New Media Literacies And Participatory Popular Culture Across Borders PdfBy Nicole K. In and pdf 24.01.2021 at 13:13 6 min read
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Young migrants — particularly refugees — are commonly the object of stereotypical visual media representations and often have no choice but to position themselves in response to them. This article explores whether making young migrants aware of the politics of representation through media literacy education contributes to strengthening their participation and resilience. The educational program focuses on visual media production using smartphones, raising critical consciousness and promoting civic engagement.
- New Media Literacies and Participatory Popular Culture Across Borders
- Community Literacy Journal
- New Media Literacies and Participatory Popular Culture Across Borders
- The Transnationality of Youth
Williams, Amy A.
The use of popular and digital culture to facilitate literacy. New media literacies and participatory popular culture across borders The handbook of ICT is structured in 4 parts which, in my view, are indeed the main topical pillars of what a student of this field should look at today: ICT and the knowledge economy; ICT and organisational dynamics, strategy design, ICT and governance democracy;. Editor, with Amy A. Zenger Routledge,
New Media Literacies and Participatory Popular Culture Across Borders
Young migrants — particularly refugees — are commonly the object of stereotypical visual media representations and often have no choice but to position themselves in response to them.
This article explores whether making young migrants aware of the politics of representation through media literacy education contributes to strengthening their participation and resilience. The educational program focuses on visual media production using smartphones, raising critical consciousness and promoting civic engagement. Ethnographic data analyzed include field notes, a focus group with teachers, in-depth and informal interviews, student-produced footage, and a minute ethnographic film.
In our increasingly polarized mediatized world, better recognition of how the needs of certain young people diverge depending on how they are situated in racialized, gendered, and classed structures of power is needed to work towards inclusive media literacy education. Politicians and journalists generally speak on their behalf, and frame them as dependent, dangerous, at risk, immature or in need of help.
Because young migrants are commonly the object of stereotypical media representations, they often have no choice but to relate to them and thus become politically active Hall, In this article we explore how critical media literacy education may contribute to strengthening their participation, resilience and socio-cultural inclusion.
More specifically, we chart to what extent critical media literacy education centered on visual media production skills, civic engagement and critical consciousness may empower young people like Maya in becoming more confident to represent themselves differently. Opinions about migrants and particularly refugees are commonly formed on the basis of visual representations.
In their coverage of the so-called European refugee crisis, news media also give primacy to vision over text. The situation is worse on anti-immigration social media pages. This hostile visual culture may have implications both for how young migrants relate to their country of origin and for developing a sense of belonging with their peers and the larger society in their new home country.
The video supports their fundraiser for children living in war-torn Aleppo. By wearing t-shirts showing the hashtag SafeAleppo they connect their action to the international grassroots social media campaign in response to the Syrian civil war and, in particular, the massacres in Aleppo.
The first building I would like to build is a mosque. Next to it there will be a big church. We hypothesize there may be strong potential for critical media literacy to further stimulate such already existing aspirations towards civic engagement.
With greater awareness of the politics of representation and confidence in their own abilities and creativity, they may produce media, assert themselves on their own terms and diversify visual discourses on migration.
In two to three years, the course prepares young newcomers aged between 12 and 18 years to enroll in regular Dutch secondary education or vocational training. Refugees currently represent the majority of students in the school, alongside children from parents who migrated to the Netherlands as guest-laborers, expatriates or children from parents who migrated for marriage.
The school is committed to acknowledging the autonomy, interests, talents and vulnerabilities of their pupils. School staff are wary of general educational training packages that do not accommodate the specific evolving needs and capabilities of their students.
They consider media literacy training schemes available in the Netherlands unfit for their students, either because they are too patronizing and focused on risk prevention or because they are too linear and performance-based. The school invited us to develop a customized program in co-creation with staff and students that could contribute to sustaining a safe space for learning and a sanctuary for self-development. We entitled the program Media literacy through making media MMM.
