When I think about the importance of media and arts education, there is nothing more important than access; access to quality media and arts education for all individuals regardless of age, sex, race, socioeconomic status, etc. If you use media in any way, you should have access to some form of media literacy education. And, even if you don’t love art or aspire to become the next Andy Warhol, you should have access to some form of arts education.
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NAMAC Blogger Amy Puffenberger analyzes how we promote media literacy education for women and girls.
Global Action Project (G.A.P.) accepting applications for their 6th Annual Media In Action (M.I.A.) Institute.
As the debate over public media continues, we must continue to ask ourselves what the term “public media” really means. What defines a “public”? What does the term “media” actually include? When I think about public media, the first image that comes to mind is the public broadcasting system as it currently exists. More importantly, I think of the continued and very real debate going on across the country and in Congress about whether or not to continue federal funding for public broadcasting. There has been much talk about whether or not the model for public broadcasting as it currently exists today is outdated. Opponents of the continued funding of public broadcasting often argue that public broadcasting is now obsolete given the current structure of commercial television broadcasting, ‘500 different channels all devoted to a person’s individual interests, etc.’ – that sort of thing, so why do we need public broadcasting when there are so many options?! More on that later.
That’s the question ZeroDivide’s Amy Luckey posed to us, and a few other Access Humboldt staffers last week, as we were all taking an after-lunch stroll along the warm, sunny shore of Woodley Island Marina, admiring the view of Humboldt Bay (sorry to all of you who are buried in snow...).
She caught Sam off-guard, and she had a video camera, so he gave a safe answer, the first thing that came to mind, something boring like:
“Youth media is important because we have to provide young people with the media production skills they’ll need to get jobs in this new information economy.”
I love to read individual, user-created reviews of feature films. Now, I must admit that I don’t read these reviews before seeing a film in an effort to determine whether or not I should attend a screening. I, on the other hand, tend to read user reviews of films I have already seen. I find it interesting to see how other random people have reacted to the film I have just watched, not necessarily as a form of vindication but rather as a study in psychology, if you will.
Youth Media programs often strike a balance between process and product: teaching young people how to use media and technology to tell their own stories; and producing video and other media projects to share with a targeted audience. The learning and creation process can take weeks or months, and is typically not open to the general public – who will only engage with the work at its completion. I thought it would be interesting to talk with some youth producers who are in-process now, and learn about the themes they are exploring, and the things they are learning along the way.
Hip-hop, goth, grunge, punk and hippie – these are a few among the myriad of youth subcultures that have emerged, or re-emerged, at a fast pace in recent years. This splintered face of "alternative youth culture" is partly the result of the digital age. Web 2.0, mobile devices, and existing media channels are inundating young people with information from the time they wake up until they go to sleep, even when they dream. Today's youth have countless opportunities to experiment through real and online, virtual personas and, as a result, has created cultural composite of mixed origins. This hybridization has proven to be challenge as far as marketing to and engaging young people. An interesting problem has emerged as it relates to adult perceptions about youth and media: there is the rebellious adolescent who throws caution to the wind vs. the passive, docile youth in the classroom who are often perceive as fearful of taking risks related to their own creative endeavors.
Using technology in education is not a new phenomenon. Though this type of integration may be more prevalent now in the 21st century than what it has been in the past, it has existed in education in some form or another for decades. Media integration, on the other hand, is consistently referred to as a relatively new phenomenon in education.