Esports – video games that are played competitively, watched by large audiences – are a rapidly growing form of mainstream entertainment that lie at the convergence of TV, interactive media and digital games. In this module, you will acquire both a systematic theoretical understanding of the ecosystem of content creation in esports as well as hands-on, practical experience in executing an esports production, combining techniques from across Film and TV Production and Interactive Media. You will learn to understand the esports industry, including its historic roots, the socio-cultural influences and technological developments that paved the way for its rise, as well as acquire knowledge about state-of-the art industry practice borrowed from traditional TV broadcast, interactive media and game design that drives current production practice in esports. You will learn how your existing skills are situated within esports content production, and work in a multi-disciplinary team consisting of students from Film and TV Production as well as Interactive Media to plan and produce a live esports event. Taking advantage of the University of York’s partnership with ESL, the world’s biggest esports company, this module will create interfaces for students to directly engage with industry leaders in esports through a series of guest lectures.
*Students will lose 3 marks per workshop, seminar or practical missed for this module.
|A||Autumn Term 2019-20|
To achieve the stated learning outcomes, the main aim of this module is to meaningfully interweave theory and practice. Theory will be delivered through lectures, with the aim of some of the lectures being co-taught by staff and industry guests. Suggested topics for the lectures are as follows:
The lectures are complemented with seminars and practicals, which are designed to create a stimulating theoretical and practical dialogue between students from across FTP and IM. Bi-weekly seminars provide a forum for inter-disciplinary discussion of lectures and reading materials. In the seminars, we will confront the critical lenses of both programmes, examining the lecture’s topics further. In preparation for the seminars, students will read inter-disciplinary literature, observe and analyse various production across esports and traditional sports, as well as reflect on relevant material from online services such as Twitch and Youtube.
Theoretical material discussed in lectures and seminars will be complemented by a practical components. Practicals are run in a bi-weekly fashion, interweaving with the seminars. Practicals offer students of each programme to explore familiar and unfamiliar settings – allowing FTP students to venture into the capturing virtual game environments, and in return, allowing IM students to acquire a basic understanding of studio technology. This provides an opportunity for the students both venture into new territory outside their field of study, while, within their familiar setting, contextualising their existing practical skills to the requirements of an esports production. Starting from W6, students will then utilise the practicals and seminars to plan and prepare for a jointly executed esports production. Based on this planning, as well as theoretical and practical knowledge acquired through W2 – W9, students will then co-produce an esports broadcast in Week 10, which is the basis for assessment.
|Task||Length||% of module mark|
2500 word Critical Essay
Practical Assessment (group)
Practical Assessment (individ)
Drawing on preparation in the practicals, the contents of the lectures as well as the discussions in seminars, students of both programmes will work in a team to execute an esports production in Week 10, Autumn term. For students of both programmes, the assessment is broken down into two parts, a practical assessment and a written assessment.
The practical assessment is based on a tournament production, in which a series of matches are covered. Each segment consists of a pre-game panel, the actual match coverage and a post-game panel. This tournament schedule segments the day into several slots with identical structure of coverage. This segmentation allows for crews to rotate, enable the IM students to execute at least one A-role in the production. During each segment, the students who are not fulfilling a A-role, will execute a B-role (commentator, camera, etc.). The following table provides an overview about the roles (* = A-role):
Students will execute at least one A-role within the tournament production. The performance in this A-role is the basis for the individual assessments, and will be marked by clearly specified marking criteria for each role.
The group assessment will focus on how the team combined in-game footage, panel elements, graphical overlays and commentary to tell a coherent, engaging and informative story to the audience. Professionalism and communication of respective crew members will also be key drivers for the group assessments. Coordinating in-game camera work, commentary, visual overlays to capture the most important aspects of the game while not overpowering the viewer with too much information will be a criticalbalance the team needs to strike. The underlying criteria for a successful esports production will be extensively practiced and discussed across seminars and practicals.
The critical essay uses the tournament production as an exemplar to reflect on esports content production. Students will have to reflect on the integration of elements across TV production and Interactive Media, and can optionally explore how new techniques and technologies could advance state-of-the-art industry practice. Students will need to show evidence that they can situate their considerations within the historic context of esports, and reflect on how their existing knowledge and skills apply within the context of esports.
|Task||Length||% of module mark|
Re-assessment Presentation and Viva
Students will receive written feedback by the standard university deadline.
Taylor, T. L (2012). Raising the Stakes: E-sports and the Professionalization of Computer Gaming. MIT Press, ISBN: 9780262527583.
Hamari, J., Sjöblom, M. (2017). What is eSports and why do people watch it? Internet research, 27(2), 211-232.
Schultz, R (2017). Secrets of Sports Broadcasting: Practical Advice for Sportscasting Success. Independently published, ISBN-13: 978-1973166016.
Zarrabi, S. A., & Jerkrot, H. N (2016). Value creation and appropriation in the esports industry. Department of Technology Management and Economics Division of Innovation Engineering and Management, CHALMERS UNIVERSITY OF TECHNOLOGY, Gothenburg, Sweden. Report No. E 2016:090 (Available at: http://publications.lib.chalmers.se/records/fulltext/238371/238371.pdf)
Mokrusch, M. (2017). A Critical Look at the Ecosystem. Esports Observer. (Available at: https://esportsobserver.com/a-critical-look-at-the-ecosystem-part-1/, https://esportsobserver.com/a-critical-look-at-the-ecosystem-part-2/)
Benjamin Burroughs & Adam Rugg (2014) Extending the Broadcast: Streaming Culture and the Problems of Digital Geographies, Journal of Broadcasting & Electronic Media, 58:3, 365-380
Klein-Shagri, O. (2017). Para-Interactivity and the Appeal of Television in the Digital Age, Rowman & Littlefield, ISBN: 978-1498540803.
Davis, D. (1960). The grammar of television production. Barrie and Rockliff, ASIN: B0000CKGWE.
Singleton-Turner, R. (2011). Cue & cut : a practical approach to working in multi-camera studios. Manchester University Press, 1 edition, ISBN: 9780719084485.
Schubert, M., Drachen, A., & Mahlmann, T. (2016). Esports Analytics Through Encounter Detection Other Sports. Proceedings of MIT Sloan Sports Analytics Conference. (Available at: http://www.sloansportsconference.com/wp-content/uploads/2016/02/1458.pdf)
Syed, M. (2011). Bounce: The Myth of Talent and the Power of Practice. Fourth Estate (GB), ISBN: 978-0007350544.
Coronavirus (COVID-19): changes to courses
The 2020/21 academic year will start in September. We aim to deliver as much face-to-face teaching as we can, supported by high quality online alternatives where we must.
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