Music is one of the most popular and powerful forms of media that kids and teens consume. In this section we tackle issues such as access to questionable content in music and file sharing.
This lesson examines how music reflects and influences societies and is a metaphor for ideas and experiences. Students begin by brainstorming the functions or purposes of music and by discussing music’s power as a mirror and a symbol.
Popular Music and Music Videos is part of a three-lesson unit designed to introduce students to the concept of popular culture and the role that it plays in their lives.
Students will discuss the concept of human rights and then learn how these ideas led to the drafting of the United Nations Convention on the Rights of the Child.
This is the first of three lessons that address gender stereotypes. The objective of this lesson is to encourage students to develop their own critical intelligence with regard to culturally inherited stereotypes, and to the images presented in the media - film and television, rock music, newspapers and magazines.
This lesson focuses on put-down mentality in the media.
The new movie Zero Dark Thirty, which tells the story of the tracking and eventual killing of Osama Bin Laden, has received several Oscar nominations (including Best Picture), but it’s attracting another kind of attention as well: several writers, including Jane Meyer at The New Yorker and Peter Maass at The Atlantic, have accused it of condoning or even glorifying the use of torture by US intelligence agencies.
The famous comedian Bill Cosby once said, “Nothing separates the generations more than music. By the time a child is eight or nine, he has developed a passion for his own music that is even stronger than his passions for procrastination and weird clothes.” Cosby was certainly correct about the power of music, but he may have failed to recognize that characteristics youth become ‘passionate’ about may not actually be separate from their musical affiliations.
This collection of articles on media education around the world will fulfill an important need: informing us of the struggle to critically understand the global implications of media education.
Educational games have had a troubled history. At their worst, they have been neither educational nor games; even at their best they have faced scepticism from educators, game designers and especially children. The standard response to being given an educational game – This is supposed to be fun? – might be compared to finding a Brussels sprout at the centre of a Tootsie Pop. Teachers, meanwhile, are rightly concerned that the educational content of these games might be outweighed by the entertainment value. Already loaded down with curriculum that has to be delivered, many educators feel they don’t have the time to spare on anything but direct instruction.