Consortium for Media Literacy

  • Increase font size
  • Default font size
  • Decrease font size
Home MediaLit Moments
MediaLit Moments

Why Don't I See What You See?

E-mail Print PDF

Today, online advertisements are tailor-made for individual recipients, but it can be difficult to discern that fact unless someone else shows you the ads that have been targeted to them.  In this MediaLit Moment, your middle school students will have the opportunity to ‘lift the veil’ on the customization of media content by examining domestic and international covers for the same magazine.  In the process, they’ll imaginatively take the position of media producers as they attempt to track the inferences producers made about different audiences.

Ask students to offer possible reasons why producers would print different covers for domestic and international editions of the same magazine.

AHA!: Everybody in the U.S. sees the same cover for Time magazine, but somebody in Europe or Asia might see something totally different!

Key Question #3: How might different people understand this message differently?

Core Concept #3: Different people experience the same media message differently.

Key Question #3 for Construction: Is my message engaging and compelling for my target audience?

Grade Level: 6-8

Materials: computer with high speed internet access, LCD projector and screen; or print outs of selected website pages

An internet search for “Time magazine cover” will bring you to a page on the Time website which (usually) displays covers for all four regions in which the magazine is distributed.    Occasionally you will need to do some additional searching to view international covers. The page should also allow you to search for past covers by date.  Here are some dates for issues of Time whose domestic and international covers differ significantly:  July 1st, 2013 (v.182, n. 1), December 5th, 2011 (v. 178, n. 22), October 3rd, 2011 (v. 178, n. 13), November 29th, 2010 (v. 176, n. 22).

Activity: Have fun “talking up” the fact that media usually seem to be made the same way for everyone—but not always.  Discuss examples aside from magazine covers, if you can find any.  Next, display or pass out a printout of one of the Time magazine covers.  You may need to briefly explain the social or political context for international covers.  Why would Time magazine print different covers in the U.S. and abroad?  Introduce Key Question/Core Concept #3.  How do these domestic and international covers differ?  Why would the producers create these particular covers for these audiences?  Ask them to take the point of view of the producers, and introduce them to Key Question #3 for Producers:  Is my message engaging and compelling for my target audience?  


The Five Core Concepts and Five Key Questions of media literacy were developed as part of the Center for Media Literacy’s MediaLit Kit™ and Questions/TIPS (Q/TIPS)™ framework.  Used with permission, © 2002-2013, Center for Media Literacy, http://www.medialit.com

Last Updated ( Friday, 31 March 2017 11:31 )
 

Child as Hero, Child as Audience

E-mail Print PDF

Young men and women populated European fairy tales well into the 19th century.  It wasn’t until the late Victorian Era and the early 20th century, with books such  as Alice in Wonderland and The Secret Garden, that children became the heroes of fantasy tales.  But the new trend initiated a tradition which remains alive and well in the 21st century.  In this MediaLit Moment, your early elementary students will have the chance to both identify with and critically examine the young heroes in contemporary fantasy films.  In the process, they’ll develop an awareness of themselves as target audiences for such films.

Ask students to identify the roles which children play in fantasy films.

AHA!: The people who make these movies want to keep my attention with characters my age!

Questions to Guide Young Children:  Deconstruction

KQ#3: What do I think and feel about this?  What might other people think and feel about this?

KQ#5: Is this trying to tell me something?  Is this trying to sell me something?

Grade Level: 3-4

Materials: TV and DVD player or computer with high speed internet access, LCD projector and screen; fantasy films in which children are primary characters.  Examples:  “Harry Potter and the Sorcerer’s Stone,”  “The Neverending Story,” “The Spiderwick Chronicles,” “The Lion, the Witch and the Wardrobe,” “The Secret of Moonacre.”  Preview one or more films and note sequences which demonstrate the centrality of younger characters to the resolution of problems presented within them.

Activity: Tell students that the lesson will focus on movies set in magical worlds which have characters their age.  Can they name any?   Next, show the clips which you have selected.  Ask students to imagine being in the place of the characters their age.  How does it feel?

As the discussion continues, you may want to ask, have you ever felt like your parents weren’t giving you the attention you wanted?  Would you feel more important if you were like one of the younger characters in these films?   Sample clip:  one of the final scenes from “The Spiderwick Chronicles” in which the diminutive Thimbletack magically appears before the mother of the family and the children reassure her that she’s not crazy or in danger.

Recount the feelings that your students experience when they identify with the characters their age in these films.  Call attention to the fact that there are many movies like this, and that the people who make these movies decided to put these kinds of characters in them.  Why do they think the people who made these movies decided to do that?  Discuss KQ#5 for young children with them as appropriate.


The Five Core Concepts and Five Key Questions of media literacy were developed as part of the Center for Media Literacy’s MediaLit Kit™ and Questions/TIPS (Q/TIPS)™ framework.  Used with permission, © 2002-2013, Center for Media Literacy, http://www.medialit.com

Last Updated ( Friday, 31 March 2017 11:33 )
 

This Is My Life - Or Is It?