Empirically, the argument is grounded in a corpus of ethnographic data including interviews with teachers and students, student-produced footage, field notes and a minute ethnographic film. This study adds conceptual reflection and empirical evidence about an understudied population within media literacy education and research.
On a conceptual level, our case study illustrates how researchers might embrace a plural concept of media literacy based on visual media production, civic engagement and critical consciousness:. By bringing these three perspectives together, we seek to offer new insights into the purposes of media literacy education for migrant youth in particular. This article is structured as follows: First, we discuss the history, development and operationalization of the project, our methodological stance and the vision of critical media literacy that emerged from discussions with teachers.
Secondly, we situate the bottom-up approach to media literacy in scholarly and policy approaches to media literacy education.
Thirdly, the extensive empirical section details impressions from training young migrants in critical media literacy. In the conclusions, we reflect on how inclusive media literacy education may balance attention for the needs and experiences of specifically situated groups with shared aims beneficial to all young people. MMM emerged from a long partnership.
Figure 1 shows Anis, a year-old Moroccan-born young man, reviewing a video-letter addressed to his mom, who was living in the Moroccan Rif Mountains. He wanted to find a way to narrate his difficulties in coping with living in the Netherlands. For over two years, he had been separated from his mom who had not been allowed to move to the Netherlands after failing to meet legal requirements.
In documenting how Anis and his schoolmates searched for ways to belong to their city of residence, Utrecht, these young people learned to present themselves as complex human beings with ambitions and inspirations. In , the school wanted to collaborate again to develop a media literacy program in line with the participatory and social-justice oriented approach they knew. The first year of developing and running the media literacy program was made financially possible through school funding.
After receiving funding from the Dutch National Research Agenda, we are able to extend our collaboration for two years until The four initiators and authors of this article combine interdisciplinary expertise: Sanne Sprenger is a filmmaker and lecturer in film practice and community arts. There was a one-sided stereotypical depiction of masses of poor people fleeing and a dominant focus on religious markers, which strongly affected her.
Hemmo Bruinenberg is an anthropological filmmaker who had been involved in film classes at the school. Initiating a film festival at the school, he is committed to facilitating students to take ownership over their own learning and media production.
Koen Leurs, a media and migration researcher, actively seeks to involve informants as co-researchers through participatory, creative and digital approaches. Photo: Sanne Sprenger. Our endeavor of engaged inquiry and pedagogy is inspired by the work of Paolo Freire. In Pedagogy of the oppressed he elaborated on the higher aim of transformational education aimed at enabling under-privileged members of Brazilian society to become active agents.
Gathered empirical data includes field notes on running the program with six classes and students in total, a focus group discussion with four teachers, informal interviews with students and staff, seven formal in-depth interviews and a minute ethnographic film documenting the educational program. The film consists of recordings made during instructions and assignments, as well as audio-visual footage produced by students and shared with us.
In line with staff instructions and Dutch law at the time of the research, oral consent was obtained from those appearing in the film after screening an early edit of the film. Teachers participating in the focus group also provided oral consent. Formal written consent was obtained from the seven students Soufiane, Jacky, Jack, Ela, Sousou, Patrica and Lara who participated in in-depth interviews.
The in-depth interviews were transcribed verbatim. In our attempt to ground theories on media literacy, the whole corpus of empirical data was analyzed thematically in search of emergent patterns Strauss and Corbin, All student names included in this paper are pseudonyms.
The authors met with staff from Ithaka ISK and Mira Media a Dutch NGO which seeks to mobilize media as a tool for social cohesion and intercultural dialogue for a half-day teach-the-teachers workshop. We conducted a focus group brainstorm discussion to work towards shared principles of what media literacy could entail in the particular context of working with young migrants. In pairs, workshop participants wrote down their media-literacy related keywords on five post-its, which were collected, thematically grouped and discussed.
The following five shared themes emerged:. A realistic awareness of safety concerns, including personal conceptions of privacy and legal frameworks. A realistic awareness of opportunities, including strategic self-presentation such as in video blogs vlogs and Video CVs and generating a financial income through making media.
