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2009-09-10T19:06:38-05:00

teachingliterature

My 10 favorite summer 2009 movies

2009-09-10T15:37:59-05:00

teachingliterature

Welcome to CI5472, Fall, 2009

2009-09-09T21:19:19-05:00

Welcome of CI5472--a course that's addressing ways of teaching critical response to both traditional (film, TV, newspapers, radio, etc.,) and new media (blogs, social networking, YouTube, etc.). This course operates as a sort of media lab in which we bring in media texts for critical analysis. We also devote time for producing media texts, through which you learn about critical analysis of texts.

What’s on Web TV? | csmonitor.com

2009-04-27T21:49:25-05:00

What’s on Web TV? | csmonitor.com.

What’s on Web TV? In just five years the genre has already begun to transform the way we tell stories. By Gloria Goodale | Staff Writer for The Christian Science Monitor/ April 20, 2009

Hollywood, Calif. The scene outside the first Streamys – a new awards show for the best in original, episodic Web TV – a few weeks ago was a muddle, with a clogged red carpet and confusing entrances. Inside was little better, with overamplified and indistinct sound. But these ragtag production values belie a message being heard around this company town: serialized, high-quality video – longer than five minutes – is exploding across the “digisphere.” More important, perhaps, the movement is ushering in new story forms and techniques – shorter and more collaborative.

“It’s a paradigm shift,” says Chad Cooper, vice president of marketing, sales, and content at OVGuide, the online video search engine. Television network executives underestimated this market, he adds. “It’s still early but it’s happening faster than anyone expected.” An Internet analyst, the Diffusion Group, predicts the serialized, longer form will account for nearly 70 percent of ad sales by 2013.

Of course, network TV is now streaming on sites such as hulu.com, TV.com and Joost.com. But the original, direct-to-the-Internet creations – beyond laughing babies and pet tricks – are, if not exactly coming of age, then reaching an important plateau of early adolescence. In slightly more than a year, websites with original “webisodic” material have grown from under two dozen to more than 100, according to OVGuide.

A market that didn’t exist five years ago is becoming a serious Hollywood player. “It’s what’s next,” says Richard Shore, head of content acquisition and production at digital studio RedLever. A film and TV veteran, Mr. Shore says he jumped into the new business because the new story techniques with faster character development and real-time fan feedback “excited” him.

The distinction between old and new storytelling modes will begin to fade as early as year’s end, he adds, when the first wave of Internet-enabled TV sets begins to roll out. This convergence, he says, will produce a single, much-expanded entertainment environment – all fueled by technology – better broadband connections, high-powered cellphones, and cheaper cameras and editing tools. But also in no small part by a bevy of professional writers who got a taste of the possibilities for episodic Web storytelling during the bitter 2007-08 writers’ strike.

Study shows viewers develop relationship with TV characters - Lifeline

2009-04-22T09:55:11-05:00

Study shows viewers develop relationship with TV characters - Lifeline.

Study shows viewers develop relationship with TV characters By: Joe Borlik Issue date: 4/22/09 Section: Lifeline

If you watch a TV show enough, it may feel like the characters on the show are your real friends. The Journal of Broadcasting and Public Media conducted a study on parasocial relationships that determined for some people, it's not uncommon to feel as though a real friendship has ended when a Television show goes off the air.

Jeffrey Weinstock, professor of English who teaches ENG 324: Popular Culture in America, said the most intense relationships between viewers and characters are created by genre programs such as science fiction, fantasy or horror. "People talk about these programs online and they feel like they were made for them," he said. "I was sad to see Twin Peaks go, I still feel like I have a relationship with the characters."

Weinstock said he can understand having a relationship with TV characters because people become invested in the characters they watch. He said it is easier to develop relationships with characters on dramas or sitcoms because it is easy to relate with them. "I watch a lot of 'South Park,' but I don't have a relationship with any of the characters because 'South Park' doesn't try to represent itself as the real world," he said.

Watch PBS online? You can if you visit its new video portal - Los Angeles Times

2009-04-22T09:06:35-05:00

Watch PBS online? You can if you visit its new video portal - Los Angeles Times.

Watch PBS online? You can if you visit its new video portal In allowing viewers to stream an array of its best-known shows, PBS is joining on-demand video sites like Hulu.com and YouTube -- places for younger consumers who aren't wedded to watching TV on a TV. By David Sarno April 22, 2009

The Public Broadcasting Service turns 40 this year, and on Tuesday it gave itself a gift that just might make it feel young again. PBS' new video portal allows online viewers to stream an array of its best-known shows over the Web.

The new site gathers more than 130 episodes of nearly 20 programs, including marquee fare such as "Frontline," "Nova" and "Masterpiece Theater." PBS says thousands of hours of programming should be available to users by the summer. In giving its shows away online, PBS is joining on-demand video sites such as Hulu.com and YouTube -- places for younger consumers who aren't wedded to watching TV on a television. Those two sites, both commercial, have been touting themselves as advertiser-friendly viewing destinations where video surfers can go to browse among a variety of familiar titles. But on these sites, familiar can mean that you saw it decades earlier.

