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Table of contents
- Multiple literacies
- by Margaret Mackey
- New PDF release: Literacies Across Media: Playing the Text
- New PDF release: Literacies Across Media: Playing the Text - ASSOCIATES AGENCIES E-books
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Multiple literacies
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East Dane Designer Men's Fashion. Shopbop Designer Fashion Brands. Withoutabox Submit to Film Festivals. This means asking questions about the sources of that information, the interests of its producers, and the ways in which it represents the world; and understanding how these technological developments are related to broader social, political and economic forces. This more critical notion of literacy has been developed over many years in the field of media education; and in this respect, I would argue that we need to extend approaches developed by media educators to encompass digital media.
There are four broad conceptual aspects that are generally regarded as essential components of media literacy see Buckingham, While digital media clearly raise new questions, and require new methods of investigation, this basic conceptual framework continues to provide a useful means of mapping the field:. Like all media, digital media represent the world, rather than simply reflect it.
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They offer particular interpretations and selections of reality, which inevitably embody implicit values and ideologies. Informed users of media need to be able to evaluate the material they encounter, for example by assessing the motivations of those who created it and by comparing it with other sources, including their own direct experience. In the case of information texts, this means addressing questions about authority, reliability and bias; and it also necessarily invokes broader questions about whose voices are heard and whose viewpoints are represented, and whose are not.
by Margaret Mackey
A truly literate individual is able not only to use language, but also to understand how it works. This means acquiring analytical skills, and a meta-language for describing how language functions. Literacy also involves understanding who is communicating to whom, and why.
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In the context of digital media, young people need to be aware of the growing importance of commercial influences — particularly as these are often invisible to the user. But digital literacy also involves a broader awareness of the global role of advertising, promotion and sponsorship, and how they influence the nature of the information that is available in the first place.
Of course, this awareness should also extend to non-commercial sources and interest groups, who are increasingly using the web as a means of persuasion and influence. This means understanding how media are targeted at audiences, and how different audiences use and respond to them.
In the case of the internet, this entails an awareness of the ways in which users gain access to sites, how they are addressed and guided or encouraged to navigate , and how information is gathered about them. It also means recognising the very diverse ways in which the medium is utilised, for example by different social groups, and reflecting on how it is used in everyday life — and indeed how it might be used differently. How might these broad approaches be applied specifically to studying the World Wide Web? Figure 1 indicates some of the issues that might be addressed here, and is adapted from Buckingham Different issues would undoubtedly need to be explored in relation to other uses of the internet, such as e-mail, instant messaging or blogging.
How the hypertextual linked structure of websites encourages users to navigate in particular ways. How users are addressed: The nature of web authorship, and the use of the internet by companies, individuals or interest groups as a means of persuasion and influence.
New PDF release: Literacies Across Media: Playing the Text
The significance of commercial influences, and the role of advertising, promotion and sponsorship. The commercial relationships between the web and other media such as television and computer games. The ways in which users can be targeted by commercial appeals, both visibly and -invisibly. How different groups of people use the internet in their daily lives, and for what -purposes. How individuals or groups use and interpret particular sites, and the pleasures they gain from using them. It incorporates questions about bias and reliability, but sets these within a broader concern with representation.
The approach also entails a reflexive understanding of how these factors impact on the user — how users are targeted and invited to participate, what they actually do with the medium, and what they find meaningful and pleasurable. To date, most proposals for teaching about games in schools have been developed by teachers of English or language arts e. In terms of our four-part framework, the emphasis is on language and to some extent on representation; but there is little engagement with the more sociological issues to do with production and audience that are important concerns for media teachers.
Clearly, there are many elements that games share with other representational or signifying systems.
New PDF release: Literacies Across Media: Playing the Text - ASSOCIATES AGENCIES E-books
On one level, this is a manifestation of the convergence that increasingly characterises contemporary media: However, analysing games simply in terms of these representational dimensions produces at best a partial account. This points to the necessary interpenetration of the representational and the ludic dimensions of games — that is, the aspects that make games playable Carr et al. There is a growing literature, both in the field of game design and in academic research, that seeks to identify basic generative and classificatory principles in this respect e.
