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41
genre or channel. For example, Viacom may gain a viewer at age two with Nick
Junior programming. The viewer can enjoy Nick Junior until about age five, when
Nickelodeon and Noggin provide age appropriate programming, some years later,
the viewer can move on to MTV, BET, VH1, Comedy Central or one of Viacom's
many other holdings for programming appealing to tweens, teens, and adults. Further
branding is accomplished through licensed characters, which appear on consumer
goods from food to toys to bedding. Characters can also move across media with tie-in
media such as books, films, specials, spin off shows, CDs, and video games.
Within this context of children’s media and brand culture, particularly within
the last two decades, the expansion of media and technology and the globalization of
children’s culture has amplified the relationship between kid culture and
consumption. As Sonia Livingstone and Kirsten Drotner note in their introduction to
The International Handbook of Children, Media, and Culture, media and technology
have continued influence on the lives of children worldwide:
It seems undeniable that the global reach of many recent media technologies,
such as satellite television, the internet and mobile devices, has been
instrumental in recontextualising children’s media practices, not merely for
the prolific young blogger or texting enthusiast, but equally for children for
whom these activities are beyond practical reach…More profoundly, it also
seems that few are unaffected by the shifting priorities in education, identity,
politics and commercial marketing strategies that the changing media and
information environment ushers in for today’s youth.22
Livingstone and Drotner make two interesting points about the impact of media and
technology in this excerpt. First, they highlight the ways in which ubiquitious media
shape the experiences of even those children who do not participate in certain elite
media production activities (such as blogging and texting). Secondly, Livingstone
Object Description
| Title | Kids as cultural producers: consumption, literacy, and participation |
| Author | Stephenson, Rebecca Herr |
| Author email | rherr@usc.edu; bhs@hri.uci.edu |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Communication |
| School | Annenberg School for Communication |
| Date defended/completed | 2008-08-25 |
| Date submitted | 2008 |
| Restricted until | Unrestricted |
| Date published | 2008-10-17 |
| Advisor (committee chair) | Banet-Weiser, Sarah |
| Advisor (committee member) |
Gross, Larry Seiter, Ellen |
| Abstract | This dissertation looks closely at the practice of digital media production within a group of special education students and their teachers. Using ethnographic methods of extended participant observation and semi-structured interviews with students, teachers, and parents, along with textual analysis of students' media projects, this work examines the types of learning that emerge from making media at school and the ways in which that learning relates to media and technology use in everyday life. Over the course of one school year (2005-2006), the students who are the focus of this dissertation undertook eight different multimedia production projects, ranging from designing PowerPoint presentations to digital video production and stop-motion animation. Through media production, the students found opportunities to practice traditional and digital literacy skills as well as to explore issues of identity and self-expression.; This dissertation provides empirical support for recommendations made by several media literacy scholars to include media production as part of critical media literacy curricula and contributes a unique case study -- one situated in special education -- to a growing body of work on digital literacy. Three interdisciplinary themes--consumption, literacy, and participation -- are used to organize the description and analysis of the students' media production activities. These themes connect the specific production that took place in the classroom to larger discourses about youth, media, technology, education, and access, working to complicate existing constructions of young people as either helpless victims of manipulative media or naturally savvy media and technology users. Instead, this research emphasizes that the relationships kids have with media and technology are complex, dynamic, intrinsically linked to their identities as consumers and participants in society. Media literacy is thus theorized as a tool for understanding and controlling consumption, participation, and the construction of young people as both current and future citizens. |
| Keyword | media literacy; media production; special education; middle school; digital media |
| Geographic subject (city or populated place) | Los Angeles |
| Coverage date | 2005/2006 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m1674 |
| Contributing entity | University of Southern California |
| Rights | Stephenson, Rebecca Herr |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-Stephenson-2393 |
| Archival file | uscthesesreloadpub_Volume29/etd-Stephenson-2393.pdf |
Description
| Title | Page 46 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 41 genre or channel. For example, Viacom may gain a viewer at age two with Nick Junior programming. The viewer can enjoy Nick Junior until about age five, when Nickelodeon and Noggin provide age appropriate programming, some years later, the viewer can move on to MTV, BET, VH1, Comedy Central or one of Viacom's many other holdings for programming appealing to tweens, teens, and adults. Further branding is accomplished through licensed characters, which appear on consumer goods from food to toys to bedding. Characters can also move across media with tie-in media such as books, films, specials, spin off shows, CDs, and video games. Within this context of children’s media and brand culture, particularly within the last two decades, the expansion of media and technology and the globalization of children’s culture has amplified the relationship between kid culture and consumption. As Sonia Livingstone and Kirsten Drotner note in their introduction to The International Handbook of Children, Media, and Culture, media and technology have continued influence on the lives of children worldwide: It seems undeniable that the global reach of many recent media technologies, such as satellite television, the internet and mobile devices, has been instrumental in recontextualising children’s media practices, not merely for the prolific young blogger or texting enthusiast, but equally for children for whom these activities are beyond practical reach…More profoundly, it also seems that few are unaffected by the shifting priorities in education, identity, politics and commercial marketing strategies that the changing media and information environment ushers in for today’s youth.22 Livingstone and Drotner make two interesting points about the impact of media and technology in this excerpt. First, they highlight the ways in which ubiquitious media shape the experiences of even those children who do not participate in certain elite media production activities (such as blogging and texting). Secondly, Livingstone |
