Week 9: Herzog, Videogames, and the Environment Flashcards

1
Q

Who is Werner Herzog and why is he of interest to this module?

A

Werner Herzog is a film producer interested in how images develop artistic truths which hold value.

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2
Q

Why is Herzog often called a problematic director?

A

Herzog is a criticised figure for believing that everything is worth creating artistic images, regardless of the cost.

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3
Q

How does Herzog depict landscape?

A

“Herzog’s depiction of landscape finds echoes in romanticist strands of European thought, displaying a tension between pantheistic portrayals of nature as a source of spiritual unity and existential portrayals of nature as hostile other” (Gandy, 1996)

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4
Q

How does Herzog engage with geographical imaginaries?

A

Herzog develops imaginaries as a way to access the inaccessible. The hidden-away, the sublime elements of nature,

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5
Q

How does Herzog use film as a medium of expression?

A
  • Herzog’s films mediate nature by the social. Using unique commentary, interviews and cast involvement, Herzog contests the traditional view of landscapes, making visible the techniques used.
  • Herzog places humans as active influences.
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6
Q

When engaging with videogames, what questions do Geographers raise?

A

Representational (geographies of and in) and Non-representational Questions

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7
Q

What are the geographies of video games?

A

Videogames as media commodities are consumed unevenly, influenced by access to technology and capital. They reflect the broader, uneven geographies of cyber-space and highlight the digital divide in digital literacy and skills.

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8
Q

How are geographies represented in videogames?

A

Videogames often include problematic portrayals of gender relations and cultural stereotypes. They create spatial narratives that influence players’ perceptions of real-world spaces.

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9
Q

How does non-representational theory apply to videogames?

A

Engagement with video games affects how players experience space and time. The interactivity reconfigures the relationship between bodies and space, challenging the narrative of Cartesian disembodiment.

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10
Q

How do videogames narrate cultural geography?

A

Games like Minecraft and GTA IV create photorealistic, open-ended worlds that serve as reflections and narrations of cultural geography, even when they depict fantasy worlds.

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11
Q

What is the relationship between videogames and military strategy?

A

Videogames illustrate the ties between game theory, military strategy and simulation. They can legitimise military interventions and act as recruitment tools.

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12
Q

How are videogames used beyond entertainment?

A

Videogames are used for practical applications like planning and building, demonstrating their utility in fields like urban planning and architecture.

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13
Q

How does militarisation manifest in videogame culture?

A

The consumption of videogame violence and the militarisation of games reflect and influence geopolitical discourses of war and security.

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14
Q

What is the MIME-NET?

A

The Military, Industrial, Media, Entertainment Complex suggests a vast interconnectedness between videogames and military consumption, reflecting a broader cultural and economic phenomenon.

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15
Q

What does Ash (2009) argue? What thought does this stem from?

A

Inspired by phenomenology (human experience), Ash et al., (2009) argue that videogames offer a novel way of visualising and engaging with GIS data. It stems from the idea that videogame graphics engines serve as “modes-of-image-making” that help in recontextualizing abstract information within a human horizon of embodied meaning. (simplifies complex data). They argue it is important to remain aware of the changing relationships between tech and perception.

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