Testing the Margins of Leisure

This volume offers eight studies on different historical and present-day aspects of leisure in Asia. It critically engages with the predominant Eurocentric focus of leisure studies, bringing into the discussion a number of crucial issues such as the role of leisure as a transcultural contact zone. The volume engages with a field that has been rapidly growing due to the heightened role of leisure activities in defining a person’s identity, the fading of the work/leisure divide in the post-industrial age, and the increasing economic importance of leisure pursuits such as tourism. Bringing Asia into the discussion contributes in resetting the study of leisure into a truly global context. Abstract in other language

The Use of digital games to enhance the physical exercise activity of the elderly : a case of Finland

According to the World Health Organization (WHO), population ageing is a global phenomenon, which brings both challenges and opportunities for society. The current longer expected lifespan can create opportunities for the elderly to contribute in many ways to their families and communities. However, it greatly depends on their quality of life, which is affected by many factors, including physical and functional health, social well-being, and cognitive abilities. The WHO (2012) states that physical health is one of the indicators for the elderly’s quality of life, and it declines with increasing age. Participation in regular physical exercises can help the elderly improve their physical and mental health, and this has been aided by the use of modern technologies to promote the elderly’s physical and functional health. Of these latest technologies, digital games have shown promise to improve and enhance the elderly’s physical activities through fun and engaging gameplay. The literature highlights that some commercial games in the market (e.g. Microsoft Kinect- Sports and Nintendo Wii Sports games) have the potential to improve the elderly’s physical health such as gait, balance, and fall prevention. However, researchers argue that these commercial games are not designed specifically for the elderly and their physical exercise activities. They state that most commercial games are not user-friendly for the elderly whose functional and physical abilities are limited due to their advanced years. The literature points out that more studies need to be undertaken to understand the usability and usefulness of digital games for physical exercise activities so that game designers can create elderly-friendly digital games in the future. In Finland, the government has been focusing on promoting healthy ageing and increasing home care services for the elderly. In recent years, Finnish researchers have used digital games to promote older Finns’ healthy and active ageing. The existing literature, whilst showing the potential of digital games for elderly Finns’ physical health, also acknowledges further research is needed particularly in the context of Finland. Thus, in this study, we aimed at investigating digital games to specifically assess their applications for older Finns’ physical activities, focusing on the quality of users’ experiences, and their reported ease of use and perceived usefulness. We used the mixed methods approach, which applies both qualitative and quantitative research methods. The study design included four stages: requirements gathering, analysis and design, prototyping, and evaluation. Firstly, we conducted pre-studies to elicit users’ requirements. This was followed by the analysis of the resulting data to identify trends and patterns, which fuelled ideas in the brainstorming game design and development phases. The final product was a digital game-based physical exercise called the Skiing Game. We then evaluated the Skiing Game in Finland with 21 elderly Finns (M=7, F=14, Average Age =76). By using questionnaires, observation, and interviews, we investigated user experiences, focusing on the game’s usability, and usefulness for enhancing the physical activity and wellbeing of the elderly. We also conducted a comparative test of the Skiing Game in Japan with 24 elderly Japanese participants (M=12, F=12, Average Age = 72) to further understand non-Finnish elderly users’ experiences. The findings from the usability study of the Skiing Game in Finland demonstrated that elderly Finns had a positive experience in the gameplay, and their motivation was noticeably high. It also confirmed that elderly Finns have a genuine interest in digital game-based exercises and strong intentions to play digital games as a form of physical exercise in the future. Although prior to the study most of them had negative views and misconceptions about digital games, after the gameplay their attitudes were decidedly positive. They acknowledged that whilst playing digital games could be an alternative way of exercising for them their use would primarily be when they don’t have access to their usual non-digital physical exercise. The Japanese usability of the Skiing Game showed that the elderly Japanese people also had positive user experiences in playing digital games, and also intend to use them in the future. Similarly, after playing the game they reported that their attitudes towards digital games become positive, and indicated playing digital games could be an alternative way of exercising. Although the comparison of the two studies suggests that the elderly Finns had relatively more positive experiences whilst playing the Skiing Game, compared to their Japanese counterparts, in general, both groups had a positive experience in the gameplay and showed interest in digital games as an alternative exercise. Based on the usability lessons learned from these two studies, recommendations for practitioners and designers regarding improvements in game design and development are made in this report. Implementing these modifications into future designs and further development of digital games for the elderly will improve their commercial viability and user uptake. The findings from this study can provide valuable insights, particularly for Finnish policymakers and healthcare practitioners who are keen to introduce digital games into the aged-care sector in Finland. The studies have also provided valuable insights into the optimal methods for introducing Finnish digital games to international markets, in particular, digital games tailored specifically for the physical exercise needs and motivations of the elderly. By taking into consideration the limitations of the study, we provide our future studies and further improvements of the game to be conducted

