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long has been theorized as a way for children to explore and learn about the world.
Digital and networked media, for example video games or online communities, offer
additional opportunities and sites for play. Simulation—either participating in
simulated “real world activities” or designing them—is one way in which digital
play extends the possibilities of experience. Performance48 is another way of
extending play by allowing opportunities for young people to assume what Gee has
called “projective identities,” and assume fictitious or manipulated versions of
identity. Jenkins et al have described play as a valuable skill because “it lowers the
emotional stakes of failing: players are encouraged to suspend some of the real world
consequences of the represented actions, to take risks and learn through trial and
error.”49 Both simulation and performance have similar “cushions” for
experimentation.
Appropriation is described as “a process by which students learn by taking
culture apart and putting it back together.”50 Appropriation is often used to describe
remix projects such as fan videos (vids) or fan fiction, in which the producer
repurposes parts of an existing piece of media (whether it is video or
characters/settings) into a derivative product. Appropriation is often distilled to
plagiarism or theft, but is actually a complex process of decoding and re-encoding
media or objects with meaning. For the kids I worked with at MMS, appropriation
was less likely to come in the form of fan fiction, and more likely to be a way of
substituting the media or technology they had for other resources they desired. For
example, James Ramos, a fourteen-year-old eighth-grader, created what I would call
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 96 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 91 long has been theorized as a way for children to explore and learn about the world. Digital and networked media, for example video games or online communities, offer additional opportunities and sites for play. Simulation—either participating in simulated “real world activities” or designing them—is one way in which digital play extends the possibilities of experience. Performance48 is another way of extending play by allowing opportunities for young people to assume what Gee has called “projective identities,” and assume fictitious or manipulated versions of identity. Jenkins et al have described play as a valuable skill because “it lowers the emotional stakes of failing: players are encouraged to suspend some of the real world consequences of the represented actions, to take risks and learn through trial and error.”49 Both simulation and performance have similar “cushions” for experimentation. Appropriation is described as “a process by which students learn by taking culture apart and putting it back together.”50 Appropriation is often used to describe remix projects such as fan videos (vids) or fan fiction, in which the producer repurposes parts of an existing piece of media (whether it is video or characters/settings) into a derivative product. Appropriation is often distilled to plagiarism or theft, but is actually a complex process of decoding and re-encoding media or objects with meaning. For the kids I worked with at MMS, appropriation was less likely to come in the form of fan fiction, and more likely to be a way of substituting the media or technology they had for other resources they desired. For example, James Ramos, a fourteen-year-old eighth-grader, created what I would call |
