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Wetenschappelijke Verhandeling UNIVERSITEIT GENT FACULTEIT POLITIEKE EN SOCIALE WETENSCHAPPEN MACHINIMA: SITUERING EN ONDERZOEK NAAR HET EDUCATIEF POTENTIEEL Wetenschappelijke verhandeling aantal woorden: 24909 BERT BESSEMS MASTERPROEF COMMUNICATIEWETENSCHAPPEN afstudeerrichting COMMUNICATIEMANAGEMENT PROMOTOR: DR. JAN VAN LOOY COMMISSARIS: FREDERIK DHAENENS COMMISSARIS: PETER MECHANT ACADEMIEJAAR 2009 - 2010 Abstract Machinima is een nieuwemediatechniek die gebruik maakt van videogames om films te produceren. Deze methode wordt gekenmerkt doordat ze snel en goedkoop is. Dit terwijl zij visueel minder sterk is dan klassieke film en animatie. Deze masterproef begint met een situering van het begrip aan de hand van een literatuurstudie. Achtereenvolgens beschrijf ik de historiek, de thema‟s en de toekomst van machinima. Daarnaast komen een aantal deelaspecten aan bod. Het zwaartepunt van het eerste deel is de bespreking van een SWOT-analyse. Het tweede deel omvat een literatuurstudie omtrent leertheorieën. Er worden een aantal theorieën geschetst die principes bevatten waar onderwijs in machinima baat bij kan hebben. Tevens wordt machinima hier geëvalueerd in twee categorieën: enerzijds als aan te leren set vaardigheden in hoofdzakelijk interdisciplinaire studierichtingen en als ondersteunend audiovisueel medium in traditioneel onderwijs. In deel drie komt de praktijk aan bod. Door middel van diepte-interviews en inhoudsanalyse schets ik twee cases: de cursus machinima aan de universiteit van Utah en een aantal workshops in drie verschillende fasen van ontwikkeling. Dit alles met het oog op het onderzoeken of machinima de nodige opportuniteiten biedt op het vlak van onderwijs. Er kan worden gesteld dat machinima educatief potentieel bezit. Dit getuigt het stelselmatig opnemen van machinima in interdisciplinaire curricula met de focus op computerwetenschappen en een combinatie tussen kunstrichtingen (animatie en film) en mediastudies. Voor traditioneel onderwijs is de barrière nog te hoog. Het maken van de filmpjes vergt een specialistische kennis. Machinima leent zich bovendien uitstekend tot workshops. Keywords: machinima, situering, leertheorieën, SWOT, educatief potentieel, workshops. Dankwoord Om zomaar met de deur in huis te vallen: zonder de mensen die aan bod komen in dit dankwoord had deze masterproef er behoorlijk mager uitgezien. Niet alleen omdat het professionalisme en de interesse van een aantal mensen voor mijn werkstuk meer dan aanstekelijk gewerkt hebben, maar omdat sommigen er gewoon waren. Een aantal dichtbij, anderen iets verder maar allen met één boodschap: ga ervoor. Ik wil eerst en vooral dr. Jan Van Looy bedanken voor zijn kordate begeleiding. Het is duidelijk dat hij in zijn pupillen het beste naar voren wil brengen. Vervolgens neem ik de tijd om Birgit Segal van Grafitti Jeugddienst te bedanken. Het enthousiasme waarmee ze werkt, was een ware opsteker. Tevens kon haar project als een bron van inspiratie gelden voor mijn masterproef. Bernard Drax, Chantal Gerads en Britta Pollmuller lieten mij gewillig delen in hun passie. De vurigheid waarmee zij spraken, liet een diepe indruk op mij na en motiveerde mij om grondig onderzoek te verrichten. Tevens prijs ik mij gelukkig dat ik van gedachten heb kunnen wisselen met ware pioniers op het vlak van machinima, namelijk Hugh Hancock, Paul Jannicola en Kerria Seabrooke. Hoewel zij een boordevolle agenda hadden en aan talloze projecten tegelijk werkten, vonden zij toch de tijd om mij te woord te staan, ideeën aan te reiken en nieuwe inzichten te verschaffen. Ik dank Jeroen Bourgonjon voor het kritische oog dat hij over mijn werk liet glijden. De nuances en opmerkingen die hij daarbij formuleerde, hebben dit werk naar een hoger niveau getild. Daarnaast bedank ik professor Robert Kessler. Hoewel wij meer dan 8000 kilometer van elkaar verwijderd zijn, waren zijn hulpvaardigheid en stiptheid vlekkeloos. Professor Kessler bewijst dat er mensen zijn waarop je kan bouwen. Hetzelfde geldt voor professor Tracy Harwood. Steeds was zij bereid doordachte ideeën aan te brengen die mij hielpen de materie waarmee ik minder vertrouwd was in een klaar daglicht te plaatsen. Haar professionele toon, correcte houding en passie voor het onderwerp, hebben haar mijn diepste respect opgeleverd. Mijn vader Marc Bessems en mijn moeder Francine Arents hebben mij het juiste pad getoond. Door mij een zorgeloze jeugd te schenken en steeds intellectueel te stimuleren, hebben zij – meer dan zij het zelf beseffen – bijgedragen aan dit werkstuk. Ik ben hen daar enorm dankbaar voor. Mijn schoonvader William De Middelaer slaagde er steevast in een glimlach op mijn gezicht te toveren. Ik bewonder de manier waarop zijn optimisme elke situatie in het zonlicht kan plaatsen. Last but not least neem ik mijn vriendin Nadège De Middelaer eens goed in de armen. Doorheen het onderzoeken en het schrijven en sleutelen aan deze masterproef stond ze steeds voor mij klaar. Niet alleen met raad en daad, maar ook met dat tasje koffie ‟s morgens. De kleine dingen. Meer heeft een mens niet nodig. 