Ageing with Smartphones in Urban China: From the cultural to the digital revolution in Shanghai

If we want to understand contemporary China, the key is through understanding the older generation. This is the generation in China whose life courses almost perfectly synchronised with the emergence and growth of the ‘New China’ under the rule of the Communist Party (1949). People in their 70s and 80s have double the life expectancy of their parents’ generation. The current oldest generation in Shanghai was born in a time when the average household could not afford electric lights, but today they can turn their lights off via their smartphone apps. Based on 16-month ethnographic fieldwork in Shanghai, Ageing with Smartphones in Urban China tackles the intersection between the ‘two revolutions’ experienced by the older generation in Shanghai: the contemporary smartphone-based digital revolution and the earlier communist revolutions. We find that we can only explain the smartphone revolution if we first appreciate the long-term consequences of these people’s experiences during the communist revolutions. The context of this book is a wide range of dramatic social transformations in China, from the Cultural Revolution to the individualism and Confucianism in Digital China. Supported by detailed ethnographic material, the observations and analyses provide a panoramic view of the social landscape of contemporary China, including topics such as the digital and everyday life, ageing and healthcare, intergenerational relations and family development, community building and grassroots organizations, collective memories and political attitudes among ordinary Chinese people

Workshops of our own : analysing constraint play in digital games

Players are at the heart of games: games are only fully realised when players play them. Contemporary games research has acknowledged players’ importance when discussing games. Player-based research in game studies has been largely oriented either towards specific types of play, or towards analysing players as parts of games. While such approaches have their merits, they background creative traditions shared across different play. Games share players, and there is knowledge to be gleamed from analysing the methods players adopt across different games, especially when these methods are loaded with intent to make something new. In this thesis, I will argue that players design, record, and share their own play methods with other players. Through further research into the Oulipo’s potential contributions to games research, as well as a thorough analysis of current game studies texts on play as method, I will argue that the Oulipo’s concept of constraints can help us better discuss player-based design. I will argue for constraints by analysing various different types of player created play methods. I will outline a descriptive model that discusses these play methods through shared language, and analysed as a single practice with shared commonalities. By the end of this thesis, I will have shown that players’ play methods are often measured and creative. Players create play methods not only to enrich their play, but also to enrich other players’ play and to create new future ways to approach games, and playing them. Furthermore, I will argue that players realise the productive potential in their play, and they record their play both to preserve their adopted methods, but also to realise the creative aspects latent inside their play.peer-reviewe