Developing a skillset to confidently and creatively produce visual-oriented media using the devices students own. The need to balance the specific needs of young migrants and interests they have in common with fellow Dutch teenagers runs as a red thread through these themes.
On the other hand, they plea for greater awareness of the distinct impact the national and transnational media landscape has on their daily lives. However, one teacher observed in her classroom that particularly Syrian-Dutch youth receive a near-constant stream of news on bombings, atrocities and violence from places they have fled. In the case of the ongoing civil war in Syria, there is a proliferation of fake news.
Teachers discussed the urgency of training students as critical news consumers in order for them to assess violent and traumatizing content they receive, which is often undated and circulated by unconfirmed sources.
As evolving language learners, it was also decided we were to focus on audiovisual media making rather than focusing on written text-based media production. In the next section, we seek to bring these interpretations of critical media literacy as co-created with teachers into dialogue with the vast and varied body of literature on media literacy education research. The principles of media literacy education for young migrants emerged from a distinctly situated context.
Nevertheless, they also do raise questions about the broader purposes of media literacy education. In this section we seek to situate these principles in the long and on-going debate on the definition and purposes of media literacy.
We draw both on academic research as well as on approaches to media literacy employed in global, European and Dutch policy discourse.
However, we are particularly concerned with fostering participation through media literacy. In the last two decades we have seen a proliferation of media literacy education related terms and approaches including media and information literacy MIL , new media literacies, digital learning, digital literacy and social media literacy.
Disciplines including media, cultural and communication studies, journalism, education and psychology have developed distinct media literacy paradigms. Conceptions not only evolve as a result of the introduction of new technologies, they are also deeply embedded in specific contexts including national, social, political, pedagogical, economic and cultural contexts, labor market expectations and school curricula Livingstone, Van Couvering, and Thumim, In their cross-country comparison of European Union policy discourses on media literacies, Drotner et al.
We align ourselves with the latter holistic approach. The conception of critical media literacy underpins our approach. In recognizing the grassroots potential of media literacy to contest power relations, this perspective draws from feminism, critical race and cultural studies and centers on critical consciousness.
However, for us, being critical is not the goal, but the means to an end. Another means is the focus on critical media making. Media makers not only learn new skills to express their voices and gain confidence in their creativity, they also engage creatively with their social worlds, and make new connections in collaborating Buckingham, ; Friezem, ; Gauntlett, We particularly focus on the broader purposes of media literacy to promote participation.
Participation as a purpose of media literacy revolves around 1 being able to choose to participate in the knowledge economy, 2 meaningful participation in democracy and citizenship as well as 3 participating in lifelong learning, cultural expressivity and personal fulfillment Livingstone et al.
This focus has also been recognized in public policy discourse. This broad definition comprises various media forms and literacies and puts emphasis on active engagement from the side of citizens.
However, instead of tailoring to specific social groups, Dutch media literacy education programs mainly target children and young people as an unspecified homogeneous category.
Most likely, this knowledge gap is not unique to the situation in the Netherlands. Research confirms two-thirds of young refugees living in urban areas have access to smartphones UNHCR, The emerging body of literature on media production programs specifically developed with black, minority, migrant, refugee and marginalized communities offers us important reference points.
These programs may be beneficial for professional development, amplifying voices otherwise not heard in society, producing counter-representations, cultural identification, therapeutic memory making and preserving cultural heritage Blum-Ross, They note MoJo aims to.
Participatory media production projects commonly introduce new and advanced external technologies. We find inspiration in MoJo principles, not only because we are aware of limited budgets in secondary education but also because MoJo allows for bridging media literacy education with everyday media practices youth engage with inside and outside the institutionalized space of schools.
Community Literacy Journal
Расскажите мне, что произошло. Старик вздохнул. - Очень печальная история. Одному несчастному азиату стало плохо. Я попробовал оказать ему помощь, но все было бесполезно. - Вы делали ему искусственное дыхание.