It is these ludic aspects that distinguish games from movies or books, for example. As this implies, the analysis of games requires new and distinctive methods that cannot simply be transferred from other media — although this is equally the case when we compare television and books, for example. The representations of specific social groups, for instance in terms of gender and ethnicity. The functions of verbal language audio and written text , still and moving images, sounds and music. How different game genres manage space and time that is, narrative , and how they position the player.
The ludic dimensions of games — rules, economies, objectives, obstacles, and so on. The technologies and software that are used to create games, and the professional practices of game companies. The commercial structure of the games industry developers, publishers, marketers , and the role of globalisation.
The relationships between games and other media such as television, books and -movies, and the role of franchising and licensing. The experience and pleasure of play, and how it relates to the rules and structures of games. The social and interpersonal nature of play, and its functions in everyday life, particularly for different social groups for example, different genders or age groups. The role of advertising, games magazines and online commentary in generating -expectations and critical discourse around games. Obviously, these suggestions will vary according to the needs and interests of the students; although it should be possible to address the general conceptual issues at any level.
Finally, it is important to recognise that these critical understandings can and should be developed through the experience of media production, and not merely through critical analysis. The growing accessibility of this technology means that quite young children can easily produce multimedia texts, and even interactive hypermedia — and increasing numbers of children have access to such technology in their homes.
Indeed, new media are a key aspect of the much more participatory media culture that is now emerging — in the form of blogging, social networking, game-making, small-scale video production, podcasting, social software, and so on Jenkins, Growing numbers of teachers have sought to harness the productive possibilities of these media, albeit in quite limited ways. Here, students produce their own multimedia texts in the form of websites or CD-ROMs, often combining written text, visual images, simple animation, audio and video material.
Vivi Lachs , for example, describes a range of production activities undertaken with primary school students in learning about science, geography or history. Other potential uses of digital media have emerged from arts education. Rebecca Sinker , for example, describes an online multimedia project which set out to develop links between an infant school and its community.
Using multimedia authoring software, the project brought together photography, video, drawing, story-telling, digital imaging, sound and text. These approaches are certainly interesting and productive; but there are two factors that distinguish them from the use of digital production in the context of media education. In fact, these digital tools can enable students to conceptualise the activity of production in much more powerful ways than was possible with analogue media. This is particularly apparent at the point of editing, where complex questions about the selection, manipulation and combination of images and, in the case of video, of sounds can be addressed in a much more accessible way.
The kinds of work I have referred to in this article are by no means new. On the contrary, they draw on an existing practice in schools that has a long history see Buckingham, As in any other area of education, there is both good and bad practice in media education; and there is currently an alarming shortage of specialist trained media teachers. Nevertheless, it is clear that effective media education depends upon teachers recognising and respecting the knowledge students already possess about these media — while also acknow-ledging that there are limitations to that knowledge, which teachers need to address.
I have argued here for an extension of media literacy principles to digital texts. Nevertheless, the media literacy model puts issues on the agenda that are typically ignored or marginalised in thinking about techno-logy in education — and particularly in the school subject of ICT. It raises critical questions that most approaches to information techno-logy in education fail to address, and thereby moves decisively beyond a merely instrumental use of technology. Ultimately, however, my argument here is much broader than simply a call for media education.
The metaphor of literacy — while not without its problems — provides one means of imagining a more coherent, and ambitious, approach. The increasing convergence of contemporary media means that we need to be addressing the skills and competencies — the multiple literacies — that are required by the whole range of contemporary forms of communication. Rather than simply adding media or digital literacy to the curriculum menu, or hiving off information and communication technology into a separate school subject, we need a much broader reconceptualisation of what we mean by literacy in a world that is increasingly dominated by electronic media.
Oppgrader til nyeste versjon av Internet eksplorer for best mulig visning av siden. Vitenskapelig publikasjon Open access. Media literacy, digital literacy, media education. Multiple literacies Towards digital literacy Media literacy goes online Case 1: