A synopsis of christopher taggis movie 95 essay

Throughout this mythic story of patricide and incest, Sophocles emphasizes the irony of a man determined to track down, expose, and punish an assassin, who turns out to be himself. As the play opens, the citizens of Thebes beg their king, Oedipus, to lift the plague that threatens to destroy the city. Oedipus has already sent his brother-in-law, Creon, to the oracle to learn what to do.

A synopsis of christopher taggis movie 95 essay

We are about four or five years into the formation of a new discipline, digital game studies. Though by one account computer games have been around for more than four decades Aarsethand by another computer and video game sales in the United States are rivaling movie box office sales Frauenfelderacademic attention to the medium has come relatively recently.

At this early stage, digital game studies is necessarily and self-consciously concerned with its own formation, and is heavily engaged with an argument about whether this new phenomenon is to be swallowed by already existing disciplines, or whether it needs to and could develop into a discipline of its own, with a coherent object of study and institutional support.

Espen Aarseth, whose Cybertext: Perspectives on Ergodic Literature aims to unseat "hypertext" as the paradigm for studying electronic literature, editorializes in the inaugural issue of the new online journal that " can be seen as the Year One of Computer Game Studies as an emerging, viable, international, academic field.

Games are not a kind of cinema, or literature, but colonizing attempts from both these fields have already happened, and no doubt will happen again. While A synopsis of christopher taggis movie 95 essay all enter this field from somewhere else, from anthropology, sociology, narratology, semiotics, film studies, etc.

Also inthe October issue of PMLA contained an article on the "new media" by influential cinema studies critic D. Rodowick argues that, for reasons of an "aesthetic inferiority complex" and a sustained debate about both the medium-object and a "concept or technique" that might ground film studies, this discipline "has never congealed into a discipline in the same way as English literature or art history" While the "great paradox of cinema, with respect to the conceptual categories of eighteenth- and nineteenth-century aesthetics, is that it is both a temporal and a spatial medium"Rodowick argues that "the new digital culture" is not emerging in the same "theoretical vacuum" that film did; rather, that good digital culture studies, including the study of games, already recirculates and renovates key concepts and problems of film theory: These positions seem to me to characterize the current state of digital game studies.

And we might, following both Rodowick's and Aarseth's attention to institutions and power, wonder if it's not coincidental that the optimistic position is articulated by an influential--perhaps even powerful--chair of film studies at King's College, London in a prestigious print journal--itself a disciplinary emblem years old--while that of the pessimists is articulated by the author of the iconoclastic Cybertext in an online journal in its infancy.

While it is likely that much of the actual work getting done in digital game studies falls somewhere between Rodowick's ideal of adaptability and Aarseth's nightmare of ignorant misapplication, I hope in this paper to show what a broadly conceived literary studies might offer the new digital game studies, and so highlight both Aarseth's warning and Rodowick's invitation.

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Games are not, as Aarseth says, literature, but they can sometimes be productively approached with conceptual categories borrowed from literary studies. Indeed, it may be that what we find most useful in approaching this new cultural phenomenon is the disciplinary baggage accumulated along the way.

Aarseth's concerns are articulated a little more fully in the same inaugural issue of Game Studies in an article by the journal's co-editor Markku Eskelinen. Games are seen as interactive narratives, procedural stories or remediated cinema.

This taxonomy confronts "the bare essentials of the gaming situation: Insofar as it goes, and keeping in mind Eskelinen's own admission that he is initiating a "necessar y formalistic phase" in order to name the parts of a new phenomenon, Eskelinen's approach is a useful hermeneutic grid by which we can categorize and understand the real and potential forms that games take.

Though one might not always agree with some of Eskelinen's preliminary thoughts on the gaming experience--his taxonomy seems to overemphasize the movement from start to finish, ignoring the ludic pleasures of side-plots or repetitive play--this style of formal functionalism will help us get a grasp of the variety of digital gaming experience.

That said, what becomes apparent in Eskelinen's critique of other disciplines' colonizing moves is the danger attending any transdisciplinary academic enterprise: For example, Eskelinen condemns literary studies for seeing games as "interactive" stories or for misapplying "outdated literary theory.

I will use two examples here to illustrate my point.

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First, it is the lack of a story that provides a useful way into the player's experience of first-person shooters such as Half-Life or countless others; Eskelinen's useful narratological tools notwithstanding, it is the very repetition of the same sequence and the experience of storied intention that might be worth noting from a literary studies point of view.

Second, with other games in the tradition of Sid Meier's Civilization series, literary studies' methodologies as well as its baggage can help us grasp the way games come into being as repetitions of traditional cultural-semiotic formations.

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Odd girls who had found each. Fighting Indians, Playing Games, Forming Disciplines Christopher Douglas Furman University (Aarseth), and by another computer and video game sales in the United States are rivaling movie box office sales (Frauenfelder), academic attention to the medium has come relatively recently.

A synopsis of christopher taggis movie 95 essay

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A synopsis of christopher taggis movie 95 essay

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