8/9/2019 AERA Poster Final

1/1

A Multimodal Mapping of Media Literacy: The Pitch in Youth Video Production

ConclusionsNot all media literacy pedagogy is thesame because there are key differences

and similarities in how teachers teach

media production

Interestingly, the youth mediaorganizations in this study followed

thematic patterns traditionally found inschool settings

Different pedagogical choices allow for

different types of media literacy learning.

While the pedagogical choices appeared

similar on the surface, in actuality, the

pedagogy diverged in that in oneorganization the youth presented their

ideas as a packaged whole for adults toevaluate and in the other the youth and the

adults co-created the idea.

This attention to detail in the pedagogypoints to how pedagogical choices candetermine the literacy that is fostered.

This analysis will help educators to gain a

clearer understanding of how mediaproduction is taught in the hopes that withgreater understanding will come shifts inpedagogy more toward the visions in line

with the current thinking about literacy.

The Analysis1) What is the pedagogy in teaching key components of media literacy inthese youth media organizations? 2) What does the structure of thepedagogy reveal about multimodal (media) literacy

learning?

The Study

I explore key pedagogical moments to tracethe learning that is occurring both in the

process of video creation to give not onlyan understanding of the literacy practices

but also to see what is made possible in thepedagogy for youth as they produce media

texts.

This understanding is vital if teachers are tokeep pace with the changing demandsplaced on them to teach media and

multimodal literacies.

Abstract

Using Lemkian social semiotics (Lemke, 1990), I analyze Youth Pitches as akey media literacy lesson.

Organizational patterns

Classroom lessons are constructed by activitystages and how those are organized into aclass lesson.

A class lesson could have a variety of activitytypes, such as Getting Started, Collecting

Homework, Start Main Lesson, etc.

These activity types are arranged by theteacher into some recognizable order, such asStart Main Lesson, Seatwork, AssignHomework.

All activity types are constructed by dialogue,

by language use between the teachers andstudents.

A thematic pattern is "a small piece of thecurriculum(p. 94, author's italics).

Basically, a thematic pattern is what isbeing meant by the what is said, and it isthe relationships between par ts of thedialogue and/or different dialogues.

The most common thematic patterns inschools is a Triadic Dialogue (Lemke,1990, p. 8).

[Teacher Preparation]

Teacher Question

[Teacher Call for Bids (Silent)][Student Bid to Answer (Hand)]Student Answer

Teacher Evaluation

[Teacher Elaboration]

First, the transcripts revealed that there are basic, yet different, patterns to

howthe pitches in the two youth media arts organizations are structure..

Second, the transcripts revealed that the way the youth structure their pitches differs

in the two organizations--one follows a packaged pitch, while the other has anegotiated pitch.

I conducted case studies of two youth mediaorganizations.

The Research Questions

I focus on the written transcripts of the Pitch.

Reel Works Teen Filmmaking, New York, NY Appalshop, Whitesburg, KY

The pitch is the moment when youth formally present their ideas fo rtheir video projects and receive f eedback before proceeding to the nextstages of filming and editing. I found that this pedagogical moment

crystallizes many of the lessons that youth learn in media literacy;therefore, it is an excellent mo del for how media literacy is taught.

Lit Review

Implications

References

Damiana Gibbons University of Wisconsin-Madison

There has been a shift in how educators and researc hers see children and

media from seeing youth as passive consumers of media (Hobbs, 2007) toseeing youth as active meaning- and media-makers (Buckingham, 2003).

There have also been strides in integrating media into classro oms (Archer,2006; Burn & Parker, 2003; Jewitt, 2005), including i n media programs formarginalized youth (Stein, 2007). Most of the strides in media productionwith youth, however, have occurred in youth media arts organizationsoutside of schools (Bing-Canar & Zerkel, 1998; Fleetwoo d, 2005; Mayer,2000; Nelson, Hull, & Roche-Smith, 2008).

Archer,A.(2006). Amultimodalapproachto academic literacies:problematisingthe visual/verbaldivide, LanguageandEducation,20(6),449462.

Bing-Canar,J.& Zerkel,M. (1998). Readingthe mediaandmyself:Experiences incriticalmedia literacy withyoungArab-Americanwomen. Signs,23 (3),735-743.

Burn,A.,& Parker, D.(2003).AnalysingMediaTexts.. ContinuumInternationalPublishingGroup.

Fleetwood,N.R. (2005).Authenticatingpractices:Producingrealness,performingyouth. InMaira S.&Soep E.(Eds.), Youthscapes:Thepopular,thenational,theglobal. (155-172).Philadelphia:University of PennsylvaniaPress.

Hobbs,R.(2007).Readingthemediain highschool:Medialiteracy inhighschoolEnglish. New York:Teacher's CollegePress.

Jewitt,C.(2008) TeachersPedagogic Designof DigitalInteractiveWhiteboardMaterials in theUKSecondary School,Designs for Learning,1(1):42 -54.

Lemke,J.L.(1990).Talkingscience:Language, learning,andvalues.Norwood,N.J.:Ablex Pub.Corp.

Mayer,V. (2000).Capturingculturalidentity/creatingcommunity:A grassroots videoprojectinSanAntonio,Texas. InternationalJournalofCulturalStudies,3(57). 57-76.

Nelson,M.E., Hull, G.A.,& Roche-Smith,J. (2008). Challenges of multimedia self-representation:Taking,andmistaking, theshow ontheroad. Challengesof Multimedia. WrittenCommunication,25(4).415-440.

Stein,P.(2008).Multimodalpedagogies indiverseclassrooms.New York:Taylor andFrancis.

Thematic patterns

AMI Organizational Pattern

RW Organizational Pattern

AMI Thematic Pattern

RW Thematic Pattern