Game Studies.” In: QED Vol. 2(2). 64-97. https://muse.jhu.edu/article/585655 (Accessed February 27, 2022).
• Soderman, Braxton 2017. “No Time to Dream. Killing Time, Casual Games, and Gender.” In: Jennifer Malkowski/ Treaandrea M. Russworm (Hg.): Gaming Representation. Race, Gender, and Sexuality in Video Games. Bloomington: Indiana Univ. Press. 38-56.
• Ware, Nicholas, 2015. “Iterative Romance and Button-Mashing Sex. Gameplay design and Video Games’ Nice Guy Syndrome.” In: Matthew Wysocki/ Evan W. Lauteria (Hg.): Rated M for Mature. Sex and Sexuality in Video Games. New York, London: Bloomsbury. 225-239.
• 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.
• 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.
• Lawlor, Shannon, 2018. “Your Daughter is in Another Castle. Essential Paternal Masculinity in Video Games.” In The Velvet Light Trap Vol. 81(Spring). 29-42. DOI: 10.7560/VLT8104.
• Murray, Soraya, 2017. “The Rubble and the Ruin. Race, Gender, and Sites of Inglorious Conflict in Spec Ops: The Line.” In: Jennifer Malkowski/ Treaandrea M. Russworm (Hg.): Gaming Representation. Race, Gender, and Sexuality in Video Games. Bloomington: Indiana Univ. Press. 147-163.
• 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.
• Shaw, Adrienne, 2010. “What Is Video Game Culture? Cultural Studies and Game Studies.” In Game and Culture Vol. 5(4). 403-424. DOI: 10.1177/1555412009360414.
• Shaw, Adrienne, 2015. “Circles, Charmed and Magic: Queering Game Studies.” In: QED Vol. 2(2). 64-97. https://muse.jhu.edu/article/585655 (Accessed February 27, 2022).
• Soderman, Braxton 2017. “No Time to Dream. Killing Time, Casual Games, and Gender.” In: Jennifer Malkowski/ Treaandrea M. Russworm (Hg.): Gaming Representation. Race, Gender, and Sexuality in Video Games. Bloomington: Indiana Univ. Press. 38-56.
• Ware, Nicholas, 2015. “Iterative Romance and Button-Mashing Sex. Gameplay design and Video Games’ Nice Guy Syndrome.” In: Matthew Wysocki/ Evan W. Lauteria (Hg.): Rated M for Mature. Sex and Sexuality in Video Games. New York, London: Bloomsbury. 225-239.
• 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.
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Last modified: Th 11.05.2023 11:27