I’m A Gamer Now!!

I’m A Gamer Now!!

Before completing this assignment, I have never played a video game in my life. I enjoyed watching my friends play video games, however, I was not motivated enough to uncover the mystery that was operating the game controller.

When I discovered that Grand Theft Auto V was on the syllabus, I was ecstatic. This was my time to reveal my hidden gaming skills and finally mastering the game controller. I walked into Sawyer grinning uncontrollably. I charged towards the library attendant at the front desk of Sawyer and politely requested a PS4 controller. I wanted to appear “cool” so I made sure that the game cover was exposed. I wanted all of Williams to know that there was a true gamer in Sawyer library.

Guys, I am officially a gamer. 

As soon as I settled into the gaming room, I was greeted by the GTA: V character reel. I was really excited to play the game, however, I could not shake the level of discomfort that developed as each game character was revealed. All the stereotypes were out on display. The black men were gang affiliated and the women were commodified and oversexualized. Each character came with a specific background that spoke to the community that best represented their identity. Because “the game world is not simply a sandbox where entirely new sociopolitical situations are designed and enacted and then exported into the physical world,” the projected communities highlight a ghettocentric view of environment and community(Leonard 131). I believe that the game is not capable of representing authentic depictions of people from varying racial identities. Instead, the game was successful at reinforcing stereotypes.

Additionally, there was a disproportionate representation of men and woman.  In “Live in Your World, Play in Ours: Race, Video Games, and Consuming the Other” by David Leonard, Leonard highlights that “64% of the characters are male, 19% are nonhuman, and only 17% are female. More specifically, 73% of player-controlled characters are male, with less than 15% female, of which 50% of props or bystanders” (Leonard 2). These optics reveal that the target audience for this game is men. For the first three missions of GTA: V, I played a male character to complete the mission. The women were solely operating as props for the male gaze. More specifically, the white male gaze.

 

Despite my reservations, I continued to play the game. The second mission of the game included two black men who were stealing cars from a rich white mans home. The goal of this mission was two-prong: steal the car and follow the leading driver to the dropoff spot. Before I started controlling the characters, the game set up some dialogue between the two men. Their language was filled with ebonics terms and a copious amount of unnecessary “n-words” flowing through the conversation. The actual content of the dialogue became unimportant. The type of language was a marker for the caricature of a gang affiliated black man. The characterization of these two black men lent itself to “ a narrative anchored by ideologies and tropes of race, gender, and class. It [relied] on a worldview that sees the Black community as [devoided] of morality or humanity”(Leonard 134). They were dressed in baggy clothes with gold chains and tasked with stealing cars. Their characters were crafted by real-life tropes of black identity that disregard any authentic representation of the black body. Therefore, reinforcing the racial discrimination of black men.

As I continued through the mission, I was able to become this black male character. I was in control of his driving ability and mobility. At any point, I could have picked a fight with a random bystander and steal their car. The games’ function of horseplay becomes racialized when the game players are giving complete autonomy in racially crafted communities. Leonard states that “games, despite claims of horseplay, offer insight into dominant ideologies… From the privacy of one’s home, game players are able to transport themselves into foreign and dangerous environments, often gaining pleasure through domination and control of weaker characters of color”(Leonard 1). One can completely be disconnected from the identity of the character they are operating and complicit in reinforcing their own biases in their actions. Therefore, the player is able to benefit from a dangerous amount of control.

However, all of these things did not stop me from playing the game. I was able to become completely emersed in the game. I wanted to win. Even if I had run over a few people to get there.

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Structural Analysis for Look Back When You’re Walking 👀

Part I. The Plot

Sequence 1 A young, Black woman wakes up to start her day. Through narration, we learn that her name is Jay and she is a college student who is very active on her campus.

Sequence 2 Immediately after waking up, Jay turns off her alarm and checks her phone. She scrolls through Tinder and Groupme, updating herself on what has happened overnight.

Sequence 3 After getting out of bed, Jay continues checking her social media while getting ready for her day. Leaving her room and heading to class, she listens to “Act Up” by the City Girls.

Sequence 4 After class, Jay walks to Paresky to do work. While sitting in Lee’s, her friend approaches her and shows her a meme that she has already seen. They laugh.