E-mail Print PDF

Popular media can indeed be formulaic.  Witness this line of dialogue from the latest Superman reboot:  “You’re a monster, Zod, and I’m going to stop you!”  Audiences are often willing to forgive formulaic plot scenarios because they’re still entertaining.  Must we be in a critical or unforgiving mood in order to be good, media literate critics?  In this MediaLit Moment, we reverse engineer the process of criticism.  Instead of starting as critics, your upper elementary students will have the chance to reflect on their lives as a kind of text, complete with themes and characterization, and they’ll use the insights they gain to explore the construction of media texts with an open mind.

Ask students to identify themes in their lives, and to identify media characters who seem to share them.

AHA!: I have a lot in common with this character, but that doesn’t mean I have to do the same things she does!

Key Question #1: Who created this message?

Core Concept #1: All media messages are constructed.

Key Question #2: What creative techniques are used to attract my attention?

Core Concept #2: Media messages are constructed using a creative language with its own rules.

Grade Level: 4-6

Materials: Pencil, paper, imagination

Activity: At this point it’s likely that you’ve discussed themes in literature with your students.  Introduce the idea that people also have themes in their lives.  Life themes can reflect ongoing challenges (e.g., struggles for independence), moral statements (e.g., good friends are priceless), or repeating patterns (e.g., so much effort for so little return).  Life themes are as various as literary themes.  Have any of your students said, “Yeah, that’s the soundtrack of my life”?  Anyone who has ever felt invisible is likely to resonate with the aphorism: “Children are best seen and not heard.”  After this discussion, ask students to work in pairs, and ask each student to write one or more words which describe himself.  Then ask them to discuss the kinds of events, feelings and phrases that seem to follow from those descriptions—their life themes.

Next, ask students to think of popular media texts with characters who seem to have the same life themes.  Open up the floor for a whole class discussion of media characters and their life themes.  Next, ask students to pay attention to the plots of those texts, and the choices which characters make.  Would they make the same choices or different ones?  Why do the characters in these texts make the choices they make?  As students encounter the apparent inevitability of the choices media characters make, draw attention to Core Concepts #1 and #2.


The Five Core Concepts and Five Key Questions of media literacy were developed as part of the Center for Media Literacy’s MediaLit Kit™ and Questions/TIPS (Q/TIPS)™ framework.  Used with permission, © 2002-2013, Center for Media Literacy, http://www.medialit.com





Last Updated ( Friday, 31 March 2017 11:33 )
 

Some You 'Like' and Some You Don't

E-mail Print PDF

“‘Like’ if you support this brave little boy’s struggle against cancer!”  Anyone who spends time on social media is likely to encounter a post like this.  How does one react?  It seems cruel and heartless not to respond, and yet the author of the post does little to establish a personal connection with her audience.  Activism in social media spaces has its limitations as well.  When audiences receive tweets, posts, petitions and polls from multiple organizations, choosing a cause may be more like picking a flavor or a brand.  How empowered do audiences feel as they click, like, pin, or sign?  Are they engaged enough to do more?  In this MediaLit Moment, your students will articulate why some appeals are less than inspiring, and they’ll develop a concept for a message they believe is likely to motivate audiences to support a cause.

Have students develop a concept for a media message which promotes a cause

AHA!: Some messages make audiences want to walk away!

Key Question #3: How might people understand this message differently?

Key Question #3 for Producers: Is my message engaging and compelling for my target audience?

Key Question #2: What creative techniques are used to attract my attention?

Key Question #2 for Producers: Does my message reflect understanding in format, creativity and technology?

Grade Level:  6+

Materials: For sample non-profit ad:  computer, high speed internet connection, data projector.  For construction activity:  paper, pencil, imagination.

Activity: Ask students for examples of annoying or uninspiring social media posts that asked them to contribute to a cause in some way.  If they need any prompting, you can mention the scenario presented in the introduction to this activity.  What made the posts or tweets so annoying?  Direct students’ attention to Key Question #3, especially if there are any differences of opinion.  Direct students’ attention to Key Question #2.  Did it have to do with the media format and/or the techniques the producer used?  Students may conclude that a good pro-social message can be hard to find.

Next, ask students to evaluate a Greenpeace PSA which encourages audiences to take action against the increasing impacts of global warming on the Arctic.  Did they find it compelling?  Does it motivate them to become involved?  Why or why not?

http://www.greenpeace.org/usa/en/multimedia/videos/A-Homeless-Polar-Bear-in-London/

Next, divide students into pairs or groups and ask them to sketch out a concept for an engaging message promoting a cause.  They may choose any media format they wish.  Ask students to include a call to action in the message.  When the activity is complete, ask them to explain their creative choices.  How is the message likely to attract audiences to the cause?


