Historically, broadcast media followed a hierarchical model where a small elite group of wealthy producers shaped the public sphere and sent one-way communication to a much larger mass of receivers, often promoting views favorable to the status quo.
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.
In this lesson, students examine different types of remixes – from works created by editing a single text to ones that draw inspiration from existing texts – in order to develop a definition of “remix.” They learn about the legal considerations in making remixes under the Copyright Act, consider ethical issues around remixing, and develop a code of best practices for remixing. Students will also consider the differences between remixes that are primarily creative versus those that are done for purposes of criticism, and create their own critical remix.
The commercial features and distribution models of the movie, traditional television, streaming video and online video industries each exert an influence on the type of content produced, how it's crafted and how audiences engage with it.
Canada’s Broadcasting Act, last amended in 1991, outlines industry guidelines for portrayal of diversity.
No longer relegated to the realms of innuendo and secrecy, today we see a wide range of gender identities and sexual orientations represented on television and in mainstream film alongside cisgender people. 2SLGBTQ+ (two-spirit, lesbian, gay, bi-sexual, trans, queer and gender and sexually diverse communities) people see their reflections on screen in a wide variety of roles. And yet, there remain many challenges.
Indigenous media has a long history in Canada. While the earliest newspapers aimed at Indigenous readers were published by settlers, there have been Indigenous-run papers since Ojibwa chief, doctor and publisher Peter Edmund Jones, also called Kahkewaquonaby, launched The Indian in Hagersville, Ontario, in 1885. This tradition has continued with papers such as Wawatay News, based in northern Ontario and Edmonton’s Windspeaker.[1]
In this three-day unit, students assess media coverage of natural disasters and their aftermath. Students explore how sensationalism plays a role in determining what is newsworthy, and how that can distort our perception of issues in developing nations.
Families, friends, teachers and community leaders all play a role in helping boys define what it means to be a man. Mainstream media representations also play a role in reinforcing ideas about what it means to be a “real” man in our society. In most media portrayals, male characters are rewarded for self-control and the control of others, aggression and violence, financial independence and physical desirability: “for boys, violence and dominance are aligned with norms of masculinity.”
Various media analysts and researchers argue that media portrayals of male characters fall within a range of stereotypes.