Sequence 5 Next, it is time for Jay to do what she does every day–surf the web.

Sequence 6 At a meeting for her group project, Jay and her friends discuss how digital technologies reinscribe and/or eliminate distinctions of race. Jay mentions how there could be a special curator deciding what we see, which we then use to learn about different races and cultures.

Sequence 7 After her meeting, Jay returns to her dorm room and gets ready for bed. As she is in bed, she scrolls through social media on her laptop one last time.

Sequence 8 While she is sleeping, the camera that has been watching her all along zooms in on her face.

Sequence 9 Next, an unknown person watches Jay’s day unfold on screen.

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Part II. Scene Selection & Analysis (7:10)

In this frame, we see an unknown figure watching Jay as she walks from class to Paresky. The camera, while filming from behind, is shooting the scene from eye-level which allows for audience members to see exactly what the mystery man (or woman) is seeing from the same perspective. Due to the camera’s positioning, we can only see that there is a person, but we cannot tell who they are.

Right before this scene, Jay speaks to her friends as they work on a group project. They speak about whether or not digital technologies affect our understandings of race to which Jay says that they do and that there could possibly be someone watching what we do to determine what it is that we see on social media. The current scene displayed above addresses just that. The person watching Jay throughout her day could be perceived as the curator of Jay’s social media content. As he or she is watching Jay navigate the spaces of her school, they use her interactions with those around her, as well as past data from her social media activity, to craft what Jay will see the next time she is on her phone. What Jay then sees will determine how she understands the world around her, but especially race.

On the other hand, with the camera’s orientation as is, the identity of the anonymous viewer is open to interpretation and could be assumed to be a random person who is watching Jay and actively surveilling her. Considering cameras everywhere and almost all social media platforms allow us to record, the anonymous viewer could have received this footage from anywhere. While the information collected from watching Jay will not be used to construct her timeline, it encourages the viewer of our multimedia narrative to be wary of what they do and post because there is always someone watching. While this is unsettling, it reveals the dangers of today’s digital technologies.

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Structural Analysis for the Fifth Element

The Fifth Element Structural Analysis

Part 1: Sequence Breakdown

Sequence 1: 1914: A Desert in Egypt. A Professor is deciphering the markings on the wall to explain the Fifth Element. We are introduced to a colony of big robotic aliens(The Mondoshawns) who are tasked with protecting the Fifth Element. The robots take the Fifth Element and vow to come back in 300 years when evil returns.

Sequence 2: 300 years later in Space. Introduction to the Greatest Evil: A Planet made of Fire.  The priest reveals to the President the prophecy of the Fifth Element.

Sequence 3: South Brooklyn, New York. Introduction to Korben Dallas: The cab driver/former space fighter pilot.  

Sequence 4: The Attack of the Keepers of the Fifth Element and the Creation of the Fifth Element.  A fleet of grotesque alien fighters destroys the shit of the robot aliens. The “Americans” were able to recover one survivor and artificially create the Fifth Element.

Sequence 5: The Fifth Element and Korben Dallas First Encounter. While evading government capture, the Fifth Element jumps off a building into traffic and falls in Korben Dallas’s cab. Dallas decides that he wants to help the supreme being escape the police.

Sequence 6: The Priest meets the Fifth Element for the first time. Dallas brings the Supreme Being to Vito Cornelius. Dallas tries to wake the Supreme Being by kissing her. The Supreme Being is introduced as Leeloo.

Sequence 7: Dallas confesses his attraction to Leeloo. Leeloo locates the location of the stones. Introduced to the Villain, Jean-Baptiste Emmanuel Zorg. He tries to exchange weapons for the stones from the aliens who attacked the protectors of the Fifth Element.

Sequence 8: The Zorg and the Priest Encounter and The Discovery of the Location of the Stone. Zorg chokes on a cherry, and the priest saves his life. Zorg sends his henchman to the President to discover where the stones are. The stones are with Plavalaguna who will be performing at a charity ball on Planet Fhloston.

Sequence 9: The Start of the Mission to Save the World. The government picks Dallas to be the one to retrieve the stones and save the world. The priest steals Dallas’ tickets to Planet Fhloston to save the world.

