Video Games as Dating Platforms: Exploring Digital Intimacies through a Chinese Online Dancing Video Game

Liu, Tingting

doi:10.1177/1527476417736614

Cited by 18 publications

(21 citation statements)

References 39 publications

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“…In the methodology of teaching dance in China, the use of new technologies, such as online training [44][45][46], a departure from the authoritarian style in teaching dance [47,48] is currently traced. These technologies cause controversy regarding their effectiveness, but the authors who investigated this problem [44][45][46][47][48] point to the relevance of these technologies to the present. In Ukraine, there is also a tendency towards the use of modern technologies in teaching dance.…”

Section: Dance Teaching Methodsmentioning

confidence: 99%

Comparative Characteristics of Dances in China and Ukraine from the Point of View of Historical, Genre, Target, Methodological and Socio-Political Aspects: a Review Article

Zhang

2021

Zdor. sport reabìl. [HSR]

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Purpose: to compare target, style, methodological, historical and socio-political features and determine the possibilities of mutual application of various approaches to the development of dance education in China and Ukraine. Material and methods. The review included articles on the peculiarities of historical development, methodological aspects, the dance influence on health of people of different ages and different social status. The review also included articles on the peculiarities of the social and political aspects of dance art in China and Ukraine. The analysis of literary sources was carried out by working with scientific articles that are presented in the databases "Web of Science", "Scopus", "Pub Med" and others. Results. The features of Chinese dances that can be applied in Ukraine have been identified: 1 - the practice of mass dances on the streets and squares of cities; 2 - the inner orientation of the dance art towards unity with nature, towards the self-expression of people of their feelings, emotions, experiences, towards achieving harmony through movement; 3 - increased attention to the psychological preparation of dancers; 4 - high attention of researchers to the influence of dancing on the mental and cardiological health of people of different ages; 5 - high number of articles, published in rating journals. The features of Ukrainian dances, which can be applied in China, have been determined: 1 - the development of speed-power qualities of dancers; 2 - implementation of an individual approach, which is currently beginning to develop in Ukraine. Conclusions. The combination of Ukrainian speed-power dance and Chinese inner focus on harmony of body and soul, on unity with nature will create a qualitatively new approach to the development of dance art in general and to the process of teaching dance. This study is the first from the point of view of a comparative analysis of the process of teaching dance in China and Ukraine in terms of historical, socio-political, methodological, substantive aspects, as well as the impact of dancing on the body of the practitioners.

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Section: Dance Teaching Methodsmentioning

confidence: 99%

Comparative Characteristics of Dances in China and Ukraine from the Point of View of Historical, Genre, Target, Methodological and Socio-Political Aspects: a Review Article

Zhang

2021

Zdor. sport reabìl. [HSR]

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“…We argue that three social processes are working in tandem, shaping social movement actors' acquisition of gaming capital. The first is the speed with which the Chinese gaming industry is developing, as well as the recent platformization of that industry (Cheung & Fung, 2016;Liu, 2019). Acting as technological architects, local emerging game platforms, such as Tencent Games, NetEase Inc, Orange Light Game, and NetEase Ease Dimension, are capable of bringing technological knowhow, ordinary users, corporate entities, and public bodies together to create a new economic and political model, as well as more flexible and cost-efficient game development processes (Plantin, Lagoze, Edwards, & Sandvig, 2018).…”

Section: The Acquisition Of Gaming Capitalmentioning

confidence: 99%

“…Most Chinese people are accustomed to viewing gameplay as a leisure activity, and the country's centuries-old game culture has shaped Chinese people's pastimes and social lives (Oxfeld, 1993), even their superstitious beliefs (Ohtsuka & Chan, 2010). Since the establishment of internet infrastructure in 1993, the development of new media technologies and local digital games has given rise to a wide range of digital games (Chew, 2016;Liu, 2019;Wirman & Leino, 2017).…”

Section: Negotiating Playful Politics In a Nondemocratic Contextmentioning

confidence: 99%

Gamifying Contentious Politics: Gaming Capital and Playful Resistance

Huang

Liu

2021

Games and Culture

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This article uses the Bourdieusian tradition to examine the relationship between gameplay elements and contentious politics. When investigating Chinese progressive social movements, this study found that the development of local gaming industries has conditioned three ways in which gameplay elements are employed to organize “playful resistance”: game as an action tactic, game as the mechanism for critical pedagogics, and game as a tool for public education . Gaming capital has become a useful resource for organizing contentious activities and disseminating progressive political views. Two forms of gaming capital are identified: one is the technical competencies needed to design games; the other is the cultural capacity to imagine social movements through game design mechanisms. This article shows how playful resistance challenges both authoritarian governance and the capitalist logic of gaming, offering a glimpse into how the actual process of gamification has taken place in a non-Western context.

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“…To follow and add to this research strand, this article will focus on the specific issue of creative video commercialization. This issue has already been examined by several scholars, with a focus on China's changing ICT context (Li 2012(Li , 2017Liu 2019;Zhao 2016). For example, some scholars have explored how Chinese video platforms generate business opportunities for amateur video producer enthusiasts and form a new "creativity business" (Li 2012, 158), with the potential of commercializing User-Generated Content (UGC; Zhao and Keane 2013, 735).…”

Section: Creative Video Commercialization In Chinamentioning

confidence: 99%

Commercialization of Creative Videos in China in the Digital Platform Age

Lin

2020

Television & New Media

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With a special focus on the commercialization of creative videos, this article explores the research question of how digital platforms’ affordances simultaneously allow and constrain video producers’ commercialization activities in the platform era. This study adopts a case study design that focuses on the Chinese digital video producer Zheng Yun, founder of Zheng Yun Studio, using ethnographic participant observations and in-depth interviews. It explains how creative producers such as Zheng Yun struggle to survive in the context of intensified platformization and how they benefit from the digital platforms by employing various commercialization mechanisms, including the Revenue Sharing Program (RSP), Embedded Product Placement (EPP), Franchise Chains, Agent-commission, and Crowd-funding. This research also demonstrates the asymmetrical power relationships between platforms and video producers, which prompt us to rethink the political nature of platforms and the diversified nature of platformization in the digital platform age.

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Video Games as Dating Platforms: Exploring Digital Intimacies through a Chinese Online Dancing Video Game

Cited by 18 publications

References 39 publications

Comparative Characteristics of Dances in China and Ukraine from the Point of View of Historical, Genre, Target, Methodological and Socio-Political Aspects: a Review Article

Comparative Characteristics of Dances in China and Ukraine from the Point of View of Historical, Genre, Target, Methodological and Socio-Political Aspects: a Review Article

Gamifying Contentious Politics: Gaming Capital and Playful Resistance

Commercialization of Creative Videos in China in the Digital Platform Age

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