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129
likely exists separately from the "official" cultural capital of adults, school, and
society.)45 Music is therefore, an important resource for adolescents in developing
and marking identity because it facilitates distinctions between themselves and adults
as well as from each other.46 Robert Sardiello writes that musical tastes frequently
become linked to cultural information and values; music becomes a defining
characteristic of a "subculture" when those tastes and/or values differ substantially
from mainstream or dominant tastes and values.47 The role of music in identity
formation varies, providing resources for representing identity that stretch beyond
the music or lyrics themselves to areas such as fashion or politics. In my own
fieldwork, as well as the work of other researchers on the Digital Youth project,
music was a desired and coveted commodity. Respondents described the
technological struggles and moral debates involved in downloading music as well as
various techniques for finding and recommending music within friend groups and
online communities. Looking across the cases included in the Digital Youth project,
we noted two music-focused practices of high importance to the kids and teens in our
studies. The first was using MySpace to represent their own musical tastes and to get
recommendations for new music. MySpace profiles often displayed pictures,
information, and sample tracks from teens' favorite bands. The second was the use of
music as a backdrop for hanging out. Rather than downloading music from online
services, the young people we spoke with in our studies tended to swap music among
their friends by trading burned CDs or listening to music while they were together.48
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 134 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 129 likely exists separately from the "official" cultural capital of adults, school, and society.)45 Music is therefore, an important resource for adolescents in developing and marking identity because it facilitates distinctions between themselves and adults as well as from each other.46 Robert Sardiello writes that musical tastes frequently become linked to cultural information and values; music becomes a defining characteristic of a "subculture" when those tastes and/or values differ substantially from mainstream or dominant tastes and values.47 The role of music in identity formation varies, providing resources for representing identity that stretch beyond the music or lyrics themselves to areas such as fashion or politics. In my own fieldwork, as well as the work of other researchers on the Digital Youth project, music was a desired and coveted commodity. Respondents described the technological struggles and moral debates involved in downloading music as well as various techniques for finding and recommending music within friend groups and online communities. Looking across the cases included in the Digital Youth project, we noted two music-focused practices of high importance to the kids and teens in our studies. The first was using MySpace to represent their own musical tastes and to get recommendations for new music. MySpace profiles often displayed pictures, information, and sample tracks from teens' favorite bands. The second was the use of music as a backdrop for hanging out. Rather than downloading music from online services, the young people we spoke with in our studies tended to swap music among their friends by trading burned CDs or listening to music while they were together.48 |
