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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.
Our kids are coming of age at a time that things like online shopping, Facetime, and texting are all normal everyday occurrences. Technology is enabling people to do some pretty amazing things, and even communicate in a whole new way using a new language. You may know this as texting.
In January, American Vice-President Joe Biden met with video game industry representatives in the wake of the tragic events at Sandy Hook to discuss the possible relationship between video games and gun violence. Five days later, President Barack Obama asked the United States Congress to fund more research to study the potential link between violence and video games, noting that “We don’t benefit from ignorance”.
Larry Gonick is a pioneer of non-fiction cartooning; starting with Blood From A Stone: A Cartoon Guide to Tax Reform in 1971, he has made a career out of explaining complicated topics in comic format. In 1978 he published the first issue of The Cartoon History of the Universe as a comic book, starting with the Big Bang and ending with the evolution of humanity. Issues of that series were collected first in 1982 and again in 1990; later two sequels appeared, The Cartoon History of the Universe II and III, and in 2007 the series continued as The Cartoon History of the Modern World. With the second volume of that series, published this fall, Gonick brings his history up to late 2008. Throughout the series Gonick has consistently made history entertaining and approachable as well as accurate (each volume ends with an annotated bibliography) and has shed light on the history of often-neglected parts of the world such as China, India and pre-Columbian America. Among his other works are The Cartoon History of the United States and the Cartoon Guide series, which provide grounding in topics ranging from physics to communication theory to sex; his works have been among the most influential in bringing comics into the classroom.
The most anticipated movie of the year, at least in some circles, is opening on March 6th: Watchmen, the adaptation of the 1986 comic book of the same name. The original, which won a Hugo Award for science fiction and was named one of Time’s top 100 novels of the twentieth century, tells the story of a group of retired superheroes investigating the death of one of their colleagues; the mystery leads the reader through the alternate world their existence has created, in which heroes with cosmic superpowers overawed the Soviet Union and in which Richard Nixon is still president in 1985. Though time will tell how successful the film will turn out to be, the buzz around its launch gives an opportunity to look at comics and how they’re adapted into other media.
As media outlets continue to close and advertising budgets shrink, the once-mighty Super Bowl is receiving much less buzz than usual. A number of major advertisers, such as Federal Express and troubled automaker General Motors, have decided not to run Super Bowl ads at all this year. Another January event, though, is attracting a surprising amount of media attention: the U.S. presidential inauguration.
What colour is an Airbender? If this question is not at the top of your mind, it’s because you haven’t been following the controversy surrounding the casting of the film The Last Airbender, set to premiere in early July. The question of ethnicity in the film’s casting casts a valuable light on many of Hollywood’s decisions when it comes to race and gender – and the attitudes and assumptions that underlie them.
There’s an old urban legend called “the water engine,” which tells of the discovery of a way to turn water into fuel. There are variations to the story – sometimes it’s tap water, sometimes sea water; in recent versions it’s specified the fuel is nonpolluting – but the ending is always the same: the invention is suppressed by the oil companies, either by buying the invention and burying it or by forcing the inventor into ruin and suicide. One reason the legend has persisted so long – it’s been recorded as early as the 1950s, and probably dates to the first time someone grumbled about the cost of filling up his car – is because it confirms something we already believe, which is that the oil companies are evil and would rather murder a man and doom the world than sacrifice a dime of profit.
Snapchat, the mobile app that lets users send “self-destructing” photos, has the distinction of being the only digital tool that does not have a single redeeming feature. While the moral panic associated with blogs, cell phones, social networks and online games has largely faded in grudging recognition of their more positive uses (indeed, research shows that many parents have actually helped their children lie about their age register for Facebook accounts), Snapchat is seen as the Q-tip of the digital age: its sole function is to do the thing that you’re warned not to do on the box.
This week, the Students whom I work with at Golf Road Junior Public School had an amazing opportunity directly related to our work together in studying Media Literacy, specific to Television and Film Media. After being approached by Media Smarts, I was connected with the CBC who wanted to engage with and film a class focused on Students’ perceptions and opinions on Violence within popular films.