Он был представителем новой породы киберпсихов и общался с такими же ненормальными в других странах, посещая непристойные сайты и просиживая в европейских чатах. Его дважды увольняли за использование счета фирмы для рассылки порнографических снимков своим дружкам. - Что ты здесь делаешь? - спросил Хейл, остановившись в дверях и с недоумением глядя на Сьюзан. Скорее всего он надеялся, что никого не застанет в Третьем узле. Сьюзан постаралась сохранить спокойствие.
New Media Literacies and Participatory Popular Culture Across Borders book T. Williams and Amy A. Zenger Part I: New Media Literacies Across Cultures 2.
New Media Literacies and Participatory Popular Culture Across Borders
У тебя неверные данные. - Ты это уже. - Вот. Она нахмурилась. - Ты не заметил ничего .
Рядом с ним кого-то рвало. Хорошенькая картинка. Беккер застонал и начал выбираться из расписанного краской из баллончиков зала. Он оказался в узком, увешанном зеркалами туннеле, который вел на открытую террасу, уставленную столами и стульями.
Мы не успеем! - крикнула Соши. - На это уйдет полчаса. К тому времени все уже рухнет.
О мой Бог! - Лицо Джаббы мертвенно побледнело.
The Transnationality of Youth
Спустя несколько секунд Соши преобразовала на экране, казалось бы, произвольно набранные буквы. Теперь они выстроились в восемь рядов по восемь в каждом. Джабба посмотрел на экран и в отчаянии всплеснул руками. Новый порядок букв показался не более вразумительным, чем оригинал. P F Е Е S Е S N R Е Т М Р F Н А I R W E О О 1 G М Е Е N N R М А Е N Е Т S Н А S D С N S I 1 А А I Е Е R В R N К S В L Е L О D 1 - Ясно как в полночь в подвале, - простонал Джабба. - Мисс Флетчер, - потребовал Фонтейн, - объяснитесь. Все глаза обратились к .
Текст, набранный крупным шрифтом, точно на афише, зловеще взывал прямо над его головой: ТЕПЕРЬ ВАС МОЖЕТ СПАСТИ ТОЛЬКО ПРАВДА ВВЕДИТЕ КЛЮЧ_____ Словно в кошмарном сне Сьюзан шла вслед за Фонтейном к подиуму. Весь мир для нее превратился в одно смутное, медленно перемещающееся пятно. Увидев их, Джабба сразу превратился в разъяренного быка: - Я не зря создал систему фильтров. - Сквозь строй приказал долго жить, - безучастно произнес Фонтейн.
Citations per year
Его руки крепче сжали ее шею. - Я сейчас ее убью. Сзади щелкнул взведенный курок беретты. - Отпусти ее, - раздался ровный, холодный голос Стратмора. - Коммандер! - из последних сил позвала Сьюзан.
И ради этого стоило убивать. Когда Беккер наконец вышел из Гиральды в Апельсиновый сад, утреннее солнце уже нещадно пекло. Боль в боку немного утихла, да и глаза как будто обрели прежнюю зоркость. Он немного постоял, наслаждаясь ярким солнцем и тонким ароматом цветущих апельсиновых деревьев, а потом медленно зашагал к выходу на площадь. В этот момент рядом резко притормозил мини-автобус.
Мужчина поднес к носу платок. Беккер вежливо улыбнулся и вышел на улицу - в душную севильскую ночь. ГЛАВА 42 Вернувшись в комнату, Сьюзан, не находя себе места, нервно ходила из угла в угол, терзаясь мыслью о том, что так и не выбрала момент, чтобы разоблачить Хейла. А тот спокойно сидел за своим терминалом. - Стресс - это убийца, Сью. Что тебя тревожит.
Но Беккера интересовало отнюдь не это уродство. - Боже ты мой, - пробормотал лейтенант из другого конца комнаты.