CSW u p d at e 2010

Critical Media Literacy Empowering Students critical media literacy Empowering Students CSW u p d at e2010 Special Issue edited by Rhonda Hammer and Laura Nava with illustrations by Zachary Andrews 4 17 21

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Note from the Editors Where Theory Catalyst for Change The First Frame Critical Media Literacy, Media Literacy for New by Rhonda Hammer and Meets Practice by Laura Nava by Hasti Barahmand LGBT Representation, Generations and Kunti Dudakia Laura NavA by Rhonda Hammer and Blurred Realities by Krista Hawkins by Shante Espericuteta with Laura Nava 26 30 37

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The Days I First Deconstructing the When a Sexist Voice is Armed through The Power of The Power of Critical Learned I Had the Superhero Not a Choice Education Production Media Literacy Right to See, Not Only by Richard Van Heertum by Amanda Kenderes by Michelle by Heather L. Caban by Myrna A. Hant and Kip Austin Hinton Mearlette-Hernandez Watch… by Stephanie Ohannesian

2 critical media literacy Empowering Students CSW u p d at e2010 Note from the Editors

I took this project on because doing so would This special ISSUE never would have been pos- with Zach Andrews, who is responsible for the allow me to show my appreciation not only sible without the contributions of students who remarkable and eclectic illustrations included in for Dr. Rhonda Hammer but also for her life- have taken my course in critical media literacy this issue. changing class. I benefited greatly because this but who are also involved in other pursuits. That laura and I would also like to express our class broadened my perspective, empowered they found time in their busy schedules and lives gratitude to the UCLA Center for the Study of me, and helped me to discover my true calling. to do so is one of the greatest compliments any Women, whose commitment to research, schol- When I was presented with the option of work- instructor could receive. arship, and community relations allows for the ing on a CSW newsletter issue that celebrates he I thank Laura Nava for taking on an edito- periodic publication of newsletters devoted to work as well as her class, I seized the opportu- rial role in this endeavor. I was delighted when different courses. We are especially grateful to nity without hesitation. I hope that special issue she contacted me last year to update me on her the Managing Editor, Brenda Johnson-Grau, gives the reader a sense of this amazing course current media career as well as to direct me to for her encouragement, support, patience, and and its exceptional teacher. I also would like to an extraordinary peer website she has developed facilitation of this issue. give a special thanks to Zachary Andrews for ex- (MessyMedia.Tumblr.Com.) She also agreed to this special edition features personal essays tending his artistic talents to this project, as he present excerpts from her media work to new and commentaries related to my course Critical designed all of the graphics accompanying each class members and to provide advice on media Media Literacy and the Politics of Representa- of the articles. projects and tips on employment opportunities. tion: Theory and Production, which one student - Laura Nava Her excitement and passion led me to ask her has described as a “uniquely challenging ten- whether she would assist with this special issue. week course” wherein “students integrate media Little did she suspect, however, that it would be literacy theory with documentary production a complicated and involved process. The suc- methods, culminating in the completion of a cessful completion of this special edition is, in media project—usually a short DVD video—that large part, due to her dedication and continuing examines some aspect of social inequality.” efforts, which included persuading and working - Rhonda Hammer 3 csw update: special issue on critical media literacy contents CSW u p d at e2010 Where Theory Meets Practice by Rhonda Hammer

4 csw update: special issue on critical media literacy contents Introduction to Special Issue on Critical Media Literacy Where Theory Meets Practice by Rhonda Hammer The greatest digital divide is ecause our society is immersed in media 24/7, it is essential that between those who can read students learn how to understand, interpret, and criticize the meaning and messages of media culture. My undergraduate/grad- and write with media Buate course on “Critical Media Literacy and the Politics of Representa- and those who can’t. tion: Theory and Production,” which is cosponsored by the Departments of Women’s Studies and Education at UCLA and which was introduced in – Elizabeth M. Daley, Dean, 2002, is designed to meet this challenge through the study of scholarly uSC School of Cinematic Arts writings, media analysis, and the creation of media texts. This course is a response to what has been described as a literacy crisis, especially with regard to the diversity of media forums, which mediate our every- day lives. The success of this course is best expressed by the students themselves, in the articles in this special issue and in their media projects (which are accessible at http://women.ucla.edu/faculty/hammer/cm178/). In more than twenty-five years of teaching, some of my greatest pleasures have been the demonstrations of critical thinking and creative

5 csw update: special issue on critical media literacy contents talents of my students. This has been especially a great deal of excellent work being done This has included the kinds of coalition politics rewarding given how many of them have been in the field by highly dedicated teachers between members of those who held some able to express themselves regarding their and committed students. Media education degree of power with Othered, enslaved, and abilities to think outside of the box, which can generates a degree of enthusiasm and en- marginalized people, which is the basis of the be articulated through media productions (and joyment that is all too rare in contemporary kind of democratic tradition that was envisioned is hardly exclusive to written papers). It is an schooling; and it offers a form of educa- by many who were characterized as revolution- honor and a privilege to be able to do for a tional practice that is not just engaging for aries in their own time. It is also essential to living what one enjoys, and in this sense I am students, but also intellectually rigorous, note that it was often students who were part of challenging and relevant to their everyday especially fortunate. In fact, I continue to keep the vanguard of these social and political move- lives. in touch with some students who have taken ments. Unfortunately, as many experts argue, Without being at all uncritical of what various incarnations of my media and produc- our participatory democracy is in danger of goes on, I believe this is something we tion courses over the last fifteen years and am being replaced by a neoliberal “plutocratic” one should affirm and celebrate. (2003) delighted to report that their achievements, in which Donald Lazere—a leading cultural critic media and academia, are impressive. Moreover, —defines as a capitalist economy which is ruled In this introductory essay, I will argue for the it is heartening to hear from so many that the by the rich under an undemocratic government necessity of these types of courses at all levels media literacy courses empowered them to (2009: 277). Hence the need for engaged peda- of education and briefly describe the history pursue their dreams and find employment that gogy and critical thinking within our educational and format of my course. allows them to use their creativity. systems is crucial: Hence, teaching critical media literacy can Critical Media Literacy and As bell hooks astutely reminds us: be, as the eminent scholar and insurgent peda- Participatory Democracy gogue, bell hooks (1994) describes it, a libera- “Educational systems have been the primary The founding fathers and unsung mothers tory experience for both teacher and student. place where free speech, dissent, and pluralistic of the American Revolution—one of the first opinions are valued in theory and practice.” Yet, the scarcity of culturally critical media successful emancipations from colonial impe- literacy classes, especially those that involve rialism—instituted a system of participatory William Boyer, another progressive scholar media production, owes much to the general democracy and government by and for the expands upon the importance of “citizen educa- lack of credibility afforded such courses. This people. Indeed, the very nature of our democ- tion” in which “people in and out of school have dearth is also owing to limited technological racy is dependent upon education that pro- information that will help them regain control support afforded such courses. As noted media duces, what Thomas Jefferson described as, over government and laws affecting the econo- and cultural studies scholar David Buckingham an “informed citizenry.” Although the U.S. was my” ((2003: xiii). Yet, contemporary “democrat- puts it: built in part upon the genocide of indigenous ic education is being undermined as the interests peoples and although citizenship was initially of big business and corporate capitalism encour- I am frustrated by the fact that teachers reserved for a privileged few, it is through age students to see education solely as a means of media education still seem to be insuf- education and belief in the justice of a true to achieve material success” (hooks, 2010: 16). ficiently recognized and supported. Despite democracy that many radical reforms have hooks, goes on to warn that such thinking is at the generally inhospitable climate, there is been provoked and instituted by “the people.” odds with engaged, progressive pedagogy and 6 csw update: special issue on critical media literacy contents that much of contemporary so-called education compare credit-card offers” (Nemko, 2008). the nonprofit Kaiser Family Foundation, reports “makes acquiring information more important Furthermore, according to the same study only that media consumption by 8 to 18 year olds has than gaining knowledge or learning how to 20% had basic quantitative skills, while a 2006 radically increased to the equivalent of 10 hours think critically” (hooks, 2010: 16). federally commissioned report found that: and 45 minutes per day because of media multi- “Over the past decade, literacy among college tasking. Given that members of an entire genera- The future of democratic education will be graduates has actually declined.…According to determined by the extent to which democratic tion are dedicating more time to entertainment values can triumph over the spirit of oligarchy the most recent National Assessment of Adult media/digital interaction than to that required of that seeks to silence diverse voices, prohibit free Literacy, for instance, the percentage of college a full-time job, it would seem to make sense that speech, and deny citizens access to education. graduates deemed proficient in prose literacy schools develop curricula to assist students to bet- (hooks, 2010: 17) has actually declined from 40 percent to 31 ter understand and navigate what is considered percent in the past decade.” to be the most powerful and influential ideological Hence we must transcend the blinders of Yet this is not surprising if one considers institution mediating our everyday experiences anti-democratic, neoliberal, supercapitalistic that it is the corporate mass media, which has and perceptions of the world. ideological myths in which money and power been elevated to the leading hegemonic source Henry Giroux (2010) argues that young rather than human rights, social justice, and the of educator in this country. Hence it would people are under assault by “a global market common good are the most important measure seem to be only common sense that we learn economy that punishes all youth by treating them of social worth. It is therefore the responsibility to critically engage media. Indeed, given the as markets and commodities,” which, in turn, of progressive educators, students and citizens: nature of our contemporary society and global “commercializes every aspect of kid’s lives.” He …to honor education as the practice of freedom world, it is crucial that all citizens become liter- adds: because we understand that democracy thrives ate in media culture, emergent new media, and in an environment where learning is valued, developing technology. Many argue that univer- Corporations have hit gold with the new media and can inundate young people directly with their where the ability to think is the mark of respon- sities have a responsibility to provide students sible citizenship, where free speech and the will market-driven values, desires and identities, all for with such pedagogical skills. Critical media to dissent is accepted and encouraged. (hooks, which are removed from the mediation and watch- 2010: 17) literacy courses should be a part of required ful eyes of parents and other adults. curricula within all levels of educational institu- In fact, escalating illiteracy, the deteriorization tions. The need for such courses is especially Yet in the U.S. not only do teachers not receive and privatization of education, as well as the urgent in view of the escalating amount of time adequate training in media literacy but many prohibitive costs of opportunities for postsec- students engage with multiple forms of media. parents, administrators, and government officials ondary learning, further ensures that a partici- For example, according to a 2005 study, consider media education—especially since the patory democracy is under siege. For example many 8 to 18 year olds are devoting 8½ hours “no child left behind” edict—as unnecessary and in a “2006 study supported by the Pew Chari- per day to media-related activity, while col- define it as a “frill,” which is hardly the case such table Trust found that 50% of college seniors lege students ages 18 to 24 spend “an aver- in countries as Britain, Canada, and Australia scored below ‘proficient’ levels on a test that age of 11 hours a day involved in some sort (Beach, 2007: 1). Thus, within most schools and required them to do such basic tasks as under- of media or digital communications” (Rideout postsecondary institutions in the United States, stand the arguments of newspaper editorials or et al, 2005). A more recent 2010 study, by it is generally afforded little if any credibility.

