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chance to practice important critical thinking and problem solving skills, and is
aligned with constructivist teaching methods, which emphasize student-driven
inquiry and experimentation.
When students finished searching for images and began laying them into the
iMovie timeline, they also began to think about music to accompany the images.
When music was introduced in the classroom, an important shift happened to the
environment of the classroom and to the ways students thought about representing
themselves in the project. Students brought CDs from home (mainly burned CDs that
they told me they got from friends) and played them in the computers’ DVD drives.
Because the laptop cart did not come with headphones and the students did not often
have their own headphones with them (few had portable music devices and the use
of such devices, like cell phones, was not allowed on campus), they played the tracks
through the speakers on the laptop. The volume level of the music was at times a
source of tension between the students and the teacher and classroom assistants, and
there were several times during my observations that the classroom soundtrack
suddenly went silent after a string of obscene lyrics caught the teacher’s attention.
However, most of the time, there was a constant bed of music accompanying the
activity in the room. At times, music played from several machines created a
cacophony of pop and hip hop songs. Other times, a track piqued the interest of all
the students in the room, and they listened intently to the single song.
Musical tastes are a means of distinction (in Bourdieu’s terms) in that they
reflect group affiliation as well as individual cultural capital (although this capital
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 133 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 128 chance to practice important critical thinking and problem solving skills, and is aligned with constructivist teaching methods, which emphasize student-driven inquiry and experimentation. When students finished searching for images and began laying them into the iMovie timeline, they also began to think about music to accompany the images. When music was introduced in the classroom, an important shift happened to the environment of the classroom and to the ways students thought about representing themselves in the project. Students brought CDs from home (mainly burned CDs that they told me they got from friends) and played them in the computers’ DVD drives. Because the laptop cart did not come with headphones and the students did not often have their own headphones with them (few had portable music devices and the use of such devices, like cell phones, was not allowed on campus), they played the tracks through the speakers on the laptop. The volume level of the music was at times a source of tension between the students and the teacher and classroom assistants, and there were several times during my observations that the classroom soundtrack suddenly went silent after a string of obscene lyrics caught the teacher’s attention. However, most of the time, there was a constant bed of music accompanying the activity in the room. At times, music played from several machines created a cacophony of pop and hip hop songs. Other times, a track piqued the interest of all the students in the room, and they listened intently to the single song. Musical tastes are a means of distinction (in Bourdieu’s terms) in that they reflect group affiliation as well as individual cultural capital (although this capital |
