Tag Archives: blum

Summer reading: Douglas Blum on globalisation and post-Soviet youth culture

Absorbing some final reading this summer as I plough through writing two and a half thesis chapters. My focus right now is on globalisation, particularly as it relates to youth culture. Douglas Blum’s ‘National Identity & Globalization: Youth, State & Society in Post-Soviet Eurasia’ is proving to be invaluable. Blum points out the usefulness of youth culture as a proxy for wider national identity, both because of the tendency of young people to have their fingers on the global pulse, and also because the activities of young people are (politically) seen to be a representation of a country’s future. This leads to some interesting ambiguities in the ways that state actors read youth activity: on the one hand, the ability to “be modern” and be effective in a global marketplace is seen as hugely important. On the other, cultural flows from outside must be carefully filtered so as not to erode indigenous narratives.

This is a neat theory to apply to internet use and videogame consumption, because all of the ambiguity that Blum sees in wider social discourse about youth activity is magnified in discussions about online activity. A broad survey of mainstream media discourse about gaming in Russia shows a lot of fears about anti-social activity, violence and a declining interest in literature and “real art,” concerns which have been echoed by Orthodox church spokesmen, politicians and even my own survey participants. Despite this, the Russian government has been quick – well, quick in bureaucratic terms – to subsidise the domestic game industry and encourage proficiency in gaming technology. There’s an obvious economic benefit in pushing domestic production, but the discourse surrounding videogames also has a strong ideological element to it. Just as Blum notes in the wider cultural field, the Russian authorities reconcile the divide between pernicious Western influence and the appeal of modernity by positioning their support of the Russian game industry as a protective measure. In encouraging Russian creators to produce games which portray positive elements of Russian history and mythology, the authorities suggest that their young people can learn to use computing technology and exercise their creative faculties by becoming producers themselves, without falling victim to Western messages of excess, consumerism and anti-Russian sentiment.

Filtering new media and trends in this way is a strategy which stretches back to the Soviet era, a new way of dressing up the old model of youth as “constructors of communism.” In the case of videogames, though, the authorities are drawing upon a neoliberal rhetoric of choice and personal (sometimes professional) development. Unfortunately for the Kremlin, it seems that my survey participants are far more interested in game quality than game message…