7 csw update: special issue on critical media literacy contents Furthermore, recent cutbacks at many colleges ences with digital technology. In fact, there national, gender, and class biases of any sort of and universities have affected those courses and are numerous reliable studies, and progressive generation talk are troubling. And they could not workshops where students learn the necessary pedagogical experts, that demonstrate a esca- be more obvious than when discussing assump- tions about digital media. rudimentary technological skills they need for lating racial, ethnic, gender, and class divide, pursuing critical media literacy projects. or digital inequality, in relation to new techno- For those students who are seemingly literate in The failure to teach students these necessary logical literacies, including computer science, new media, study reveals that what they are fa- skills is often justified through undocumented especially between disenfranchised and affluent miliar with is entertainment, gaming, gambling, highly inflated assumptions concerning students youth. This is associated with, but not exclusive and other interactive dimensions. These same alleged digital abilitiesh: to, the schools they attend, and their family’s students often lack the abilities to critically as- educational background, class, and lifestyle. sess the media that occupies so much of their While popular rhetoric would have us believe that In fact, sociologist Eszther Harfitti found lives and relationships and to make informed young users are generally savvy with digital me- that a majority of college freshman lack tech- decisions regarding the credibility of the infor- dia, data…clearly shows that considerable varia- nological fluency and basic web related skills, tion exists among fully wired college students mation that they access. David Parry, a Profes- which is related, in large part, to socioeconomic when it comes to various Internet use (Hargittai, sor of Emerging Media and Communications, status. Demographically speaking, her study 2010: 108). argues that “students are not digital natives demonstrated that women, “students of His- who possess some unique set of skills whereby panic origin, African American students, and Hence, we cannot assume that students are al- they can magically manipulate the network and students who had lower levels of education ready literate in even the most basic technologi- gadgets to do whatever they want with out- were lacking in these abilities” (see Rampell, cal and digital skills. Indeed, the myths about standing acumen…but rather they are; this competency can prove particularly problem- 2008). This is also not surprising given that generally marginalized students (especially atic, as Siva Vaidhy Anathan (2008) asserts: ...for the large part unreflective about the way Latino/a and African Americans, as well as they use these network technologies, and what As a professor, I am in the constant company of many women) are not encouraged in their high is more are unreflective about the ways in which 18-23 year olds. I have taught at both public and schools to pursue postsecondary studies in their use (or our use) has already been histori- private, and I have to report that levels of com- computer science or fields that emphasize digi- cally determined and shaped, an unreflective fort with, understanding of, and dexterity with tal “knowledge-intensive abilities” (Margolis, response which gives up power and control over digital technology, varies greatly within every 2008; Hargittai, 2008). Anathan asserts: to these systems. class. Yet it has not changed in the aggregate in more than 10 years…Every class has a handful Although it is essential that all citizens become talk of a “digital generation” or people of people with amazing skills and a large number who are “born digital” willfully ignores the vast literate in the employment of new media tech- who can’t deal with computers at all. range of skills, knowledge, and experience of nology, this kind of knowledge is not neces-

many segments of society. It ignores the needs sarily empowering or characteristic of a more She goes on to argue that dominant myths con- and perspectives of those young people who are democratic participatory education, as is dem- cerning students media and digital literacy skills not socially or financially privileged. It presumes onstrated by—what many believe to be—an are elitist and even bigoted, in that it presume a level playing field and equal access to time, overabundance of boring, uncritical PowerPoint that all students have access to and/or experi- knowledge, skills, and technologies. The ethnic, presentations. Rather it is imperative that we 8 csw update: special issue on critical media literacy contents distinguish between media literacy, which can of the contemporary media and consciousness Description of the Course tend to celebrate the institutions of commercial industry in that it shapes “virtually every sphere The course is comprised of a 3-hour seminar media, in contrast to critical media literacy and of public and political life” (ibid. 244), it is and 90-minute weekly lab (although the bulk of alternative modes of production, which provoke more important than ever—as Marshall McLu- the production work takes place outside of the critical thinking and practical applications to han coined the phrase almost 50 years ago—to scheduled periods). Students are required to contextual relations. It is this distinction that “understand media” (1965). complete three technical assignments, a group characterizes this course and the critical me- Teaching critical media literacy through final media production, and a final paper that dia literacies that so many students manage to production constitutes a new form of pedagogy describes key concepts of critical media literacy, in which students become more aware of how employ in not only their class assignments but from readings, lectures, and media presented in media is constructed, conveys dominant ideolo- in many dimensions of their everyday lives. the seminar (and available on reserve) in rela- gies, and is an often unrecognized but none- It is in this sense that proficiencies in critical tion to their group project. theless powerful source of education. These media literacy must be no different from those Since this class is one of the only classes, critical skills not only make students aware of required of critical thinking and inquiry in any outside the film department, to incorporate how their own views of the world are mediated academic, popular, or political pursuits. Do- the teaching of hands-on production skills, the by media but also enable them to learn how to ing so necessarily includes the engagement of course depends upon a multiplicity of UCLA critically read, engage, and decode media cul- “the politics of representation,” which is loosely resource centers and a variety of computer and described as the manner in which dominant ture. This further empowers them to give voice to their ideas and visions in a diversity of ways technical experts. Indeed, contrary to popular and marginalized people are represented in and invests them with the communications myth, students’ abilities to master these skills the media. Indeed, many of the students in my skills and abilities to both work cooperatively are dependent not only on the technology itself course are particularly interested in diversities and assert their own individuality. And given but on information technology professionals and differences and or exclusions of representa- the context of the brave new world in which we who teach the students appropriate use of the tion, as well as social justice issues. Given that live—one recently transformed by the corpo- equipment (often in conjunction with websites). my own background and experiences are within rate neoliberal, economic meltdown of 2008, And although some universities and colleges the educational documentary domain, most in which the employment opportunities of the have one central onstructional media center students produce such montage-style video past are hardly as plentiful, and entrance to to provide such resources, UCLA does not. It projects (although some have also produced graduate and professional programs are highly has taken years to develop an infrastructure to websites or powerpoint presentations). restricted, expensive, and no longer guarantee support the course. The technical needs of the Hence, I argue for the importance of teach- a successful career—critical media literacies class are met through various on-campus units: ing critical media literacy from a perspective become a mandatory requirement for under- OID/AV (Office of Instructional Development, that seeks to empower students by giving them standing and engagement within this complex Audio Visual), which provides some of the video abilities to read, critique, and produce media, sociopolitical economic system. It is within this cameras; CLICC (Computer Library Instructional which teaches them to become active partici- context that I will briefly describe the develop- Computing Commons), which provides a state- pants rather than “sophisticated consumers” ment and structure of my course, “Critical Me- of-the-art classroom for lab sections, comput- in a highly hypermediated culture and society dia Literacy and the Politics of Representation: ers, and training specialists, who assist students (Jhally and Lewis, 2006: 225). Given the power Theory and Production.” with use of the equipment; ETU (Education 9 csw update: special issue on critical media literacy contents Technology Unit for School of Education, which labs and equipment but also actively participate year in which a separate web-page production makes available a media classroom for the semi- in classroom activities, assist students with the tutorial was scheduled with an IS (Information nar section of course, camcorders, computer development of their projects, provide technical Studies) technician. It is these resource people lab, and two technicians to teach students training, and be literate in the relevant scholar- who substantively contribute to the ongoing iMovie and web page production in the labs. ship. Every TA who has been involved with the success of this course.1 In addition Women’s Studies purchased four course has been a first-class pedagogue and The technical dimensions are taught at an camera kits (which include camcorders, micro- often a producer in their own right. Even more introductory level and most of the students phones, tripods, and accessories), two through importantly, each has shared their passion for have no prior production experience. Before the an OID equipment grant, and two from their critical media literacy. class is finished, however, they are proficient in own funds, as well as a computer for editing Moreover, many students who have previ- such skills, which include shooting techniques, (also through an OID grant) for use by this ously taken the course return to do guest lec- lighting, sound, interviewing, editing, narra- class; SSC (Social Science Computing), which tures and presentations as well as volunteering tion, storyboarding, and scripting. Students can helped design and hosts the course website and to assist in the labs and to teach the incoming also pursue web design, which involves meeting a website for streaming the student projects. students the tricks of the trade. These altruis- with experts outside of the course lab. (Given this cornucopia of technical resources, tic and unexpected contributions speak to the They also become knowledgeable in some on which the course depends, it is not surpris- importance and significance of such classes to of the scholarly research in the field, which ing that students must become immediately the myths about student apathy. involves learning about not only the practical fluent in this discourse of corporate-style acro- Each year, months before the beginning codes or grammar of media production but also nyms, and what each one symbolizes). Indeed, of the course, I meet with the representatives the theoretical skills necessary to consciously students are provided with a chart so that they from all of the resource centers and the teach- 1. These includes Jessica Mentesoglu, Supervisor for Instruc- can become fluent in this specialized discourse: ing assistant (if one is assigned) to discuss the tional Technology Services, UCLA, Library Computing Center for example, “pick up the JVC from WS and technical aspects of the course: organization, (CLICC); Alan Lebetkin, Resource Scheduling and Communica- coordination, and new technologies, programs, tions Coordinator for Instructional Technical Services for Library wireless mic from ETU and bring it to CLICC Computing Services (CLICC); Chris Dutton, Audio Visual Services lab, for editing workshop with Heath.” and teaching suggestions. Manager (AV), Office of Instructional Development (OID); Juan The course also requires a teaching assistant What never ceases to amaze me, even after Halcon, Senior Coordinator for Audio Visual Services (AV), Office of Instructional Development (OID), Caroline Tam Kong, (TA) with production experience, which OID ten years of teaching the course, is that every Instructional Technology Coordinator, Social Sciences Com- funded for a nonrenewable, three-year period. individual involved with the class do so because puting (SSCE); Heath Hewitt, Technician/Analyst, Macintosh General User Support Training, Educational Technology Unit Since then, Women’s Studies has sometimess of their commitment to the students and to the (ETU), Graduate School of Education and Information Stud- provided teaching support, but this is difficult course. Indeed, such ongoing involvement with ies (GSEIS); Peter Kovaric, Chief Technology Officer, Director Educational Technology Unit (ETU), Graduate School of Educa- because of enrollment limitations, which is sup- the course is hardly a part of their job descrip- tion and Information Studies (GSEIS); David Cappoli, Digital posed to be no more than twenty-two students, tions. For example, last year we introduced, Resources Librarian, Information Studies Department, Graduate School of Education and Information Sciences (GSEIS) and last, (although it often exceeds this) as well as for the first time, a separate sound workshop, but certainly not least, Samantha Hogan, Student Affairs Officer, budgetary constraints. The role of the teaching which was taught by a graduate student (who Dept of Women’s Studies (WS); Richard Medrano, Administra- received course credit) and a representative of tive Coordinator, Women’s Studies (WS) and Ramces Jimenez, assistant is a complex one, as these students Administrative Assistant, Social Science and Comparative Educa- are not only responsible for organization of the CLICC. Furthermore this was only the second tion (SSCE) Graduate School of Education and Information Sciences (GSEIS). 10 csw update: special issue on critical media literacy contents decode it. In this regard, I have developed a pared to actively participate. Indeed, the form Other academics, teachers, students, and festi- specialized reader as well as a constantly up- and substance of this course is at odds with val organizers often contact me about many of dated website with media and multiple articles most traditional classes and demands that these projects. It is in this sense that the stu- from academic, professional, and popular fo- students take on responsibilities, which require dents have contributed to the growing field of rums. I also make extensive use of the Instruc- engaged critical thinking and practice and a pedagogical media resources. tional Media Library films and videos, as well workload that exceeds the worth of the 6 units Moreover, the enthusiasm they take in their as my own personal collection, which I show in they are awarded on its completion. Yet, each productions is contagious, and it is within this class and also make available on reserve. This quarter the course is overenrolled and has a context that there is a revolutionary shift in stu- often includes a growing goldmine of online large waiting list. This fact raises questions dent and faculty attitudes, which transform the documentaries. The number and diversity of about stereotypes of contemporary students, classroom into a challenging, provocative, and guest lecturers who have presented in this which include characterizations of them as lazy, entertaining forum. As bell hooks describes it, course are astonishing and include leading aca- passive, and solely concerned with grades. In to take “pleasure in teaching is an act of resis- demics as well as highly successful producers, fact, it should lead us to seriously interrogate tance countering the overwhelming boredom, director and artists from both independent and the context in which this all takes place and the uninterest, and apathy that so often character- commercial media.2 dominant paradigms of postsecondary learning, ize the way professors and students feel about The course website also provides for a which many experts describe as commodity- teaching and learning, about the classroom discussion board in which students can choose based vocational training that bears little resem- experience” (1994: 10). from potential topics or “pitch” their own for blance to a real education. Given that student voice is central to critical the final assignment. This process often starts Indeed the brilliance of most of the final media literacy approaches and practices, it is before the course formally begins and students productions, which are screened in a small only apt that this special issue of the CSW news- are required to have broken up into groups public forum at the end of the class, belies this letter features articles written by some of the and decided upon a general subject and form assessment. Students have translated theoreti- graduates of this course. These writings capture of media that they want to produce (for ex- cal and practical concepts into a final group the diversity and differing standpoints mediat- ample, websites, documentaries, PowerPoint, or educational projects, which usually take the ing the student’s experiences and, I believe, other artistic endeavors). Although we reserve form of a progressive digital video montage or speak to the efficacy of teaching critical media some time in the course to discuss these proj- documentary that often uses media to critique studies. ects much of the decisions and structure of media. Moreover, these productions are always these enterprises takes place through students’ informed by the student’s own standpoints and Contents of the Issue conversations with one another as well as with voice and often address issues related to social In her article, my co-editor Laura Nava man- myself or one of the course assistants. justice and/or the politics of representation. ages to articulate the holistic nature of becom- Needless to say, there is a lot of work in- Many of the productions are so expertly ing critically media literate. Discussing what volved in this class and students must be pre- conceived, in both form and substance, that she learned in the course, especially in relation they are presented in courses both on campus to her final group project, Now Showing: Gen- 2. New media and cultural studies scholars/activists Professors Leah Lievroux and Douglas Kellner have presented in every class and off, at academic conferences, in art shows der, she reveals the transformative nature of since the courses inception! and lectures, and at film and media festivals.

