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Esports Content Production - TFT00051H

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  • Department: Theatre, Film, Television and Interactive Media
  • Module co-ordinator: Prof. Florian Block
  • Credit value: 20 credits
  • Credit level: H
  • Academic year of delivery: 2023-24

Module summary

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 you to directly engage with industry leaders in esports through a series of guest lectures.

Module will run

Occurrence Teaching period
A Semester 1 2023-24

Module aims

This module aims:

  • To provide a systematic overview of the esports industry and its associated ecosystem of content creation and consumption
  • To provide an introduction to current best practices in esports content creation and consumption, with emphasis on the mixing “real-world” material captured in a studio (e.g. panels, commentary) and elements from the game’s virtual environment virtual world (e.g. the game’s action) to tell coherent and engaging stories to mainstream audiences
  • To give you practical experience in producing esports and to critically reflect on how innovative techniques and technologies from Interactive Media and / or Film and TV Production can be utilised to advance industry practice

Module learning outcomes

Upon completion of this module, you will:

  • Gain an understanding of the historic context of esports, including the socio-cultural developments and technological advances that led to the rise of competitive video games
  • Demonstrate the ability to critically reflect on online ecosystems of content creation and consumption, taking into account evolving audience demand and industry needs, as well as the role of emergent technologies
  • Develop a systematic understanding of how your knowledge and existing skills from Film and TV Production / Interactive Media contribute to esports, and how the application of these may differ from other areas, such as sports broadcast or non-competitive digital games.
  • Demonstrate knowledge of how techniques across Film and TV Production as well as Interactive Media are combined to tell engaging and meaningful stories about professional esports matches
  • Understand and critically reflect on current industry practice and explore the use of new techniques and technologies in the production of esports

Module content

For students of both programmes, the assessment is broken down into two parts, a practical group assessment and an individual written assessment. Drawing on preparation in the practicals and the contents of the lectures, students of all programmes will work in a team to execute a live esports production (Part A). In part B, students will critically reflect on how esports content production blends elements across TV production and Interactive Media through a critical essay, which is marked individually.

Assessment

Task Length % of module mark
Essay/coursework
Critical Essay		 N/A 60
Groupwork
Group Production : Practical Assessment (group)		 N/A 40

Special assessment rules

None

Additional assessment information

For students of both programmes, the assessment is broken down into two parts, a practical group assessment and an individual written assessment. Drawing on preparation in the practicals and the contents of the lectures, students of all programmes will work in a team to execute a live esports production (Part A). In part B, students will critically reflect on how esports content production blends elements across TV production and Interactive Media through a critical essay, which is marked individually.

As the practical sessions are directly relevant to the group practical assessment, you will lose 3 marks per practical session missed for this module, where the absence has not been authorised.

Reassessment

Task Length % of module mark
Essay/coursework
Essay		 N/A 60
Oral presentation/seminar/exam
Presentation followed by questions		 N/A 40

Module feedback

You will receive written feedback in line with standard University turnaround times.

Indicative reading

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.


The information on this page is indicative of the module that is currently on offer. The University is constantly exploring ways to enhance and improve its degree programmes and therefore reserves the right to make variations to the content and method of delivery of modules, and to discontinue modules, if such action is reasonably considered to be necessary by the University. Where appropriate, the University will notify and consult with affected students in advance about any changes that are required in line with the University's policy on the Approval of Modifications to Existing Taught Programmes of Study.