Major media companies are still wary of posting their best material online, leaving YouTube and Hulu thin on the most popular shows but overgrown with cultural castoffs such as "The Lone Ranger," "Alf" and "Coolio's Rules." PBS' initial selection of about 20 programs is small compared with the pulpy catalogs maintained by the other sites, but full-length episodes of nearly every show in PBS' prime-time lineup have been put online. In addition to acting as a clearinghouse for PBS content, the portal will function as the hub of a nationwide network of online affiliates, all of which can share programming through a single Web infrastructure, whose cost PBS would specify only as "in the seven figures."

"I think this is really good of PBS," said Jackie Kain, senior vice president of new media at Los Angeles' KCET public television station. "We're all trying to create a local identity as it relates to a national identity," she said, referring to the way each station will create a unique mixture of original and borrowed content. "We're all part of a system."

Future Tense: Engaging kids with social media

2009-04-10T10:56:07-05:00

For the podcast: Future Tense: Engaging kids with social media.

Engaging kids with social media MP3 - iTunes Minneapolis' Roosevelt High School teacher Delainia Haug has tapped the power of digital media to create a learning community -- called DigME -- in her school. Using a variety of digital media, students are studying and producing content across four separate subjects.

I know the idea of a digital carrot-and-stick to motivate students is not necessarily new. But what Cynthia Lewis at the University of Minnesota's College of Education and Human Development notes is that many students in this generation -- who we think are entirely comfortable with digital media -- often have few skills that they'll need, especially in college. In fact, this program seems to be showing the students that they can go to college.

It's unclear what the impact of a digital media program is on increased student achievement; this is the first year of the program and there were no plans -- this year -- to study the effect on progress. But Lewis keeps an eye on what the kids are up to and if the fact they're updating their wiki pages late into the evening is any indication, motivation will translate into success.

Media Cloud

2009-03-15T12:05:38-05:00

Media Cloud.

Media Cloud is a system that lets you see the flow of the media. The Internet is fundamentally altering the way that news is produced and distributed, but there are few comprehensive approaches to understanding the nature of these changes.

Media Cloud automatically builds an archive of news stories and blog posts from the web, applies language processing, and gives you ways to analyze and visualize the data. The system is still in early development, but we invite you to explore our current data and suggest research ideas

. This is an open-source project, and we will be releasing all of the code soon. You can read more background on the project or just get started below.

News Literacy & K-12 Teaching Standards

2009-03-15T12:03:36-05:00

News Literacy & K-12 Teaching Standards.

I was pleased to be among those participating in "Rebooting The News," a three day event at Temple University in Philadelphia. (read School Library Journal's preview) Attendees came from journalism, news, education and activism, just to name a few. Among the highlights (to me) was hearing details of the newly developed News Literacy college course at Stony Brook University, New York. The developer of that course, Howard Schneider, spoke at the event on Friday morning, and according to what I saw/heard, what his students are going through is rigorous.

This is not about journalism education, but rather education for all. Working groups had lengthy discussions about what this might look like in American schools and why all of this is critical. Details are available at the event's wiki.

Another related initiative, dubbed The News Literacy Project, aimed at middle and high school students, is the brainchild of former Los Angeles Times reporter Alan Miller, and has just gotten started: details here. As part of the continuing project to spread the word about "news literacy" and its importance in K-12 education, I have volunteered to assist the RTN project's co-directors, Renee Hobbs (Temple University) and Bill Densmore (University of Massachusetts), correlate the program's goals and objectives to current K-12 teaching standards. In addition, I will use this space to provide links to news stories, previous research and surveys regarding young people, civic engagement and news. Frank Baker, (Media Literacy Clearinghouse) October 26, 2008 NOTE:

Read the Connected Classroom Wiki blog post about this project; or Inkworthy's post What is news literacy? A definition offered by Howard Schneider (Dean of Journalism, Stony Brook University): “the ability to use critical thinking skills to judge the reliability and credibility of news reports, whether they come via print, TV, on the Internet” (we don’t use the word truth) “reliable information is actionable information-- it allows news consumers to make a judgment, reach a conclusion, or take an action”

Rebooting The News conference participants' definition: "News surrounds us and as such news literacy is an essential life skill for everyone. To paraphrase Thomas Jefferson: Knowledge of current issues is essential to informed citizenship in a democracy. We are concerned about the effects of media messages on children and others. Modern participatory culture makes every citizen a potential creator of news in social media, blogs, email and the web. We believe a literate citizen understands the purposes, processes and economics of news.

