Images of female bodies are everywhere, with women and girls – and their body parts – selling everything from food to cars. Popular film and television actresses are becoming younger, taller and thinner. Women’s magazines are full of articles urging that if you can just lose those last twenty pounds, you will have it all: the perfect marriage, loving children, great sex, and a rewarding career.
The belief that “thin is beautiful” is pervasive in our culture.
Digital media such as the Internet and video games have become increasingly important in the lives of children and youth. Even when young people are consuming other media, such as TV, music and movies, they are likely to be doing it through the Internet. As well, nearly all the media they consume, from TV shows to toys, have Web pages, virtual worlds, video games or other digital spinoffs associated with them.
There are few media to which youth are exposed to as early as toys, which make up an important part of their media consumption throughout childhood: despite competition from electronics, half of children 14 and younger asked for toys for Christmas in 2011, a number that likely rises for younger children. As a result, the messages about body image that children get from toys may come at a time when they are still forming ideas about gender identity.
Throughout the elementary years, parents are the main gatekeepers for their children. As such, they need to be actively involved in their children’s video game playing – selecting the games, managing how much time children spend playing, and talking to them about the values in the games they like.
For most teens, playing video games is just another recreational activity they enjoy with friends. The concern is when video game playing becomes an addictive or isolating activity.
Good-quality video games offer lots of benefits to children and teens.
Sixty-two per cent of Canadian gamers are male: and in a market targeted primarily at males, games that appeal to girls can be hard to find. Generally girls aren’t interested in the violent “first person shooter” games favoured by boys, and many of the girl-specific games promote stereotypical interests such as cooking and babysitting. (Industry representatives claim these topics are chosen based on their surveys of what female games want.)
Queer people have been involved in producing their own media for as long as alternative media has existed. This landscape has traditionally been dominated by print media such as zines (small-circulation, generally low-cost, publications) and pamphlets or queer film, but with the advent of the electronic age and cheaper and more accessible electronic devices for production, there’s been an explosion of queer-produced media of all kinds. The following section explores the ways that queer people have sought to claim space for themselves within media and culture.
It’s been almost fifteen years since Mark Prensky coined the term “digital native” to describe young people who have grown up with the Internet and digital media. In fact, the children who were born the year Prensky’s book was published are now in high school. While for many, the public perception of young people taking to digital platforms like ducks to water persists – accompanied by the image of adults, particularly parents, who are seen (often by themselves) as hopelessly out of their depth – the question remains how close that image is to reality. Are Canadian youth truly digitally literate? And if they are not “digital natives” who effortlessly acquire their skills on their own or from peers, are students learning what they need from their parents or teachers?