11 csw update: special issue on critical media literacy contents this kind of literacy. Moreover her subsequent Stephanie Ohannesian’s article, she discusses first time in U.S. history there was a woman experiences and current success speaks to the both of these; the first, called The Great Imbal- and Black man, running for the office of Presi- significance of critical media literacy not only in ance, is an investigation of the paradox of con- dent of the United States —through the use of academic pursuits but in the practical relations temporary relationships to food that juxtapos- material from historical archives and discussions of everyday life, including employment and es eating disorders with food insecurity. Her of the Reconstruction Era, the suffragist move- activism. second coproduction, entitled Bite Me, which ment, and the civil rights and protest move- Video documentaries by two groups were she pursued after completion of the course, ments of the 1960s. chosen for screenings at the prestigious UC Da- is a provocative interrogation of the massive The politics of representation are front vis Feminist Film Festival in 2009 and 2010: Are appeal and popularity of Twilight. Both focus and center in Heather Caban’s coproduction You Black Enuf: The Politics of the Black Female gender and class relations. A Generation of Change: The Historic 2008 Identity and Inside the Digital Closet are impres- The politics of gender are also examined by Presidential Election of Barack Obama, which sive examples of the issues often addressed in Richard Van Heertrum and Kip Austin Hinton in is a multiperspectival engagement of the opti- student productions. This achievement is even Deconstructing the Superhero: American Idols mism and radical changes that were associated more remarkable given that both of the student in Film—in particular, constructions of mascu- with Obama’s election. Juxtapositions of diverse groups had no prior production experience. The linity in the media and the “macho myth.” Van interviewees and media montages characterize articles by Hasti Barahmand and Kunti Duda- Heertrum and Austin present a critical reading aspects of American history too often excluded kia and Shante Espericutetas and Laura Nava of the popularity of superheros, which is framed from mainstream mass media. discuss this experience as well as the form and by an interview with leading cultural studies In the closing article, CSW Research Scholar content of their productions. scholar John Lawrence. Myrna Hant discusses the relevancy of a peda- Diversity issues are also fundamental to Contemporary news broadcasts and their gogy of critical media literacy. Indeed, Hant Krista Hawkins’ coproduction, Commodifying presenters are interrogated by Amanda Ken- Lolita: The Hypsersexualization of ‘Tweens’ documents the remarkable success of her own deres in Spitballs at Battleships: A Show and in America, which addresses the escalation of unique teaching approach, which she devel- Tell of Women in the News. The deeply rooted what many experts describe as the “sexualiza- oped, in part, during—and after—auditing the sexism that is encoded in television newscasts is tion” of girls in contemporary advertising and critical media literacy course. the subject of her inquiry, which employs some mass media. This oppositional video focuses Readers can not only read the student’s astonishing footage that would appear to rein- particularly on media directed at the tween reflections on their projects in this special issue force her critique. demographic, girls between 8 and 12 years old. but also view the projects themselves by visit- It is not only gender but also intersectional She describes the development of this project in ing the course website, which includes these relations of race, class, and age that inscribe relation to her research. and other student media productions: http:// Some students not only completed a class two projects which address the 2008 elections. women.ucla.edu/faculty/hammer/cm178/. In media project but went on to enroll in Indepen- In Voting in Black & White: Politics of Race & addition, CSW is hosting a special screening of dent Studies courses in which they produced Gender in American Culture, Michelle Mearlette- excerpts from some of these student films on more expansive documentaries on topics which Hernandez and her coproducers contextualize October 19th in Moore 3340. are of indicative of their particular interests. In the Democratic primaries—in which, for the

12 csw update: special issue on critical media literacy contents Rhonda Hammer is a CSW Researcher Scholar and McLuhan, Marshall. 1965. Understanding Media: The Extensions of Man. New York: McGraw-Hill. a Lecturer in Education and Women’s Studies at Nemko, Marty. May 2, 2008. “America’s Most Overrated UCLA. Product: the Bachelor’s Degree.” The Chronicle of Critical Media Higher Education. Available at: http://chronicle.com/ REFERENCES free/v54/i34/34b01701.htm Literacy Beach, Richard. 2007. Teaching Media Literacy.com. New Rampel, Catherine. 2008 “A Sociologist Says Students York: Teacher’s College Press Aren’t So Web Wise After All” Chronicle of Higher Edu- cation. May 2, 2008. Available at: http://chronicle.com/ Boyer, William. 2003. Myth America: Democracy Vs. Capi- article/A-Sociologist-Says-Students/2058 Empowering talism. New York: The Apex Press. Parry, David. 2010. “Not So New” Flow Television Available Buckingham, David. 2003. Media Education: Literacy, at: http://flowtv.org/2010/02/not-so-new-thoughts-on- Learning and Culture. Cambridge: Polity. emerging-mediadavid-parry-university-of-texas-at-dallas/ Students Debolt, David, 2008. “Colleges Struggle to Keep ‘Smart” Rideout, V, D. Roberts and U Forbes. 2005. “Generation Classrooms Up to Date.” Available at: http://chronicle. M: Media in the Lives of 8-18 Year Olds. Kaiser Fam- com/free/v55/i08/08a01701.htm ily Foundation Study, March 2005. Available at: http:// Giroux, Henry. 2010. “A Society Consumed by Locusts: tinyurl.com/23hr843 A screening of excerpts Youth in the Age of Moral and Political Plagues. http:// Vaidhy Anathan, Siva. Sept. 2008. “Generational Myth: www.truth-out.org/a-society-consumed-locusts-youth- Not All Students Are Tech-Savvy” The Chronicle of High- from some of the films age-moral-and-political-plagues58209 er Education. Available at: http://chronicle.com/weekly/ Hargittai, Eszter, 2010. “Digital Na(t)ives? Variation in v55/i04/04b00701.htm featured in this special Internet Skills and Uses among Members of the ‘Net Young, Jeff. 2008 “A Sociologist Says Students Aren’t So Generation.’ Sociological Inquiry. 80(1): 92-113 issue will be held on Web-Wise After All” The Chronicle of Higher Education Hargittai, Eszter. 2008. “The Digital Reproduction of http://chronicle.com/blogPost/A-Sociologist-Says-Stu- Inequality.” 936-944. In Social Stratification. Edited by dents/3883 David Brusky. Boulder: Westview Press. hooks, bell. 1994. Teaching to Trangress: Education as the Practice of Freedom. New York: Routledge Tuesday hooks, bell. 2010. Teaching Critical Thinking: Practical Wisdom. New York: Routledge. Kaiser Family Foundation. Jan. 2010. “News Release: October 19 Daily Media Use Among Children and Teens Up Dra- matically From Five Years Ago.” http://www.kff.org/ 4 to 5:30 pm entmedia/entmedia012010nr.cfm Lazere, Donald. 2009. Reading and Writing for Civic 3340 Moore, UCLA Litearcy: A Citizen’s Guide to Argumentative Rhetoric. Boulder: Paradigm Publishers. Margolis, Jane (2008) “Introduction: The Myth of Tech- nology as the ‘Great Equalizer” In Margolis, Stuck in the Shallow End: Education, Race, and Computing, pp 1-16. Cambridge: MIT Press. JOIN US! Margolis, Jane and Alan Fisher. 2003. Unlocking the Club- house: Women in Computing. Cambridge: MIT Press.

