Homo Ludens 2.0 The Ludic Turn in Media Theory

Abstract

Including those among you who do not engage in media studies will
\nbe familiar with today’s subject – the concept of play. Just open your
\nnewspaper and see how this concept imposes itself, both in word
\nand image. Take for example the Dutch cabinet formation in 2010:
\n“Formation rules out of date” de Volkskrant announces. And NRC
\nNext points out that the “formation game is not played properly” and
\nthat the process shows signs of “rough play.” Imagery in de Volkskrant
\nsimilarly uses the play metaphor to denote the political situation.
\nWilders is depicted as a puppeteer pulling the strings at whim while
\nthe political arena is reduced to his playground. Rules: No Muslims, no
\nleftist elite and no judges. Closing time - or how long will this cabinet
\nstay in power? – ask it to Mr. Wilders. A second example – this time from the field of media studies –
\nis offered by the film Slumdog Millionaire (Boyle 2008). It is remarkable
\nthat this particular film was the big winner at the Academy Awards
\n– the Oscars – in 2009. Suspense in the film largely depends on the
\nformat of a major television genre, the game show, and more specifically
\nthe quiz show: the Indian version of Who Wants to Be a Millionaire? At
\nthe beginning of the film we have an opening ritual that introduces
\nprotagonist Jamal Malik, which is followed by the actual game, the quiz,
\nwhile the film ends with a closing ritual showing how the winner Jamal
\nis congratulated by the presenter and handed a check with the amount
\nof money he has won. Media scholar John Fiske calls this format of
\n“ritual-game-ritual” (1987a, 265) an enactment of capitalist ideology.
\nThe suggestion is made that – no matter the differences – everyone
\nwould have the same opportunities. That differences in the standard of
\nknowledge are often associated with differences in social backgrounds
\nwould thus be hidden from view. This is indeed how the film could be
\ninterpreted. The people in the film who in increasing numbers follow
\nthe show watch in amazement as Jamal correctly answers each new
\nquestion yet again. But director Danny Boyle plays a double game.
\nIngeniously he interweaves the storyline of the quiz with the narrative
\nof Jamal’s life. By thus addressing Jamal’s social background he manages
\nto show the film’s audiences how this ‘bum’ from the slums gleaned his
\nsuperb knowledge from the streets to win the quiz show. These two examples highlight most of the features of the play concept that I want to discuss today: the importance of rules, the
\nidea that rules can be changed, the playful nature of cultural domains
\nsuch as politics and media, the understanding that play is often less
\nopen than it looks (it is Mr. Wilders’s playground), the international
\npopularity of game shows, the cultural significance of play, and so on.