Sequence 10: Introduction to Ruby Rhod and Transportation scene to Fhloston Paradise. Leeloo and Dallas have a heart to heart where she claims her role as supreme being. Dallas states that he is supposed to protect Leeloo. Zorg is visited by the greatest evil, and he is told that if he does not have the stones he will bring the evil on Zorg.

Sequence 11: The Battle Scene with Korben and The Mangalore to save the stone, and Leeloo’s Battle Scene with Zorg. The death of Plavalaguana. Dallas rescues Leeloo after her battle scene with Zorg.

Sequence 12: The Escape from Fhloston Paradise and Journey to Earth to Powerup the Fifth Element to save the world. Leeloo looks up war and discovers all the ills of Humankind.

Sequence 13: Love Saves Us All. Korben confesses his love to Leeloo and it gives her the strength to save the world.

Part 2: Frame Analysis – Frame 1:26:20

In this frame, we have a medium three shot close up of Miss Gemini Croquet, Ruby Rhod, and Korben Dallas at the entrance of the Opera House. We have a clear focus on each character as well as their surroundings. Ruby Rhod is dressed in a black bodysuit with a reef of red roses around his collar along with his iconic staff. His hair is sectioned off into small puffballs. In the frame, he is speaking very passionately about something. Miss Gemini Croquet is wearing a toned down outfit in comparison to Ruby Rhod. Miss Gemini Croquet is wearing a glamorous black dress with a turtle neck collar and a baby blue shall with matching gloves. She has blonde braids that are pulled away from her face into a gravity-defying ponytail. Ruby Rhod is dressed in a black bodysuit with a reef of red roses around his collar along with his iconic staff. Lastly, Korben Dallas is dressed in a traditional black suit with a strikingly white dress shirt and a bow tie. Because the frame is taken while Ruby Rhod is conducting his broadcast, we can see that Miss Gemini Croquet is engaging with Ruby Rhod’s theatricality. Meanwhile, Korben does not want to be bothered.

Even though they appear together, there is a disconnect between the three characters. The frame is not centered equally on the three characters. Dallas and Ruby Rhod are more concentrated on the left side of the screen. Meanwhile, Miss Gemini Croquet splits center with the two other characters. Traditionally, a three-shot image would showcase a distinct relationship between the three individuals in the frame. Because each character is angled differently to the camera, we can see the tension between the characters. Dallas is looking away from Ruby Rhod and Miss Croquet in disgust. Ruby Rhod is in his own world with his eyes closed looking away from the camera. Miss Gemini Croquet appears to be looking directly at the camera.

Additionally, in this frame, the camera appears to be panning in the frame. Because the camera is following Ruby Rhod, there is more space on the right side of the screen. This camera is eye level, and it reflects the perspective of the audience following Ruby Rhod. The characters are shown in descending height order starting with Dallas.

I chose this frame because it showcases the transition where Ruby Rhod and Korben Dallas become reliant on each other. In the frame, we are shown Dallas’ annoyance for Ruby Rhod and vice versa. Both characters are represented in their original form.

Structural Analysis for 28 Days Later

Structural Analysis for 28 Days Later

Part 1:

Sequence 1: The Birth of The Infection. Animal rights activists release captive monkeys infected with rage. The infection starts to spread, thus leading to 28 days of chaos and violence.

Sequence 2: The Infection Aftermath.  A hospital patient, Jim, wakes up naked and scared. He goes searching for people around London. He is chased by infected people and he is saved by Selena and Mark.

Sequence 3: The Start of Team Selena and Jim. After learning about the intensity of the infection, Jim insists on finding his family. While lighting a candle, Jim attracts the Infected to his home. Mark gets the infected blood into his bloodstream, and Selena immediately kills him.

Sequence 4: Introduction to Frank and Hannah. Selena and Jim seek refuge with a man named Frank and his daughter Hannah. They discover a recorded message over the radio about soldiers having the answer to infection. The realizes that they all need each other to survive.

Sequence 5: Journey to the Answer to the Cure. While driving through a sketchy tunnel, they get a flat tire. After they are set free, they stock up at the grocery store. They stop for gas, and Jim kills his first infected boy. Jim doesn’t tell Selena.