13 csw update: special issue on critical media literacy contents CSW u p d at e2010

help me

14 csw update: special issue on critical media literacy contents Now Showing: Gender Catalyst for Change by Laura Nava

t was my last quarter at UCLA and I was on everything in a shot is used to convey a mes- and editing—we miraculously managed to the steady path toward becoming a lawyer. sage. I felt as though I fully grasped the les- complete a new version. Despite this disas- IThen I took Communication Studies 178. sons of the course. ter, which as I later learned is not uncommon Not only did it change my career path, it also During the making of the final project, I within the fields of media production, my love changed my life. Although I had taken another experienced one of the most trying times of for, and commitment to, decoding and ana- class with Dr. Rhonda Hammer, this class was my educational career. Unfortunately the hard lyzing media was strengthened. Now Show- completely different because it not only chal- drive (an external mass-storage device), which ing: Gender showed me my true calling and I lenged me to become media literate but also to seemed to have a will of its own, revolted quickly changed my career path. create a project that reflected my newly devel- against my group and decided to dump all of As my college career came to an end, I had oped media literacy. My group’s project, Now the edited video, visual, and audio material managed to network with some people in the Showing: Gender, was created with the intent we had saved on it. We had lost at least 80 film industry. Although I made the contacts to explore the role media plays in the socializa- hours of our time, and we were devastated. myself, the confidence I had was founded in tion of femininity and masculinity, focusing on Although Dr. Hammer was very understand- the knowledge and, albeit limited, experience advertisements and reality shows. ing and told us we could simply present some I had gained from the class in media literacy. The project soon became my baby. Like a of the rough footage, my love for this proj- Also, I learned how to “pitch,” or present my first-time parent I learned, through trial and ect drove me to try to reconstruct it, from skills. Shortly after graduation, I landed my error, how to make my baby better. With every scratch, in a day and a half, using some of the first job—as Set Decorator Coordinator on The shot I became more conscious: of the angles original video relying heavily on the editing Blind, a feature film. Since then, I have not of the shots in pre-production to the music I logs, and scrambling for images and audio. looked back and have worked consistently on chose in post-production. As I became aware Although missing much of the content of our projects from commercials to feature films, in that a viewer would be receiving the content, nearly completed initial project—which we positions such as Second Assistant Director I realized, in true media literate manner, that had spend months researching, shooting, and Talent Coordinator.

15 csw update: special issue on critical media literacy contents Not only did this course enable me to forms of discourse that are especially appropri- low the voices of those who are often excluded achieve success in the highly competitive field ate for new technologies. Here is an example from mainstream media to be heard. It is these of entertainment, especially for women but from one of my blog posts: “…but sadly ‘Pro- voices that, I believe, will invoke change. also it also enabled me to become involved in fessors’ who are thisclose to being above the It is within this context that I was very new media activism. In particular, developed an student they are teaching in terms of education, involved in the creation of the aesthetics of interactive project, MessyMedia.Tumblr.Com, do not cut it.” I purposely removed the space the site. I wanted Messy Media to be “messy,” a blog that applies the conceptual and practi- between “this” and “close” to create a single represented by a messy border filled with ink cal skills of media literacy. MessyMedia.Tumblr. word, which, I believe, better demonstrates the splatter and different color and font types. Com was created to encourage my generational proximity I wanted to emphasize. I also con- However, the area in which I write is the antith- cohorts—along with any other interested people sciously employ a writing style that is similar to, esis; it is clean with black type on a white back- who feel compelled to analyze and filter the and representative of, the way I believe most ground. This format is designed, in part, to media—to share their insights with others in a people, especially tech savvy people—who are provoke the reader’s participation, and many public interactive forum. Though this medium, I part of a new media generation—communicate. have begun to join me in filtering the media involve myself and my immediate community in I also try to infuse the content with a bit of and becoming media literate. deciphering and decoding the media that affect satire and dry humor for an easy read: In sum, I firmly believe in the wise words our everyday lives. of Mahatma Gandhi: “You must be the change This blog allows me to engender awareness Because if you put down the fear and think you wish to see in the world.” Without Dr. and to politicize my generational community about it, all it really is…. Hammer, her guidance, and this class I do not with regard to industrial media culture, which is think I would have found the manner in which Quick! Look over there! -> A distraction. so powerful because it operates largely at an un- to accomplish this great task that Gandhi has conscious level. Moreover, in itself and its role inspired me to undertake and be part of a pro- Indeed, to paraphrase communication lu- in giving voice to so many to share their con- gressive community of others who also share minary Marshall McLuhan, new media creates cerns, actions and practices, this site celebrates his vision. Developing an understanding of a novel way of looking at the world and a new and makes apparent the importance of alterna- critical media literary theory and skills in pro- environment in which to live. Decades ahead of tive media and new media, which are becoming duction have empowered to develop an opposi- his time and close to half a century before the far more accessible. tional, alternative medium through which I can digital revolution, McLuhan’s "insights made The site is focused on politics and pop cul- change, and in turn help change the world. the concept of a global village, interconnected ture in the media. Also, I had a particular audi- by an electronic nervous system, part of our ence in mind, both privileged and marginalized, Laura Nava graduated over a year ago from UCLA. popular culture” (http://en.wikipedia.org/wiki/ so that it is not limited to academic readers. She graduated with B.A.s in Political Science and Marshall_McLuhan). This description, I would Hence, proper grammar, punctuation, and para- Women’s Studies. argue, is an apt expression of the importance graph structure are “out the proverbial win- of blogging, even though too many regard it as dow”; their usage is in a constant state of rene- a hobby or narcissistic endeavor, rather than a gotiation (and translation), which is often the necessarily cooperative and highly significant case with the development of new (emergent) mode of interactive communications that al- 16 csw update: special issue on critical media literacy contents Are You Black Enuf? The Politics of the Black Female Identity

CSW u p d at e2010 TheOur Spectacular First Journey as Amateur Frame Documentary Filmmakers By Hasti Barahmand and Kunti Dudakia

pril 16, 2009, marked perhaps one of ate film within this consciousness. Naturally, the most momentous and exhilarating we began our venture into the video-making Aexperiences in our filmmaking careers— world with little more than a camera, micro- in fact, it may have been the only event to phone, and a question. Though our topic had qualify us as documentary filmmakers to begin yet to be finalized, we knew the video docu- with. How did we reach such a climax in our mentary would delve into the politics and so- careers without really ever having one? cial representations of black women, and how The story began in the winter of 2007 black women deal with their intersectional during a Critical Media Literacy course taught identities. The double consciousness of black at UCLA by Dr. Rhonda Hammer. Understand- women, who concurrently negotiate their race ing how the media constructs images to influ- and gender, was the focus. ence and sway the public in different politically We experienced many ups and downs in the charged ways, and identifying and critiquing making of the film. Professors scheduled to be ARE YOU BLACK ENUF was screened at the those characterizations is the course’s objec- filmed about race, gender, and class cancelled 4th Annual Davis Feminist Film Festival tive. As we became progressively more aware their appointments or technical difficulties in 2009. of the influencing factors of media, we took halted the filming of an event or interview. Such our first step toward learning how to cre- humps and hurdles are part of the process of 17 csw update: special issue on critical media literacy contents filmmaking; luckily we were able to jump over flies in our stomachs and a prayer in our hearts Kunti Dudakia graduated summa cum laude from these obstacles and still preserve our vision. that this community of artists and filmmakers UCLA in 2007 with a B.A. in Communications the heart-wrenching, sleepless, stress- would accept our film, we entered the theater. Studies and Women’s Studies. She received the ful, patience-testing editing process was none- Prior to the screening, we were introduced, for CSW Constance Coiner Undergraduate Award in theless incredibly rewarding. Our efforts to the first time, as filmmakers and award winners 2007. She is currently attending law school at produce a realistic, critical commentary about to a select group of attendees. Though feel- UC Berkeley School of Law (Boalt Hall) where the black female experience came to fruition in ing shy, we mingled and answered questions she is the Co-Solicitations editor of the Berkeley our labor of love entitled Are You Black Enuf? about our film and why we had created it. It Journal of African-American Law and Policy and The Politics of the Black Female Identity. De- was an unforgettable moment when a couple Co-Chair of the Student Liaison Committee for spite our own critiques of the film’s perfection, approached us to say how excited they were Faculty Hiring. She is the William K. Coblentz Fel- we were eager to share it with our class and to watch our film, noting that they had made low at the Thelton E. Henderson Center for Social friends; after much deliberation, and encour- the decision to attend after reading about our Justice, where she is conducting research on agement from Dr. Hammer, we submitted it to submission. With an audience of nearly three mental health and women of color for an upcom- the Davis Feminist Film Festival. hundred, we were introduced on stage then ing symposium where she hopes to present an Devoted to challenging prejudices and quickly ran to our seats, hoping that an invisibil- original thesis. stereotypes through film, this annual film ity cloak could mask our fear of rejection. festival at UC Davis, promotes scholarly and The film begins with a black screen and sub- Hasti Barahmand graduated from UCLA with a inter-community dialogue and draws films and tle African drumming that increases in tempo B.A. in Women’s Studies and Education in 2008. documentaries from around the world. We had with narrated spoken word and flashing video She is currently a J.D. candidate at the University no real expectations about our chances of being montage. Though we sat facing the screen, of Iowa. A scholar and women’s rights activist, accepted. As we prepared our application and we were really watching the audience react. It she has focused largely on exploring and bring- statement for submission, we believe it would is nerve-racking to bare the product of your ing to light the multifaceted and intersectional be no time before we received an email of hard work, sweat, and tears for all to judge; experiences of women of color within the U.S. Her rejection. This made it all the more astonishing however, the experience of letting your piece works include the research documentary “Queen and worthwhile when we received a letter from speak to an audience is unforgettable. At the Kong–A Strategic Look into Hip Hop.” She looks the director stating that our admission was ac- conclusion, the audience erupted into applause, to pursue a career in educational law and policy cepted and would be screened. A bit speechless which was music to our ears and calming to our with an emphasis on academic curriculum and at the honor, we were nonetheless proud and nerves. The first frame of our film is just sound access to higher education. excited for the opportunity to have our piece with no image, it is a blank palette that leads to shown to a large audience. our creative expression which follows. The first We promised each other that we would frame is our deep breath, our closed eyes, and make it to the festival, although it meant a 400- our hope that despite a short resume, we have mile drive for one of us and interrupting a busy a relevant message to share. And remarkable it law-school schedule for the other. With butter- was to share.

