How and why is violence so prevalent in modern videogames, and should audiences be better protected from it through censorship?
Level Four Criteria: Level 4 (37-48 marks)
(1)A fluent and analytical investigation which explores the chosen topic from a clear, autonomous and critical perspective, (2)making use of extensive and wide-ranging research which has clearly been employed in the investigation and detailed in the bibliography,(3) making use of a wide range of academic, media and contextual sources. (4)The investigation demonstrates sophisticated research and engagement with the primary text(s) and a range of secondary texts. (5)It is well presented with a very detailed bibliography/source list (AO4).
(1)A fluent and analytical investigation which explores the chosen topic from a clear, autonomous and critical perspective, (2)making use of extensive and wide-ranging research which has clearly been employed in the investigation and detailed in the bibliography,(3) making use of a wide range of academic, media and contextual sources. (4)The investigation demonstrates sophisticated research and engagement with the primary text(s) and a range of secondary texts. (5)It is well presented with a very detailed bibliography/source list (AO4).
Example:
Violence has always been the ‘Devil’s advocate’ of new mediums of entertainment; all embryonic forms of media have had to weather criticism about their portrayal of violence, ranging from books (take for instance The lord of the flies or The Colour Purple, both frequently banned from American schools for their seemingly excessive violent content) to movies (The Texas Chainsaw Massacre 2 comes to mind, and Australian government seem to have a certain penchant for banning media texts), lending credence to the notion that video games are merely experiencing the beginnings of their journey to respectability (and therefore are frequently the source of recent moral panics). It could be argued that games do not face criticism due to their violent content, but rather simply because they are games; countless film – makers, artists and authors have tackled difficult subjects such as violence (among others such as sexuality and hatred) and have been critically acclaimed for these works because they dared to explore humanity’s dark side. Due to this, one could make the argument that games should not be censored as they are simply under criticism with the same ‘knee-jerk’ attitude that has plagued mediums before now, mediums which have gone on to produce some of the most telling and intriguing narratives ever witnessed.
Bibliography
Works Cited
Books:
Shaw, B (1893) Mrs Warren’s profession Champaign ill project Gutenberg
Nielsen, S, Smith, J. H, & Tosca, S. P. (2008) Video Game Culture, Understanding video games: the essential introduction (p.138) New York: Routledge
Newspapers and Magazines:
Marketing Violent Entertainment to Children: A review of self-regulation and Industry Practices in the motion picture, music recording and electronic game industries, Appendix A – A review of research on the impact of violence in entertainment media”
Violent virtual video games and hostile thoughts. (1st September 2004) Journal of broadcasting and electronic media 1.1.
Internet:
The entertainment software association – Industry faces (n.d) The entertainment software association – Home page. Retrieved January 17, 2011 from http://www.theesa.com/facts/index
Benichou, P. (n.d) – International reviews philippe benichou artist blog. The art of philippe benichou – original paintings – limited Editions – official web site. Retrieved January 24, 2011, from http://philippebenichou.com/blog/?page_id=150
Video games and violence – Art Carden – Mises Daily. Ludwig von mises institute – homepage, retrieved January 31, 2011, from http://mises.org/daily/3528
Moving-image texts:
Kubrick,S (Director) (1987) full metal jacket (motion picture) USA: Warner Home Video
(1)The investigation demonstrates sophisticated knowledge and understanding of media
concepts, contexts and critical debates relevant to the chosen area of investigation. (2)The work
contextualises the study and the linked production piece effectively within the contemporary
media landscape (AO1).
concepts, contexts and critical debates relevant to the chosen area of investigation. (2)The work
contextualises the study and the linked production piece effectively within the contemporary
media landscape (AO1).
However, the question remains as to why violence is so prevalent in the gaming medium and more importantly what effect it has on the players that are exposed to it. With regards to its overwhelming frequency in games, we must acknowledge that “violence has been a subject in literature and the arts since the beginning of human civilisation.” One could argue that as humans we are intrigued violence, and it is probable that this fascination “satisfies some basic human needs. The adrenaline rush, the satisfactions of imagination, fantasy, and vicarious adventure, probably explain why millions of nonviolent people enjoy violent entertainment.” In this sense, one could argue that violent games may actually serve to be therapeutic as they provide an outlet for this carnal violent intrigue we all seem to possess. Furthermore, regarding the impact this violence has, it is said that “because the mass media presents violence in so many different ways (news, sport , action movies, cartoons, horror movies, documentaries, war stories and pacifist themes), it is particularly difficult violent entertainment has adverse effects don’t agree on what kinds of violent images or ideas are harmful.” This is evidence that the zeitgeist has advances and the intellectuals of present have taken a more open and accepting stance on violence in media texts.
