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133
and wore soccer jerseys on “no uniform” days. What is particularly interesting about
Felix’s I Poem is the way he addresses the entries that deal with feelings. These three
lines: I laugh when my family makes jokes/I cry when I feal [feel] bad. Things dip in
my hart [heart]/I fear tall buildings are the only parts of the poem not about soccer.
He did not carry the theme of identity as a soccer player through these lines; he does
not, for example write “I laugh when my teammates tell jokes/ I cry when I lose a
game/I fear losing a game.” Indeed, the things that he mentions in relation to these
emotions are completely unrelated to the image he has constructed as a “soccer god.”
This omission could be read as Felix’s performing masculine identity in his
representation of himself as an athlete—a player who is powerful, focused only on
the game, and “immune” from feeling sad, happy, or afraid. It could also be read as a
reflection of his construction of identity based on representations of soccer players in
media. The other “soccer gods” he has chosen to include in his video are not people
he knows personally; he knows them through what he sees of them on television and
in articles, interviews, and profiles. It is unlikely that he knows what makes his
favorite players cry or what their fears are. (Notably, this information is sometimes a
part of celebrity profiles in girls/women’s magazines.)
A related concept to identity in terms of literacy and production is the concept
of voice. In contrast to performativity, which is not a voluntary practice, voice refers
to the choices people make in self presentation. In literary analysis, voice is often
analyzed in relation to tone in order to uncover underlying meaning of a text. Felix’s
identity is obviously not captured in its entirety by his I Poem, and while the ways he
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 138 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 133 and wore soccer jerseys on “no uniform” days. What is particularly interesting about Felix’s I Poem is the way he addresses the entries that deal with feelings. These three lines: I laugh when my family makes jokes/I cry when I feal [feel] bad. Things dip in my hart [heart]/I fear tall buildings are the only parts of the poem not about soccer. He did not carry the theme of identity as a soccer player through these lines; he does not, for example write “I laugh when my teammates tell jokes/ I cry when I lose a game/I fear losing a game.” Indeed, the things that he mentions in relation to these emotions are completely unrelated to the image he has constructed as a “soccer god.” This omission could be read as Felix’s performing masculine identity in his representation of himself as an athlete—a player who is powerful, focused only on the game, and “immune” from feeling sad, happy, or afraid. It could also be read as a reflection of his construction of identity based on representations of soccer players in media. The other “soccer gods” he has chosen to include in his video are not people he knows personally; he knows them through what he sees of them on television and in articles, interviews, and profiles. It is unlikely that he knows what makes his favorite players cry or what their fears are. (Notably, this information is sometimes a part of celebrity profiles in girls/women’s magazines.) A related concept to identity in terms of literacy and production is the concept of voice. In contrast to performativity, which is not a voluntary practice, voice refers to the choices people make in self presentation. In literary analysis, voice is often analyzed in relation to tone in order to uncover underlying meaning of a text. Felix’s identity is obviously not captured in its entirety by his I Poem, and while the ways he |