18 csw update: special issue on critical media literacy contents Inside the Digital Closet

CSW u p d at e2010 Critical Media Literacy, LGBT Representation, and By S hante E sp eri cuteta ( WITH L aura Nava) Blurred Realities

n 2009, I enrolled in Dr. Rhonda Hammer’s I had learned in this course were practically Critical Media Literacy course because I was applicable to other projects, assignments, and Iinterested in media literacy and wanted the events and activities in everyday life that are opportunity to produce a video documentary. not necessarily related to media because I came On the first day of class, I was apprehensive to realize that there is no one absolute truth and even had second thoughts about staying, but rather different and multiple realities and especially after the students from the previ- standpoints. ous year presented their projects. These were My group learned how current media cre- amazing, especially taking into account the fact ates problematic and often harmful stereotypes that most had never produced before taking that are essentially oppressive to the commu- this course, and I doubted that I could ever ac- nity. Our group decided that the central topic complish a similar feat. Yet, a year later it was of our project would be the misrepresentations the short documentary made by my group, of queer people in the corporate mass media. Inside the Digital Closet was screened called Inside the Digital Closet, which received We wanted to distinguish between the mean- at the 5th Annual Davis Feminist Film similar acclaim. It was only then that I truly ap- ings of what it is to be queer and queer theory Festival in 2010. preciated the empowerment of this experience with that of LBGT (Lesbian, Bi-Sexual, Gay, and realized that the critical theories and skills Transgender). Unlike much of gay and lesbian 19 csw update: special issue on critical media literacy contents studies, which focus on the “recovery of gay audience—and heard their applause and praise the event praised Dr. Hammer and her course, experience,” queer theory “builds upon criti- for the project—that my nervousness subsided. which is widely respected within the progressive cal challenges” to the idea that gender is part Considering the praise that Inside the Digital film community. of the essential, normal, primarily biologically Closet had received, Dr. Hammer encouraged After a few films were screened, the open- determined self, rather than being largely, “a us to enter it into festival competitions. We had ing scene of our film appeared. The butterflies social construction of sexual acts and identities” intended to do so but never found the time. disappeared and were replaced by a feeling of (http://en.wikipedia.org/wiki/Queer_theory). As Nonetheless, Dr. Hammer took it upon herself accomplishment and intense joy as I viewed cultural critic Alice Echols (Shaky Ground: The and entered it into a festival, and for her efforts our film in the company of hundreds of people. Sixties and Its Aftershocks. New York: Columbia on our behalf I will be forever grateful! One I will never forget the applause and praise, University, 2002) describes it: “Queer theory year after its production, we were surprised including that from my friends who seemed calls into question the conditions by which and excited when she informed us that Inside impressed by the quality of the production, binary oppositions (male/female, heterosexual/ the Digital Closet was one of the 19 chosen— which they knew was my first attempt. This homosexual) are produced” (140). In other out of more than 150 submissions from around experience further revealed to me how privi- words queer theory and activism “contests the the world—for public screening at the festival. leged I was to have gained the skills to create idea of sexual identity as stable” or fixed (p. Although the festival was a bit of a trek to a film that examines a topic that is too often 140): “Whether in the political or academic attend, I could not have missed seeing our film considered taboo. I can honestly say that creat- arena, queerness involves a critique of normal- played on a big screen. I was anxious as to how ing this film and seeing it on the big screen at ization” and what is often labeled as peculiar or the other filmmakers would receive it. In spite a film festival stand as the proudest moments even deviant (p. 141). I feel confident that we of the butterflies in my stomach, my heart was of my academic career. For that, I am forever accomplished our goal, in that our short docu- pumping with adrenaline in both anticipation grateful for the opportunities that taking this mentary examines ways in which current popu- and excitement. I was introduced to Michelle class has provided me. Taking this course was lar media misrepresents the queer community Yates, the festival’s director, then to other film- a life-changing experience for me, and I plan to relating to issues such as promiscuity, ridicule, makers and artists from the community. They employ and pursue critical media literacy in my and abnormality. We integrated clips from real- were all eager to hear about my experiences in future endeavors. ity television as well as from scripted shows Dr. Hammer’s class, as they had heard about to illustrate these stereotypical portrayals and it from other students who had presented the A recent graduate of UCLA, Shante Espericuteta included interviews that help to define, analyze, festival. I had no idea that this festival was holds a B.A. in Sociology and Women’s Studies. and further question these portrayals. so prestigious, and I want to stress how this Planning to pursue a career in social work, she is When we presented the project in the final screening has opened up further opportuni- currently applying to graduate programs for Fall class, in front of our fellow students, family ties for the group, given that we were now of 2011. She works full time for Victoria’s Secret members, friends, professors from the De- considered to be successful video/filmmakers. as an intimates category manager, volunteers at partments of Education and Women’s Studies At the opening of the festival, I was introduced her local YMCA as a day-camp coordinator and at UCLA, and Dr. Hammer, I was anxious but to the audience as a first-time filmmaker, and enjoys training for half marathons. confident that it would be well received, but it I beamed with pride as I stood up and waved was only after I saw it on the screen with an to everyone in the auditorium. The director of

20 csw update: special issue on critical media literacy contents CSW u p d at e2010

Media Literacy for New Generations

By Krista Hawkins

21 csw update: special issue on critical media literacy contents Commodifying Lolita: The Hypersexualization of Tweens in America

Media Literacy for New Generations

By Krista L. Hawkins

s a mother of two girls, I am pas- between the ages of 8 and 12), our film reveals also able to complete my honors senior thesis, sionate about empowering and protect- a connection between the hypersexualization of “Selling Sexy as ‘Cool’: HIV/AIDS and the Voice of Aing children. I immediately knew what young girls and the prevalence of pedophilia in African American Girls.”An exploration in using I wanted to explore in my film project for Dr. the U.S. Why, our film asks, does a society that art and media literacy as social, educational, and Rhonda Hammer’s course on “Critical Media claims to oppose pedophilia and child pornog- retention tools in the creation of HIV/AIDS pre- Literacy,” because I had been noticing that my raphy market images that promote the sexual vention materials, this 12-week project entailed daughters were getting some negative mes- exploitation of young girls ? working with a small group of inner-city girls. sages about what it means to be female, mes- Making the film was empowering to the As I now pursue graduate study, I am still sages that were contrary to what I have tried to members of my group but making it available to searching for new ways to incorporate media teach and show them. I have always monitored others was important to us and to Dr. Hammer. literacy and alternative media texts into my their viewing of television programs, but stereo- We were guest lecturers in her graduate film artistic, social, and political activism. Equally typical ideas about femininity were nonetheless course, “Film and Society: The Politics of Repre- important, my daughters (aged 11 and 14) have creeping into their consciousness. Even though sentation,” and for her undergraduate/graduate also gained; they are more empowered as media I began to watch some programs with them so course, “Critical Media Literacy and the Politics viewers and are creating and producing their that we could discuss the often-subtle negative of Gender: Theory and Production.” To show- own alternative media texts. messages, I didn’t feel I was doing an adequate case our documentary and the artistic work of In 2007, Krista L. Hawkins graduated magna cum job of explaining this complex issue. other students, I cocurated an exhibit, “Art as laude from UCLA with a B.A. in Women’s Studies: Directing and co-producing Commodify- Social and Political Commentary,” at UCLA in Art and Media and received the iArts Undergradu- ing Lolita: The Hypersexualization of Tweens in 2007. It addressed the ideological nature of ate Award. She is pursuing a master’s degree in the America gave my group the opportunity to com- stereotyping and the politics of representation Marriage and Family Therapy/Clinical Art Therapy bine media literacy discourse, feminist theory, with regard to gender, race, ethnicity, class, and Program at Loyola Marymount University. She is also the co-director of self-esteem workshops for personal artistic expression, and activism. I sexuality. I am also pleased to report that our teens and utilizes critical media literacy in the cur- also learned how to use media as a catalyst for documentary was selected for use in a cultural riculum. discussion, education, and social change. Exam- studies course at Otis College of Art and Design. ining the hypersexualization of “tweens” (girls With Dr. Hammer’s encouragement, I was 22 csw update: special issue on critical media literacy contents The Days I First Learned I Had the Right to See, Not Only Watch

By Stephanie Ohannesian

CSW u p d at e2010

23 csw update: special issue on critical media literacy contents The Great Imbalance/Bite Me

The Days I First Learned I Had the Right to See, Not Only Watch

By Stephanie Ohannesian

t seems harder and harder these days to by an obviously needy person digging through explore, one that pushed our buttons or one find individual conviction in relationships per- trash, we give up our power and allow them to perhaps was not given proper attention in Itaining to current societal events, given that continue. One of the best ways to start on this our estimation. My group (consisting of three so many voices on so many issues go unheard. journey to self-empowerment seems to be in female students) began brainstorming. We soon Convincing people that I did in fact have a point finding other people who are also interested in realized we all had had jobs in the restaurant of view on various topics would, I thought, re- such questions. By finding like-minded people, industry, had tried our hand at show business, quire effort and commitment to become a fully we can begin to discuss and debate a variety of and had grown up in Los Angeles. Those com- fledged expert on a particular topic. It would dominant cultural beliefs and practices, which monalities raised the issue of food and afflu- also require hoping that the big picture on huge the majority seems to accept as the norm (or ence in L.A: the cultural obsession with thinness global issues would somehow at some point find what the esteemed cultural studies expert, Stu- and the neediness of individuals and families its solution, at least in my own mind. The irony, art Hall, has called “common sense”). In other who don’t get enough healthy nourishment. however, in this way of thinking is that the ev- words, there is a pressing need for courses or was Intrigued but skeptical about our topic, eryday life-altering things each of us witnesses workshops that provide students (of the class- Dr. Hammer nevertheless trusted our passion and experiences are in fact the cornerstones of room and of the world) with the opportunity to about a society where people not being fed for so many of these global problems. Our vision as express their own concerns and help them to two very different reasons. After interviewing individuals, and as students, and how we choose gain the necessary critical skills. experts in the fields of psychology, nutrition, to interpret what is given to us—be it on the My first experience with finding and using and media culture and spending the day with a street, on TV, or in the classroom—is in fact up my own voice was through Dr. Rhonda Ham- man by the name of Bob, who had gained 150 to us. If we choose to ignore, for example, cur- mer’s class on critical media literacy. She gave pounds during his first year living on the streets rent toxic standards of beauty or choose to walk us free reign to think of a topic we wanted to because of the fatty foods available in shelters, 24 csw update: special issue on critical media literacy contents we completed The Great Imbalance. No one had taken the time to put the two issues together: starving to achieve a standard of beauty and consuming unhealthy food because you have no other resources are both toxic to health and well being. Seeing the juxtaposition for the first time both touched and shocked the members of our audience. After the release of Twilight, Dr. Ham- mer asked students to take a look at why this series about vampires and eternal love had become such a popular culture phenomenon. Our goal with this documentary entitled Bite Me was to find out what the audience was looking for and was getting from the books and the films. Fans seemed to be yearning for undying love, commitment, family sup- port, and connection, and we captured these yearnings in our film. Many of the people we moments from the audience because they are Stephanie Ohannesian graduated with honors interviewed spoke about feeling alienated and seeing, perhaps for the first time, something from UCLA in 2009 with a B.A in Women’s Stud- about wanting to feel a connection to some- that have have seen many times without really ies: Media and Social Construction of Gender. thing. We never would have thought that such seeing it. Being taught how to see in this way She has been a member of Alpha Gamma Sigma telling statements would have come out via a and having the opportunity to put my vision Honor Society as well as Alpha Gamma Epsilon documentary on a film about vampires, but into action have been life-changing experi- where she began her volunteer work with Union they did. ences for me. Given similar opportunities, ev- Station Foundation, Feminist Majority Foundation Her encouragement gave us the confidence eryone can gain the power to understand the as well as with The Courtwatch Project through to try and make a strong statement. Learn- underlying realities of what we are all exposed the National Council of Jewish Women. She is in ing how to view media and society critically to every day. Developing critical media literacy the process of applying to law school where she gave us the chance to control what we, as is a basis for making choices, becoming aware, plans on continuing her studies in human rights citizens, are normally spoon-fed. This process and avoiding becoming the victim of mass me- law with an emphasis on women’s rights and also allowed created a forum for our peers to dia and the spin doctors of the media machine. hopes to combine legal work with public service be challenged as well. Many of documentaries If we each take responsibility for what we will announcement filmmaking. that have been produced under Dr. Hammer’s and will not accept, those that have the power tutelage have been met with gasps and “a-ha” will have no choice but to listen.

25 csw update: special issue on critical media literacy contents Deconstructing the Superhero

CSW u p d at e2010 American Idols By Richard Van Heertu m and Kip Austin Hinton in Film

aking the short video documentary, superhero films. Our documentary thus not only Deconstructing the Superhero: Ameri- offered an entryway into video/ filmmaking tech- Mcan Idols in Film, on the politics of niques but it also encouraged a more critical view superheroes was a whirlwind experience. We of media itself. learned filmmaking techniques while expand- This experience has greatly contributed to ing our analysis of popular culture, especially our growth as cultural critics and as engaged in relation to media constructions of masculin- pedagogues; we have employed methods of ity. Research was situated within the historical critical cultural studies and media literacy and context of film studies and included interac- the theories and practices we learned in the class tions with a diverse range of students and fac- in our own publications, teaching, and research ulty, both inside and outside of the classroom. projects. Richard, for example, is currently co- Our own film combined short interviews with editing a book Hollywood’s Exploited: Public students, framed by a longer interview with Pedagogy, Corporate Movies, and Cultural Crisis Emeritus Professor John Lawrence, who has (Palgrave, December 2010) that looks at various written extensively on the role of superheroes identity markers and their relationship to filmic in American culture. We then juxtaposed these representation. He completed two chapters for interviews with clips from a number of recent the book, one on the death penalty and film and

26 csw update: special issue on critical media literacy contents the other on representations of social class in but they centered around the genre’s “macho” Umberto Eco (1979) once argued that Super- three contemporary films set in Boston. He nature (in an arguably increasingly emascu- man is a conservative figure whose role is to has also completed a chapter for another book lated world), heroism (in a world where heroes restore rather than transform the social order. analyzing the relationship between irony, youth and positive role models are harder to find), This is true of most superhero films from the culture, and The Daily Show and The Colbert pure entertainment value, ability to do things Spiderman series to those of Batman and even Report. Kip’s dissertation research is on a humans cannot, and sense of nostalgia. Super- Wonder Woman. In all cases, they take on some video-editing class for farmworker students; hero films, as many experts argue, instantiate threat to society and, by defeating it, restore several of those students’ films were accepted our desire for a pacified world where fear and order to the community–never actually challeng- for screening at the 2010 California Associa- uncertainty are confronted by the outside hero ing society to change. As Lawrence and Jewett tion of Freirean Educators Conference. Kip also (Jewett and Lawrence, 1977). This is often describe it, these films fall under the rubric of presented on critical media literacy during the based on a nostalgic 1950s–style utopia that the American monomyth (1977, 2002), an es- Social Justice Seminar at the 2010 American builds strong audience affiliation to traditional capist fantasy where a generally solitary, violent Educational Research Association Annual Meet- gender roles, innocence, and exceptionalism as individual, or small group saves a community ing in Denver. traditional American mythology. from some great evil–betraying the ideals of As shown by our own academic experi- We next explored the relationship of super- democratic responsibility and participation, of ences, a theory-and-practice course connects heroes to religion, in a section subtitled “Jesus reasoned and intelligent debate and of reins on students to a critical media literacy agenda. in Tights?” John Lawrence pointed out the power. Redeemer characters are the only ones Students develop skills in deconstructing media proximity of the superhero to a secularized ver- who can save society from danger or evil (often texts, which can in turn empower youth to sion of the New Testament, with a savior from embodied by corrupt or inept politicians, bum- produce their own media (Kellner and Share, beyond coming down to rescue earth from bling police and federal agents and the collapse 2007). Given that the majority of students in iniquity and evil. This is clearest in Superman, of the other social institutions entrusted to our class were women and people of color, we the story of a boy from Krypton sent to Earth protect us). While none of the male or female found ourselves in a minority position, which by his parents just as their planet is about to students we interviewed ever thought about the allowed us to better understand and explore be destroyed. His parents make the ultimate underlying politics, we argue that these films different standpoints. With the encouragement sacrifice, sending their newborn son to earth to are subtly powerful ideological instruments that, of Dr. Hammer and other students, we decided rescue humanity, with his Hebrew name of God among other things, offer anti-democratic mes- that an exploration of representations of white- and constant references throughout the films sages against collective action or social change. ness, masculinity, and democracy, as depicted to the biblical line “the son becomes the father Instead, an outsider comes in to save society by the majority of superheroes in film, would and the father becomes the son” (Kozlovic, from some peril, often tied to contemporary allow us to understand this form of popular 2002). Lawrence points out that these are fears like global warming, technological hege- culture in a dialectical fashion. “smash-mouthed Jesuses” who use violence to mony, terrorism, or simple greed, and restores We began the video documentary, Decon- exact their definition of justice–the destruction the current order of things – legitimating so- structing the Superhero: American Idols in Film of evil and restoration of law and order. ciety as it is, rather than as it could be. This is by asking why superhero films are so popular. This relates closely to our next theme, the backed by the passive nature of the rest of the Students offered a number of perspectives, relationship of superhero films to democracy. characters in these films, who tend to be victim-

27 csw update: special issue on critical media literacy contents ized or watch the action from near or far. Law- The editing process itself was an even and fair use. International Journal of Learning rence calls this a form of “spectator democra- bigger hurdle. Even with effective hands-on and Media, 1(3), 33-48. from http://www.mit- cy,” where we look to a patriarchal figure, like instruction, the time and meticulous detail pressjournals.org/doi/abs/10.1162/ijlm_a_00026 Jewett, R. & Lawrence, J. (1977). The American Bush post-9/11, to restore order and save us involved in cuts, transitions, and shot selections monomyth. New York: Doubleday. ( from forces beyond our control. were overwhelming to us as novice filmmakers. Jewett, R. & Lawrence, J. (2002). The myth of the We conclude our film by exploring more Though student appropriation of movie clips is American superhero. Cambridge, UK: William B. transgressive or democratic possibilities of the legal under fair use (Hobbs, Jaszi, and Aufder- Eerdmans Publishing Co. ( Kellner, D. & Share, J. (2007). Critical media literacy films. As Monika Messner argues: “with its heide, 2009), the conversion and manipulation is not an option. Learning Inquiry, 1(1), 59-69. themes of xenophobia, alienation and ambigu- of commercial DVD clips was time consuming Kozlovic, A. (2002). Superman as Christ-figure: The ity, Bryan Singer’s X-Men transcends the clas- and difficult. One computer crash destroyed an American pop culture movie Messiah. Journal of sical superhero movies, demonstrating a social entire day of editing on our first film (this is not Religion and Film, 6(1), 1-25. Messner, M. (2002). The questioning of cultural consciousness and calling attention to racial unusual or unique, and others in the class lost norms in X-Men (2000). In D. Pastourmatzi (Ed.), and sexual inequality” (2002, p. 226). Even in even more work). However, a crash can be a Biotechnological and medical themes in science Superman Returns and recent Spiderman films, blessing in disguise–assembling a sequence the fiction. Thessaloniki, Greece: University Studio we see scenes where Lois Lane and her new second time was always faster and usually bet- Press. husband, doctors, or the crowd help a superhe- ter. In the end, we had to tag-teamed the edit- ro under attack by their archenemy. Lawrence ing with our classmate Brian Trinh for 24 hours Kip Austin Hinton is a Ph.D. candidate in Cultural pointed out that this might relate to a post-9/11 to complete the final cut on time. Studies in Education at UCLA and an adjunct world, where there is interest in real heroes like For the two of us, the deconstruction of ide- professor at Santa Monica College. He is currently policemen and firemen and we see the limits of ology and the deconstruction of the filmmaking writing his ethnographic dissertation on the video an all-powerful figure fighting an evil that is dif- process have proven invaluable. Like a superhe- projects of Chicana/o farmworker students. . fused and hard to define. ro story, filmmaking can be either democratic or While we managed to communicate complex authoritarian. Media production is not seamless Richard Van Heertum is a visiting assistant ideas in our film, it was not always a smooth or direct – it requires critical literacy about lay- professor of education at CUNY/College of Staten process. We had no experience operating the ered processes, which makes it an ideal context Island. He recently completed his Ph.D. in educa- camera or positioning people and objects to get for teaching and learning. Overall, we gained tion and cultural studies UCLA, where his disser- a good shot. We were not immediately suc- valuable skills for the future, as we continue our tation focused on cynicism and democracy. cessful at recruiting and prepping interview own quest for truth and justice . . . subjects. Documentary directors need a certain amount of self-assuredness, and it took us time References to figure out how to appear competent. Foot- Eco, U. (1979). The role of the reader: Explorations in age originally perceived as great revealed its the semiotics of texts. Indiana: Indiana University Press. ( flaws only in editing: odd lighting, poor sound, Hobbs, R.; Jaszi, P.; & Aufderheide, P. (2009). How or a distracting pattern on a shirt. media literacy educators reclaimed copyright