2 Inhoudsopgave ABSTRACT............................................................................................................................................II DANKWOORD....................................................................................................................................III INHOUDSOPGAVE............................................................................................................................IV ALGEMENE INLEIDING....................................................................................................................7 I LITERATUURSTUDIE MACHINIMA..................................................................................9 1. Afbakening van het onderwerp.......................................................................................9 2. Het digitale tijdperk en de nuance van de digitale kloof..............................................11 3. Definiëring van het onderwerp: op weg naar een eenduidige definitie........................12 3.1 Inleiding........................................................................................................................12 3.2 Definities.......................................................................................................................12 3.3 Werkdefinitie................................................................................................................15 3.4 Producent van machinima.............................................................................................15 4. Geschiedenis van machinima........................................................................................16 4.1 Herkomst van de term machinima................................................................................16 4.2 Hackers en de Demoscene............................................................................................16 4.3 First-Person Shooters....................................................................................................17 4.4 DOOM Movies.............................................................................................................18 4.5 Een stap verder: Quake (Movies)..................................................................................18 4.6 Op weg naar machinima...............................................................................................20 4.6.1 Gameplay.............................................................................................................20 4.6.2 Diary of a Camper................................................................................................20 4.6.3 Operation Bayshield.............................................................................................21 4.7 Verdere evolutie............................................................................................................21 4.7.1 Een eigen website.................................................................................................22 4.7.2 Bekendheid...........................................................................................................22 4.8 Thema‟s in machinima..................................................................................................23 4.8.1 Performance.........................................................................................................23 4.8.2 Subversief karakter...............................................................................................24 4.8.3 Communities........................................................................................................24 4.8.4 Participatory culture.............................................................................................26 5. Toekomst van machinima..............................................................................................27 5.1 Media-aandacht.............................................................................................................27 3 5.2 Democratisering en gebruiksgemak..............................................................................28 5.3 Academische interesse..................................................................................................29 5.4 De rol van spelontwikkelaars........................................................................................29 5.5 De machinimastandaard................................................................................................29 5.6 Mainstream?..................................................................................................................30
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