Sequence 6: Dreams in the Green. Jim has a bad dream that he was left alone. Selena kisses Jim. Selena apologizes and he tells her to keep his apology.

Sequence 7: The Destination of the Compound. The group makes it to the compound, and they discover that there is no one there. Frank walks about frustrated and the blood of an infected person gets into his eyes. The soldiers kill Frank, and they take the rest group to the compound.

Sequence 8: Introduction of Major Henry West and His soldiers. West gives Jim a tour of the compound, and West shows Jim the captive infected soldier. Selena wears the burden of keeping Hannah safe. Jim and Selena kiss again. West reveals to Jim that they have no cure.

Sequence 9: Dinner at the Compound. While everyone is eating, West explains that the infection is not a global epidemic. Instead, the infection is simply people killing people.

Sequence 10: It is Not What It Seems. Jim goes to West to tell him that he wants to leave the compound. West reveals to he can’t promise a future without a woman. Therefore, West decides to kill Jim and Sergeant Farrell. While captive, the Sergeant reveals to Jim that they might be quarantined. However, Jim is able to escape by blending in with the dead bodies.

Sequence 11: The Red Dresses. Selena forcibly kisses the soldier in order to allow for Selena and Hannah to be in the bathroom alone. Selena gives Hannah pills to allow her not care.

Sequence 12:  Rambo Jim. The combined forces of Jim and the infected soldier eliminate the soldiers. They escape the compound.

Sequence 13: RESCUED. Jim, Selena, and Hannah catch the attention of a government plane.  

Part 2:

Jim and Sergeant Farrell in the dungeon
Frame 1:24:01

This frame is a long two-shot image with Jim and Sergeant Farrell in a dungeon-like space with one barred window. Jim and Sergeant Farrell are both dressed in dark baggy clothes. Both characters appear to have been beaten up. Jim is huddled closer to the window. The dolly camera movement widens the shot by revealing Sergeant Farrell huddled on the opposite side of Jim. Once Sergeant Farrell starts to deliver his revelation, Jim turns his head to look at Farrell. As the camera moves backward, the focus is taken off of Jim and placed on Sergeant Farrell. We are able to focus in on Sergeant Farrell face as he delivers his revelation about their diseased island.

The only light in the frame comes from the sunlight through the one window. The key light is aimed at Jim’s body. The warm golden light is centered around Jim, however, Sergeant Farrell is still in darkness. There is a little light shining on half of Sergeant Farrell’s face. Even though the focus is on Sergeant Farrell’s face, Sergeant Farrell is still in darkness. Sergeant Farrell’s face is bloody and beaten up. The lighting highlight Farrell’s feelings of hopelessness thus alluding to his death.

This scene plays a crucial role in Jim’s survival. Initially, Jim and Sergeant Farrell were taken to the dungeon to later be killed by Major West’s soldiers. Both Jim and Sergeant Farrell could no longer comply with West’s agenda. Sergeant Farrell’s revelation stated that government has quarantined them. Sergeant Farrel asks himself why hasn’t the disease crossed the ocean. This scene unlocks the truth for Jim and allows him to accept the possibility of survival. I believe that this scene sparked the rage in Jim that allowed him to fight off all the soldiers and rescue Hannah and Selena. Therefore, the gold light alluded to Jim’s survival.

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Look Back When You’re Walking 👀

Text me when you get home safe.

                Cross the street if you feel suspicious

                                                        Put your phone down!

Our daily routine is deeply connected to our access to technology. From our Daily Mix on Spotify to our cell phone alarm, it is almost impossible to function without technology. Technology holds us accountable. We can’t wake up without setting an alarm, we can’t mindlessly scroll through Instagram to pass time, and it feels uncomfortable to walk outside without music playing. But is that all it does?

Jaysirrel is a young Black woman who finds herself dependent on various forms of digital media. As we follow Jaysirrel, we start to discover that her daily routine is not at all conventional. All aspects of her digital presence are precisely curated for the black female user. It is as if her computer has mapped out her entire day for her.

They are watching everyone, and it is not by accident.