28 csw update: special issue on critical media literacy contents When a Sexist Voice Is Not a Choice

by Amanda Kenderes

CSW u p d at e2010

29 csw update: special issue on critical media literacy contents Spitballs at Battleships: A Show and Tell of Women in the News

When a Sexist Voice Is Not a Choice Representations of women in national broadcast news

by Amanda Kenderes

an information be objective when profit- and examines its greater role as entertainment. [you’re] throwing spitballs at battleships.” I driven? How can individuals engage in Certainly, women are part of the news and found the phrase perfectly suited to my project, Ccivic life when the United States, ostensi- therefore part of the entertainment. Recogniz- since it effectively illustrates a power asymmetry bly democratic, is in practice plutocratic? When ing this, the film asks a broader and perhaps and demonstrates the hostility often encoun- her socioeconomic value is derived more often more pithy question: Are women agents in the tered by resistance groups. from her appearance than from her intellect, degradation of the news or victims of sexism In 2009, for the first time since it was how is a woman to gain financial security with- and misogyny? founded in 1980, CNN News took third seat out catering to such expectations and stymieing To frame this inquiry and begin to explore to Fox News and MSNBC. A likely reason, and her intellectual pursuits? Even more impor- it, I followed the mantra of “show and tell,” one that my film affirms, is that Fox News and tantly, how can issues of gender parity in the organizing my visuals and soundbites to reveal MSNBC have increased their focus on sensation- workplace be resolved at the workplace level what the news shows us and what it tells us. alism, and, along with this, female objectifica- when the workplace itself is built on sexism? My title comes from a phrase used by Bernard tion, sexism, and misogyny. While this argument These questions and others inspired me to pro- Goldberg, former CBS News anchor and cur- may seem difficult to substantiate, it is not; a duce Spitballs at Battleships: A Show and Tell of rently a commentator on Fox News. When quick search of “sexism Fox News” or “sexism Women in the News. This minidocumentary (26 discussing representations of truth and power MSNBC” on youtube.com or google.com yields min) exposes the fallacy that national broad- on the news, he warned liberal activists and a hefty return, where a search of “sexism CNN” cast news is a source of objective journalism women, “If [you] want to take shots at me… does not. Even such a cursory search proves

30 csw update: special issue on critical media literacy contents to be a consistent and accurate barometer of sor in the Department of Women’s Studies, and toned; that men are more important than what a more in-depth inquiry reveals: among reminds us of the feminist concept of “male women; that men’s voices are more important the examples, women newscasters on Fox News gaze,” which is in her words, “the normative than women’s voices; that the will of men is and MSNBC are consistently scantily dressed; gaze, the dominant presumed watcher.” This more important than the will of women; and images of women in bikinis, bras, thongs and concept helps us in considering the central that entertainers are more important than politi- other revealing attire are used as B-roll (sup- question posed by the film: Are women agents cians. What will the quality of our democracy plemental footage intercut with the main shot in the degradation of news or victims of sexism be if these are the beliefs of its citizens? What in an interview or story) to enhance economic and misogyny? As the film shows, women are are the consequences of having these persistent and political reports that would otherwise lack indeed implicated in their own objectification; sexist attitudes on network news normalized sensation. yet, they are also victims in that the objectifica- for millions of viewers? Since broadcast news is Beyond the visual sexism, male news an- tion. some people’s only window into local, national, chors on both stations consistently make re- Broadcast news has not always been slant- and global events, the voice of sexism becomes marks (directed toward their female colleagues ed toward entertainment. The film reveals that the standard, not a personal choice. As sexism as well as toward women in the news stories women in news have not always dressed this is becomes impossible to dodge, media literacy they covered) that are demeaning, dehuman- way or been treated this way. The documentary is all the more critical. Such course offerings as izing, objectifying, violent, or otherwise mi- also tackles the issue of resistance, exploring “Critical Media Literacy and Politics of Gender: sogynistic. Chris Matthews, anchor of Hardball the treatment of professionals (Mika Brezensi- Theory and Production,” become central to on MSNBC, for example, asserted that Hillary ki, Gretchen Carlson, and Helen Thomas), who ensuring that future generations can recognize Clinton did not win a New York Senate seat “on have resisted sexist representations and the the misleading messages about women that the her merit,” but because her husband “messed degradation of the news. Such resistance is not mainstream media promotes. around.” On Fox News, Greg Gutfeld, host of taken seriously and often backfires, as women’s Red Eye, noted of Courtney Friel that, “if she resistance frequently becomes part of men’s Amanda Kenderes is a Ph.D. student in Social got any cuter, [he’d] have to beat her to death entertainment. Science and Comparative Education at UCLA. She with a Dr. Hammer.” A regular on Fox News, One of the interviewees, Doug Kellner, currently serves as administrative director for the Marc Rudov stated that “when Barack Obama provided suggestions on how to fight sexism Center for International and Development Educa- speaks, men hear: ‘Take off for the future!’ and in the media (namely, tuning into alternative tion (CIDE) and manager for the W.T. Chan Fellow- when Hillary Clinton speaks men hear: ‘Take news stations and sharpening one’s one skills ship program. She looks forward to future work in out the garbage!’” in critical literacy), the mainstream news media documentary film, merging cultural studies and To help us elucicate the mechanisms behind is still a major source of information about the feminism. such sexism, several professors are interviewed: world. As Justin Lewis states, the news media Juliet Williams, Leah Lievrouw, and Doug Kell- “tells us what’s important and who’s impor- ner of UCLA; Gail Dines of Wheelock College in tant.” As such, it’s telling us that it’s impor- Boston, and Justin Lewis of the University of tant for women to sex themselves up; that it’s Massachusetts. Williams, an associate profes- important for women to be young, white, thin,

31 csw update: special issue on critical media literacy contents CSW u p d at e2010

Armed through Education by Michelle Mearlette-Hernandez

32 csw update: special issue on critical media literacy contents Voting in Black and White: Politics of Race and Gender in American Culture Armed through Education The Powerful Intricacies of the Video-making Experience

by Michelle Mearlette-Hernandez

s a UCLA undergraduate, I had the discover that the majority of the students in my minute production, Dr. Hammer advised us to great fortune to be a student in Dr. class had little expertise. No one had experience use this idea as a general framework for our ARhonda Hammer’s “Critical Media Lit- in video production and editing or in develop- documentary. She also reminded the class that eracy and the Politics of Representation: Theory ing a media piece. Hence, the members of my our project would take on a life of its own and and Production” class. As a result of her dedi- group, which included myself, Darlene Edgley, possibly move us in another direction, despite cation and organization of a diversity of class and Vivian Lealiiee, had doubts about whether hours of storyboarding, gathering images, and components, we gained the skills necessary or not we would be able to complete our group shooting and collecting video. This turned out to speak another language—the language of project. In fact, before taking this class, I to be the case with our production, which we media representation. To be more effective, believed that filmmaking (that is, media story- entitled Voting in Black and White: Politics of the class was divided into small groups based telling) could only be achieved by “real” film or Race and Gender in American Culture. on shared interests, which allowed us to im- video makers. We became interested in—and kept re- mediately focus on the final class assignment, Since we had to develop a general theme turning to—issues related to divisions of race which was the creation of an alternative critical for our production by the second week of and gender associated with voting and vot- media production that addressed issues and/or class, our group decided that we would take on ing rights in the United States. Moreover, relations rarely depicted in mainstream media something “simple” that addressed how con- given our own standpoints and experiences as (and/or those which many believe are often sumerism shrouds our nation and hinders too women of color, we were especially interested misrepresented in popular culture.) Given the many of us from being involved in the political in media representations. stereotypes of current students as being liter- process. Rather than telling us outright that For example, because of my non-traditional ate in new media technology, It is surprising to this topic might be too expansive for a ten- identity and experiences, I don’t fit the ste- 33 csw update: special issue on critical media literacy contents reotypical demographic of the typical college portrayals of the suffragist movement of 1848 such radical changes in relation to rights of student and am often overlooked at UCLA. to 1920. It, hence, became important to us Black men, and later women, in that they were I realized that this was due, in large part, to that we include an historical account of some of finally recognized as citizens. It was within this mass-media images of 35 (and older) women these struggles in our documentary. This deci- framework, that we went on to demonstrate, as married (or divorced) and/or as mothers sion was, in part, informed by the emphasis of in our production, how these political struggles whose lives primarily revolve around domes- the course on theory, which included critical paved the way for the establishment and sup- tic household jobs. In contrast, my roles were media literacy and cultural, antiracist, feminist, port of these two candidates. that of full-time caregiver to my chronically ill queer, and other perspectives that were con- mother, full-time college student, and full-time cerned with representations of gender, class, PRODUCTION PROCESS worker. Unlike the dominant stereotype, I am race, ethnicity, sexuality, and age. It is crucial to We were surprised to discover how these same also single and have no children. Yet, I discov- note, however, that an especially unique aspect issues—related to resisting bigoted views ered that I am, in fact, a positive role model for of Dr. Hammer’s critical media literacy course is and practices—were actually correlated with other women who want to pursue their educa- that it is not solely a media production course events and attitudes expressed during the 2008 tion and return to school, despite the hurdles but is designed to integrate critical media lit- Democratic Party primaries. And, as a result of of age and other responsibilities. For example, eracy and to be inclusive for all levels of video, this, our group’s focus took shape. Although I have encouraged two of my friends to enroll film, and new media experiences. Hence, it is the workload was more than we initially an- in night classes. In fact, all of the women in my not surprising that the course attracts a majori- ticipated, we found ourselves obsessed with project group lived diverse and non-traditional ty of students who are marginalized in different both the topic and process, which spurred us lifestyles, which hardly matched prevailing ways and affords us the opportunity to engage to work weekdays and some weekends, as well media representations, or lack thereof, given and share our own personal perspectives and as to pull a few all- nighters. Much of this time our “invisibility” in so many domains of media experiences with one another. was spend constructing a number of montages, culture. Taking advantage of the classroom forum which depicted the development of the Recon- It is within this context that an examination to discuss the development of our project, we struction period, juxtaposed with footage and of the 2008 contest between Hillary Clinton decided to document this monumental event photos from the suffragist movement, political and Barack Obama for the Democratic presi- and attempt to capture the importance of this resistance in the 1960s, and the media frenzy dential nomination became especially relevant. occasion. As this was a significant occasion, as surrounding the 2008 Democratic Party prima- This contest provoked us to examine the re- it was the first time in US history that the two ries. Throughout this process, we learned how alities of disenfranchisement in a so-called leading contenders for the Democratic presi- to find and download historical film footage democratic society, especially in relation to dential nomination were a white woman and a photos, which included how African Americans gender and race, which is too rarely addressed Black man. This was, in fact, incredibly seren- were barred from voting. And even though this in commercial media culture or even within dipitous, given our interests in the intersection- can be especially time consuming, we were de- institutions of higher learning. Indeed, these alities of gender and race, and thus inspired us lighted to discover how much archival footage kinds of social movements are even ridiculed to contextualize this event within the historical featuring the civil right movement and other in what many (mis)identify as a post-feminist framework of what has been called “The Re- social justice movements of the 1960s is readily or post-racial society, as is often the case with construction Era,” a period that had afforded available—if you know where to search.

