Though many of the cultural shifts of the past century might have been difficult to predict, the rise of film as a legitimate medium of expression would be particularly unimaginable to citizens at the turn of the 20th century. As silent films gained popularity, critics of motion pictures abounded, calling them a frivolous pastime that threatened the moral fiber of American youth. Film’s journey to acceptance marks an important parallel with an equally significant medium under attack today: the video game.
Film gave audiences a chance to witness ‘real life’ remotely through a projection of another’s static experience. Video games go one step further by allowing a user to interact with the environment presented. If the unchanging experience is art, surely the interactive one offers even more opportunity for artistic expression. Yet video games must undergo the same trials which beset film in its infancy – the attacks of a suspicious and reactionary older generation.
After the U.S. Supreme Court ruled in 1915 that the First Amendment did not apply to motion pictures, Hollywood moved quickly to impose self-censorship rules, hoping to avoid federal regulation of acceptable film morality. The resulting Production Code hindered the creative expression of American film by banning any final success or sympathy for lawbreakers or villains. Because of this artistic hamstring, American films would lag behind their European counterparts until the fall of the Production Code in 1967.
Today, we see the same conflict: Politicians find it expedient to take a bipartisan stance against the ‘evils’ of video games because most of their voting constituents grew up before video games were socially acceptable. Critics claim that the interactivity of video games inspires a greater level of self-identification and therefore incites more aggression. Even if this were shown to be true, the critics would not dare apply the same logic to deduce that perhaps interactivity can also increase positive effects on users.
Several studies have demonstrated that interactive video game-based education systems can more effectively teach analytical and spatial reasoning skills. Rhythm games like Guitar Hero and Dance Dance Revolution, which simulate musical environments, are gaining popularity. Given recent cuts to arts funding, these games may be the only musical exposure many low-income children ever receive.
At least the present Supreme Court acknowledges that video games are protected under the First Amendment, negating the more intrusive censorship legislation. However, the fact remains that video games are such a politically charged issue that no politician would think of sponsoring a pro-video game bill. At a time when our country faces a crisis of human capital, interactive video games could offer an effective and efficient means to revolutionize education, and we should embrace the chance to improve ourselves rather than blaming our problems on an incredibly valuable medium of expression.
Music senior Braxton Boren can be reached at [email protected].
