The place of the hero in our modern lives is a site of struggle. On the one hand, the hero’s quest can have meanings for individuals who seek to understand their own journey through life.On the other hand, the hero can be seen as a repository of those values esteemed by the society.
This lesson helps students become more aware of the stereotypes associated with portrayals of students and teachers on television and on film.
This is the second of three lessons that address gender stereotypes. The objective of these lessons 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.The lesson begins with a review of stereotypes that are associated with men and women and their possible sources - including the role of the media. Students deconstruct a series of advertisements based on gender representation and answer questions about gender stereotyping about articles they have read.
In this lesson students develop awareness of the ways in which public perceptions of law enforcement have been both reflected in and influenced by film and television depictions of police over the past eighty years.
This lesson introduces students to some of the myth-building techniques of television by comparing super heroes and super villains from television to heroes and villains in the real world and by conveying how violence and action are used to give power to characters.
To introduce students to the rating systems for films, videos and television and to the issues that surround these classifications.
This lesson examines the movie The Hunger Games: Catching Fire, some of its promotions, and social justice activists’ responses.
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.
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.