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.
Since at least the days of Birth of a Nation (1915), Hollywood has turned to history for material. A quick survey of this year’s Academy Award nominations shows that this is as true now as ever, with five out of the nine nominees for Best Picture – Argo, Django Unchained, Les Miserables, Zero Dark Thirty and odds-on favourite Lincoln – based in history in some way. Their approaches vary, of course, with the history-as-backdrop approach of Les Miserables, the revenge fantasy of Django Unchained, the academic character study of Lincoln, the docudrama of Zero Dark Thirty and the history-as-thriller of Argo.
After the controversy surrounding last year’s proposed copyright bill C-61, which eventually died on the order table when Parliament was prorogued, the Federal government has decided to hold consultations across Canada before introducing a new version of the bill. While only time will tell how responsive the government will be to the public’s submissions, the series of town halls and round tables is definitely a good start in making the process transparent and taking the views of a wide variety of Canadians into account. Below is an expanded version of MNet’s submission to the Round Table held in Gatineau, Quebec on July 29th 2009.
The hottest media story in the past week has been the instantly infamous New Yorker cover portraying Barack Obama and his wife Michelle as terrorists. Though the Obama campaign has been measured in its response, media outlets – and particularly bloggers – have been vocal in their disapproval. Some have suggested that the cover crosses the line from satire into hate speech, while others accuse TheNew Yorker of giving ‘aid and comfort to the enemy’ by visually depicting the smears and misconceptions that have been aimed at the candidate.
People who make their living producing images, such as photographers, stylists, publicists, directors and pop idols, learn how to use those signs to convey the impression they want to make. Although teen girls who are trying to send a signal to their circle of friends and pop music producers who are trying to send a signal to an audience of millions are working on different scales, the principle is very much the same. Depending on your audience, you need to tailor the signals you send out very carefully. Even your age can have a certain amount of wiggle room when dressed in the right signs.
Teachers who include media literacy in their classrooms often face issues that don’t arise in other subjects. Nothing illustrates this better than the issue of diversity in media. It’s not unreasonable for teachers to see the topic as a can of worms and be concerned about offending students and their parents – not to mention worrying about what the students themselves might say. At the same time, it’s a topic that is simply too important to be ignored: what we see in media hugely influences how we see others, ourselves and the world. As a result, an ability to analyze media depictions of diversity is not only a key element of being media literate, it’s essential to understanding many of the social issues and concerns that we face as citizens. That’s why Media Awareness Network has developed That’s Not Me – a new online tutorial for professional development to help educators and community leaders approach this issue through key concepts of media literacy.
This is the first in a series of blogs looking at the history and future of Web 2.0. From Facebook pages to viral Barack Obama speeches, the latest boom to hit the media is the rise of user-created content. Services such as Facebook and YouTube have created a new business model: rather than selling content to consumers, as media companies traditionally have done.
Media educator John Pungente’s series Beyond the Screen, airing on Bravo!, now has its own Web site, where teachers can find resources and tips on integrating the series into their classrooms. Father John Pungente, a longtime media educator and founding Board member of MNet, planned the series as a follow-up to his acclaimed Scanning the Movies. Like its predecessor, Beyond the Screen is intended as a way of teaching viewers to “read” movies. In Beyond the Screen Pungente uses clips from current movies and interviews with cast and crew to shed light on filmmaking techniques, genre, and theme. The Web site offers showtimes and previews of upcoming episodes and links to teachers’ guides. (So far the only guide that’s been posted is for Speed Racer, but the guide for The Dark Night should be up shortly; upcoming episodes on Sisterhood of the Traveling Pants and Harry Potter and the Half-Blood Prince should be popular as well.)
I was recently asked by Jane Tallim to write a guest blog and seriously wondered what suggestions I could offer that would appeal to high school English and Media Studies teachers. We all know that teaching media is like trying to hit a moving target, and education lags behind revolutionary changes in new media forms. However, over the past decade of teaching both Media Studies and high school English, I have spent much time considering the intersection of new media forms with traditional English forms and have tried to build a bridge of understanding across time for my students regardless of the target. By focusing on the skills of deconstruction and construction, I believe the form of the text, or the new medium, becomes less relevant to comprehension.
Halloween is perhaps the most contradictory of the major holidays. Though born in Ireland and other Celtic regions, today it is almost exclusively observed in the form that developed in North America; though closely associated with the imagination, it has been thoroughly commercialized, becoming an opportunity for children to buy costumes and then acquire candy (today it is the second largest commercial holiday in the US, after Christmas); and finally, though it is the holiday most closely associated with children, it is also one that has, traditionally, been all about fear.