The Five Core Concepts and Five Key Questions of media literacy were developed as part of the Center for Media Literacy’s MediaLit Kit™ and Questions/TIPS (Q/TIPS)™ framework.  Used with permission, © 2002-2013, Center for Media Literacy, http://www.medialit.com



Last Updated ( Friday, 31 March 2017 11:32 )
 

The Heroine's Code

E-mail Print PDF

Male heroes in media aren’t necessarily a dime a dozen, but traditional conventions for the male action hero extend back to at least the 1930s (Superman is now 75), and those conventions can be hard to bend.  Heroines may be few, and often sexualized, but they’re not expected to fulfill male conventions, and they clearly come in different varieties.  For example, Wonder Woman stands for truth and tolerance, while Ripley from the “Alien” series is a hard-nosed survivalist.  In this MediaLit Moment, your students will learn how to articulate the moral and ethical codes of media heroines.  In the process, they’ll gain new perspectives on familiar characters, as well as new perspectives on themselves.

Have students compare their code of ethics with those of various media heroines

AHA!: I like these characters, but I might not want to be just like them!

Key Question #4: What values, lifestyles and points of view are represented in, or omitted from, this message?

Core Concept #4: Media have embedded values and points of view.

Grade Level: 7-9

Materials:  pencil, paper, imagination

Activity: Ask students to name some different media heroines.  Here’s a sampling:  Katniss Aberdeen from “The Hunger Games,” Captain Janeway from the “Star Trek Voyager” series; Xena, Warrior Princess; Sarah Connor from the “Terminator” series, Hermione Granger from the Harry Potter series; Buffy the Vampire Slayer.  And, of course, Wonder Woman.  Do they have any favorites?  Do any of these characters seem to fall into particular types?  What might those types be?  Play clips from selected films/shows if you wish.  You may find useful background material in a PBS documentary released this month titled “Wonder Women!: The Untold Story of American Superheroines.”

Next, ask students to work in pairs or groups.  Ask them to select two heroines, preferably of different types, and ask them to write down the goals of these characters in the stories in which they appear.  Next, explain the meaning of the term “code of ethics.”  Everyone has an underlying philosophy of life, and some people are more “up front” about their philosophy—they “stand” for something.  It might help to give them a model like the Golden Rule.  Next, ask what is the ethical code that these characters live by?  Students should be able to say what those codes are, but allow them to use different modes of expression if they feel like doing so (comics, song, role-play, etc.). 

Next, ask, what’s their philosophy of life?  As students answer, lead a whole class discussion in which students compare their philosophy with those of other characters.  Do they like characters more or less after writing out a code of ethics for them?  Do any of them identify with characters based on that code?  (Boys don’t have to closely identify with a female character in order to appreciate their philosophy of life).  Do they like a character, but would like to “tweak” their code so it’s a bit more in line with their own?

The Five Core Concepts and Five Key Questions of media literacy were developed as part of the Center for Media Literacy’s MediaLit Kit™ and Questions/TIPS (Q/TIPS)™ framework.  Used with permission, © 2002-2013, Center for Media Literacy, http://www.medialit.com

Last Updated ( Friday, 31 March 2017 11:33 )
 


Page 9 of 18
Previous Issues:

 21st century skills
 a day in the life of a media literacy educator
 a year in review 2014
 a year in review december 2012
 advertising consumer debt and media literacy
 anytime anywhere learning
 big data
 body image and media literacy
 building a strong foundation
 call to action
 cell phones as learning tools
 change management in schools
 children and media literacy part 2
 children and media literacy
 citizen journalism
 citizenship in the digital age part 2
 citizenship in the digital age
 cml media literacy trilogy
 comics and media literacy
 community media
 criteria for media literacy instruction
 crowdfunding and media literacy
 digital britain
 documentary film and media literacy
 education and creative economy
 education creative economy australia
 fair use for media literacy
 faith and media literacy
 frameworks for inquiry
 global citizenship media literacy
 global education
 globalization
 heuristics nudge theory and the internet of things
 history of media literacy
 leadership elizabeth thoman
 len masterman and the big ideas of media literacy
 libraries museums and informal learning
 maps and media literacy
 media and body image
 media and information literacy
 media and information literacy part 2
 media deconstruction as essential learning skill
 media literacy computational thinking
 media literacy risk assessment
 media literacy and 21st century skills
 media literacy and arts education
 media literacy and common core
 media literacy and human rights
 media literacy and masculinity
 media literacy and media construction
 media literacy and nutrition
 media literacy and personal data management
 media literacy and pharmaceutical advertising
 media literacy and science
 media literacy and student empowerment
 media literacy and the environment
 media literacy and video games
 media literacy early childhood education
 media literacy for grown ups
 media literacy in the community
 media literacy pioneers
 media literacy policy and legislation
 media morals and empowerment
 media violence and media relationships
 media violence
 monsters and media literacy
 new curriculum and media literacy
 online privacy and media literacy
 online safety
 parents and media literacy
 participation in what
 professional development for media literacy
 propaganda and media literacy
 reality tv and media literacy
 research media literacy
 responding to racism and stereotypes in media
 sexism in media
 social networking
 sports and media literacy
 systems thinking and media literacy
 teaching healthy skepticism
 television and media literacy
 the mediated city and the public
 the role of journalism in society
 us department of education
 voices of media literacy
 what media literacy is and is not
 whats in a name
 where are we now institutionalizing media literacy

CONNECTIONS