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.
Have you ever wondered why Canadian private broadcasting networks such as CTV and CanWest air certain television programs over others? Why, for instance, does CanWest air House, or CTV air Grey’s Anatomy, over other television programs?
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.
One of the most successful new shows of recent years is TLC’s Jon & Kate Plus 8. How successful? It consistently wins its time slot against all other cable competitors, including high-profile shows such as The Closer, and among the very desirable demographic of women between eighteen and thirty-four it outdraws broadcast network offerings Two and a Half Men, Heroes and 24. TLC has had a number of different identities over the years, and has become very nimble in responding to unexpected successes. Starting out with science programming, back when it was called The Learning Channel, the programming moved first into real-estate and home remodelling shows and then to programs such as The 750 Pound Man and It’s Not Easy Being a Wolf Boy. Among these was a pair of shows about unusual families, Little People, Big World and Jon & Kate Plus 8. When the latter became a runaway success the channel quickly capitalized on it, and now features several other shows about large families such as Table for 12 and 18 Kids and Counting.
If asked to think about community television (or public-access television, as a similar institution is called in the US) most people would probably conjure up the movie Wayne’s World or its real-life analogue, The Tom Green Show: TV made by people who would, under normal circumstances, never appear on TV, shot in someone’s basement or living room. Or perhaps they’d think of earnest, low-budget shows that showcase community events that wouldn’t otherwise be televised, such as ethnic festivals or the Canadian Improv Games.
I feel like such an old lady when I’m listening to the radio sometimes. When I’m in the car with my husband we often find ourselves having the I Can’t Believe What Kids Are Listening to These Days conversation, one that often ends with me hitting the OFF button in disgust.
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.
Joe McGinniss’ book The Selling of the President had a shocking title for 1968, suggesting as it did that in the television age the presidency had become nothing more than another product to be packaged and sold. A new MNet resource, Watching the Elections (a lesson for Grade 8 to 12 Social Studies classes), shines a light on how the different aspects of an election – from the debates to political ads to the candidates themselves – are actually media products.
Someone encountering the Internet for the first time might be forgiven for assuming it was created specifically for teenagers. Indeed, the Internet could reasonably be said to have been aging backwards since its birth – the domain first of scientists and the military, then of university students in the 1990s and now children and teenagers.
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.