Propriety, Shame, and the State in Post-Fukushima Japan

This dissertation tracks the effects of state recognition across a series of vanishing and emerging social worlds in post-Fukushima Japan. Based upon two years of fieldwork, the dissertation focuses on ethnographic sites at which the failure of state subjectivization activates both a reinvigoration of state discourse, and the formation of counter-discourses within the temporality of Japan’s endless “postwar” (sengo). In so doing, the dissertation seeks to disclose the social violence and iteration of shame as it is mobilized by the state to produce an obedient subject – willing to die for the nation in war – and as the failure to conform precipitates alternate socialities that may be either opposed to or complicit with state interests. The ethnographic sites of which I write concentrate on: the compulsory enactment of propriety in public school ceremonies, and the refusal by teachers to stand for, bow to the “national flag” (kokki), and sing the “national anthem” (kokka), the self-same imperial symbols under which Japan conducted World War II; a group of Okinawan construction workers in the old day laborer district of Tokyo, Sanya; the stigmatized “radical” (kageki) leftist student organization, the Zengakuren; the “internet right-wing” (netto uyoku) group, the Zaittokai, whose street protests are performed live before a camera; and “Fukushima,” where the charge of guilt has short-circuited memories of the Japanese state sacrificing its citizens during World War II. As a foil for the remaining ethnographic sites, the obviousness of giving “respect” (sonchō) to state symbols in public school ceremonies discloses the formation of subjects in a constitutive misrecognition that eliminates – or kills – difference in the enactment of social totality. A veritable stain on which the Japanese state drive to war was dependent, the singular figure of the sitting teacher formed part and parcel of what rightist politicians referred to as the “negative legacy” (fu no rekishi) of World War II. S/he constituted the object of an overcoming that – alongside the Okinawan construction worker, the “radical” (kageki) leftist, the “resident foreigner” (zainichi) as object of Zaittokai hate speech, and “Fukushima” – at once marked the ground of intensification and failure of state discourse. For the graduation ceremony of March, 2012, the official number of teachers who refused to stand and sing fell to “1” in Tokyo, where the state employs 63,000 teachers. With neither family ties, romantic involvements, nor social recognition that would confirm their masculinity, the vanishing day laborers of Sanya made all the more insistent reference to the trope of otoko or ‘man.’ Closely articulated with the mobster world of the yakuza with which many workers had connections, the repetition of masculinity in work, gambling, and fighting constituted a discourse that repulsed the shaming gaze of general society. Thus, the excessive life-style of the otoko was located at the constitutive margins of the social bond of propriety, where he also provided a dying reserve army of labor that could be mobilized to undertake the most undesirable tasks, such as work at Fukushima Daiichi Nuclear Power Plant. Echoing the death of Sanya, the Zengakuren numbered in the tens of thousands in the 1960s and 1970s, but had dwindled to under 100 active members in 2012. While the anti-war “strike” (sutoraiki) constituted the apotheosis of the Zengakuren discourse, their espousal and shameless mandate of “violent” (bōryoku) revolution subverted the origins of the Zengakuren into a prohibitive discourse which replicated the form of state rhetoric, and demanded the eradication of the Stalinist from within their own ranks. No less shameless than the Zengakuren, the emergent hate speech of the “internet right-wing” (netto uyoku) iterated state discourse among the working poor. Having grown from 500 to 10,000 members within only four years, the Zaittokai’s notorious hate speech aspired to the instantaneous effect of “killing” (korosu) another legacy of World War II: the “resident foreigner” (zainichi). Yet, replicating online forms of writing, the iterability of their performative triggered repetition, and in a shamelessness specific to cyberspace – in which the reciprocity of the gaze and shame were lacking – the Zaittokai directed their paranoid speech at the state, whose representatives were said to be controlled by zainichi. Lastly, “Fukushima” marked the apogee of the effectivity and failures of the state in containing both the excesses of capitalism, and the “negative legacy” (fu no rekishi) of World War II, the memories of which were short-circuited by radioactive outpour

The ambivalent identity of Wong Kar-wai's cinema

[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département de littérature comparée]Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar-wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation. L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. L'objectif est d'analyser les différents composants de ses images pour découvrir comment ses films communiquent les uns avec les autres afin de créer une identité unique. Pour atteindre cet objectif, je pose comme hypothèse de travail que le cinéma de Wong est marqué par une structure dualiste qui permet à ses films de présenter des qualités contradictoires simultanément. La plupart de mes arguments se concentrent sur le travail du philosophe français Gilles Deleuze, qui a proposé une théorie du cinéma divisé entre l’image-mouvement et l’image-temps. Je considère que sa théorie fournit un cadre valide sur lequel les films de Wong peuvent être projetés. Tandis que ma recherche se concentre sur l’interprétation textuelle des films, je profiterais également d’une analyse comparative.With nine feature films released between 1988 and 2007, as well as several advertising campaigns, music videos, short films and collective projects, Wong Kar-wai is one of the most important contemporary filmmakers currently working. Hailing from Hong Kong’s highly commercial film industry, Wong has managed to attract the attention of the international film festival circuit with his visual style and fragmented narrative. Considered by many critics as the poet of Hong Kong’s quest for identity post 1997, his cinema defies every attempt of standardization. The main goal of this study is to provide an attentive and comprehensive study of his body of work, concentrating on the stylistics traits that make his films part of a coherent unity. These characteristics correspond to a certain way of telling stories, of composing situations and characters, of manipulating time and the use of technical resources so that his films offer a coherent identity. The objective is to analyze the different components of his images, to show how his films communicate with each other in order to create something unique. To achieve this objective, I put forward the hypothesis that Wong’s cinema is marked by a dualistic structure that allows his films to present opposite qualities at the same time. Most of my arguments are based on the thoughts of French philosopher Gilles Deleuze, whose own dualistic theory of cinema presented in his books Cinema 1: the movement-image and Cinema 2: the time-image, provides a valid framework upon which Wong’s films can be projected. While the research concentrates on the textual analysis of films, I will also benefit from comparative analysis and additional disciplines