Therefore, it is time for American education to include the acquisition of 21st-century, critical-thinking skills for analyzing and judging the reliability of news, differentiating among facts, opinions and assertions in the media we create and distribute. News literacy standards can be research based in multiple content areas. It can be taught most effectively in cross-curricular, inquiry-based format at all grade levels. It is a necessary component for literacy in contemporary society. "

News Literacy & Media Literacy: What's the difference? Not much really. If you take the time to read NAMLE's media literacy core principles and critical thinking questions, you might agree that news literacy does not have to be invented: much of the work exists already. K-12 Teaching Standards When we think about the news and how young people are exposed to and think about news, a number of topics arise, all of which can be used as teachable moments for educators.

News comes in all forms (TV, newspapers, magazines, Internet, cable TV and more). How do students use "critical thinking skills" (if at all) when they are exposed to news/information? Why do they seemingly believe everything they, see, read and hear? What are the pressures on news organizations today; how is news made and who makes it; what is the function of a gatekeeper of news; how is news received and understood? Why do Comedy Central and cell phones get more attention than traditional news sources? Who sets the news agenda; and who owns the media and why does it matter? All of these topics are perfect opportunities for educators to meet state standards requirements- for example: - critical thinking; critical viewing - media codes & conventions; - distinguishing fact vs. fiction; - understanding techniques of persuasion; - word choice; - point-of-view (perspective); author bias; - understanding informational texts and text features; - information/media/visual literacy; - economics and more.

Journal of Adolescent & Adult Literacy : March 2009

2009-03-07T11:14:49-06:00

Journal of Adolescent & Adult Literacy : March 2009.

Commentary Learning Argument Practices Through Online Role-Play: Toward a Rhetoric of Significance and Transformation Richard Beach Candance Doerr-Stevens

One important literacy practice is the ability to formulate effective arguments to convince others of the validity of one's position. In this commentary, we discuss the literacy practices involved in formulating arguments as well as the challenges involved in helping students acquire these practices.

In contrast to more traditional approaches to teaching argument, we propose that students can learn these practices through participation in online role-play activities. We also argue that students will be more motivated to engage in online role-play if they are debating an issue or problem that affects their everyday lives and that will lead to change, an approach driven by what we describe as a rhetoric of significance and transformation.

We believe that it is important that students learn how to engage in these collaborative arguments with others to address and solve problems in their everyday lives. In this commentary, we propose some activities designed to foster use of collaborative arguments in the classroom through the use of online role-play.

Learning to Engage in Written Arguments

Students typically engage in arguments in schools through writing persuasive essays in which they voice opinions on an issue, but they generally provide little support for those opinions (Felton & Herko, 2004). These formalized approaches to teaching arguments are often divorced from students' uses of arguing in everyday conversations in which they are more likely to employ counter-claims, rebuttals, and qualifications than in formal persuasive essays (Felton & Herko, 2004). Their persuasive essay tasks also occur in a rhetorical vacuum.

One possible explanation for students' poor performance on National Assessment of Educational Progress (NAEP) persuasive writing assessments (Greenwald, Persky, Campbell, & Mazzeo, 1999) has to do with the authenticity of test-taking rhetorical context in which students are writing for no authentic purpose and audience, a limitation that the new NAEP composition assessments are addressing. When students have a specific purpose and audience for their written arguments, they are more likely to consider counter-arguments and rebuttals (Midgette, Haria, & MacArthur, 2008). Moreover, in writing persuasive essays, students may have little ownership of or conviction about the position they are adopting, resulting in writing as no more than an exercise in “knowledge telling” (Bereiter & Scardamalia, 1984).

Instruction in argument is further limited by a focus on adopting a competitive, confrontational stance, particularly in oral debates in which the goal is to win over audiences and defeat opponents. This competitive approach differs from a more collaborative perspective in which people collectively posit, test out, and revise alternative positions within a larger context of engaging in community rhetorical action leading to change (Flower, 2008).

Students' notions of argument are also shaped by their experience with portrayals of argument in the media designed to influence audience beliefs. Unfortunately, students often find that the media appeals to the beliefs of certain niche audiences who gravitate to those outlets reporting news consistent with their beliefs. While U.S. audiences largely acquired their news from the same outlets up until the 1970s—CBS, NBC, ABC, the AP, and major newspapers—since the 1980s, the news has increasingly been channeled and filtered by outlets such as Fox News, Rush Limbaugh, the Wall Street Journal, MSNBC, CNN, or the Huffington Post, targeted to certain niche audiences who then adopt the beliefs espoused by these outlets (Manjoo, 2008).

Audiences therefore construct their beliefs about information on issues according to their identification with their particular values groups—“conservative Republicans,” “environmentalists,” “libertarians,” “liberal Democrats,” and the like—associated with and constructed by specific media outlets. An analysis of Fox News, Rush Limbaugh, and the Wall Street Journal characterized these outlets as “echo chambers” in that these outlets restrict access to alternative, competing news sources and negatively portray political opponents (Jamieson & Cappella, 2008).

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