34 csw update: special issue on critical media literacy contents It was through this process that we also and public protests. Rather than employing a race, class, gender, sexuality, age, and other discovered and learned more about the strug- scripted narration, we interviewed a diversity marginalized relations and to actively resist the gles of women—many of whom were actively of activists and concerned citizens, in order to dominant “invisibility” that characterizes much involved in abolitionist organizations. This led critically engage the history of bigotry in the media of the past and present. For, as cultural us to reexamine and incorporate key visuals and U.S. (which many argue continues to exist) and studies expert Stuart Hall reminds us, inferential discussions of the political intents of civil rights to highlight the kinds of progressive changes, racism and sexism is often reinforced through and women’s liberation movements. We found which were (counter to many revisionist sce- lack of any representation of “othered” peoples that relations of bigotry, bias, and discrimina- narios) provoked through political movements, in media culture. tion—although hardly symmetrical to that of in conjunction with public protests, in a diversity On the successful completion of our project, racism—were similar to the kinds of hostilities of forms. we felt an enormous sense of pride, power, ac- and sexism directed at the early suffragist move- Unfortunately, due to the state of contempo- complishment in our newfound abilities to tell ment, which protested against the gender bias rary mass media—which is now almost totally powerful stories. When we screened our project that prevented women from being able to vote. owned by large corporations that actively cen- to the entire class in a festival-type forum at Moreover, given the intersectionalities between sor and manipulate form and content—massive the end of the quarter, we invited our families, race and gender and that it was only African political demonstrations and people’s opposition friends, and significant others to take part in American men who were finally recognized as to global and national policies and events are our successful media production experience. It fully “human,” and afforded the right to vote virtually ignored. This is especially problematic was also extremely heartening to see a number through the Fifteenth Amendment in 1870, we given that media culture is a powerful force for of faculty and staff in attendance at this screen- demonstrate in our documentary that it was shaping people’s values and perceptions of the ing. I am delighted to report that the audience only through the efforts of the early women’s world they live in. Hence, media is one of the applauded our project with enthusiasm, which movement in the U.S. that all women—espe- most important instruments for the communi- was most definitely music to our ears. cially women of color (many of whom were in cation of ideas, values, false representations of leadership positions in the movement)—were everyday practices, and so-called common-sense IMPORTANCE OF afforded the right to vote, through the passage reality to a broad spectrum of local and global CRITICAL MEDIA LITERACY of the Nineteenth Amendment to the Constitu- audiences. Therefore, having the hands-on Our experiences in the “Critical Media Literacy” tion, which, unbelievably, was ratified in August experience of constructing our video project and “Media: Gender, Race, Class and Sexuali- of 1920, fifty years later. from idea to completion—which included care- ties” courses provided us with the necessary We then went on to combine much of our fully selecting video footage, interviews, music skills to be able to critically decipher stereo- archival footage with that of coverage of the for the soundtrack, as well as stock and filmed typical media representations and convey an 2008 Democratic primaries and laid down dialogue and images—assisted us to better alternate view that challenged the norm. These a powerful soundtrack to accompany these understand that what we see in print, film, and two classes provide students with the tools to images. To further articulate and strengthen television is actually carefully constructed and become critical thinkers, which empowers us our examination, we cut in historical stock mostly controlled by those in positions of power to view media and the politics of representa- images, including photographs from the civil behind the camera. It is vital to democracy to tion through a new lens. The media’s influential rights movement, 1960s social justice groups, represent an all-inclusive spectrum that includes power continues to impart restrictive paradigms

35 csw update: special issue on critical media literacy contents related to race, gender, age, sexuality, and class. for women. I hope that such media-mediated As a result, a large portion of society remains workshops will provoke women to consider a invisible and completely erased from view since wider range of employment and professional they fail to fit the norm. These two media class- possibilities. Similarly, Darlene Edgley, who was Critical Media es cumulatively empower students by providing one of the co-producers of our documentary, is the necessary skills they need to communicate currently working on a critical media project, Literacy alternative ideologies through technology and as part of her M.A. thesis in African American media. Studies, which will investigate health issues in Empowering As a result of learning more about the relation to Black lesbians. Her work will neces- complex conscious and unconscious discourse of sarily include identifying media representations Students communication employed in media culture, I am or lack thereof. Hence, literacies in critical media convinced that adoption of critical media literacy and its practical applications have armed us, as classes at all levels of education is imperative, videographers and critical thinkers, to educate since they provides the skills necessary to com- and cultivate social and political change. A screening of excerpts municate alternative experiences, which may from some of the films otherwise be unheard or invisible. For example, Michelle Mearlette-Hernandez graduated summa as a career counselor, I hope to organize career cum laude from UCLA in 2008 with a B.A. in Wom- featured in this special development workshops for girls in junior and en’s Studies and Labor and Workplace Studies. issue will be held on senior high school to assist them in understand- She is enrolled at CSU Northridge in a Master’s ing how gender and career choices often align. program in Counseling with a focus on career I employed media presentations to engage development. Currently, her graduate thesis students in this regard, in a UCLA Labor Center project is focused on portfolio Careers. She has Project. My presentation included a female elec- also developed Life Tamer, a Los Angeles–based Tuesday trician, who discussed her experiences of being life-management company. a “visual representation” for introducing this October 19 relatively untraditional profession to girls and women at career fairs. Many times, she report- 4 to 5:30 pm ed, young women would approach her at career 3340 Moore, UCLA fairs and express their interest in becoming an electrician, which they had never considered as a viable option because they had never met or seen a woman working in this field, This experience has inspired me to con- tinue to educate students in workshops that JOIN US! present possibilities for nontraditional careers

36 csw update: special issue on critical media literacy contents A Generation of Change: The 2008 Presidential Election of Barack Obama CSW u p d at e2010 The Power of Production

Reflections on CM 278

By Heather L. Caban I find television very educational. Every time ertainly there are times when every adoption of a critical media literacy pedagogical educator wishes that they possessed approach. someone switches it on Cthe master remote for media culture Much of my beliefs and understandings I go into another room so that with just a push of a button they were regarding critical media literacy were informed able to turn it off, or at least choose the chan- by the theories and activities that were part and read a book. nel. Unfortunately, the ubiquity of the media of Dr. Rhonda Hammer’s course. I recall the and its inextricable imprint on students makes excitement that I felt seeing the course listed. –Groucho Marx the possibility of such control impossible. As It became the focal point of my schedule and I a result, I firmly believe that educators must remember choosing my other courses in rela- embrace the media in their pedagogical prac- tion to this one. It drew me because it was one tices, recognizing its possibilities and preparing of the few, if not only, courses that professed students for their encounters. Given the omni- to explore the production aspect of media. A presence of media in our everyday lives and that staunch proponent of critical media literacy, I as Douglas Kellner describes it in Media Culture had never seen it in practice, and I hoped that (Routledge, 1995), “media culture is now the the course would make the theories come alive. dominant form of culture which socializes us Giving life to theories, I soon learned, requires and provides materials for identity in terms of long hours and considerable cooperation. This social reproduction and change,” I advocate the one course demanded as much work as my 37 csw update: special issue on critical media literacy contents I tired to zoom in on a person’s face, I instead and determination to secure footage can play found myself peering into their pupil. Attempt- an even greater role. Sites such as YouTube and ing to pan the camera slowly, I jerked it too Google images could now be viewed as valu- quickly. Once I was introduced to the tripod, able resources. As a requisite for incorporating I was at least able to get a steady shot. After existing media representations, we also became lessons on lighting and camera positioning, my well versed in a little something known as “fair partner and I became more confident. Though use” (a legal doctrine related to the use of our backs ached from lugging our equipment copyrighted material). around campus for practice sessions, we were Our documentary, A Generation of Change: prepared for the first assignment. We were The 2008 Presidential Election of Barack asked to shoot a short videoclip that demon- Obama, explored the historic nature of the strated our newfound, albeit basic, abilities. We most recent election. Because my partner framed ours as a public service announcement believed that age was being overlooked in highlighting the importance of water preserva- the narrative of the election, we used this as tion. Not yet Michael Moore, but in our own a guiding lens. Based on what was discussed minds it was a huge success. in class, we chose to keep our storyline open. The crescendo of the course was to cre- We asked each interviewee the same five ques- ate a minidocumentary. Each group explores a tions. After that, we decided to enter a more topic of personal importance and to provide a naturalistic, free question format. I recalled countervoice to existing media representations the class lecture on cinema verité, in which or lack thereof. Encouraged to use media to we viewed Mick Jagger stripped of his cocki- critique media, we were provided with exam- ness while watching the video of a shooting ples. During class we watched clips of radical that took place at a Rolling Stones’ concert. I other courses combined. The journey from documentary filmmaker Emile de Antonio’s In was amazed by its rawness and fascinated by a media consumer to media maker was long and The Year of the Pig (1968), which relied heavily process that could coax this out of someone so not without obstacles, but each phase brought on montage editing and media clips, including normally image conscious. Through our inter- me closer to uncovering what was to be a new a diversity of archive-based segments, to create views, given their structured format and pur- type of transformative power located in dia- a narrative of critique. Through this process, pose, could not be placed in the same genre, I logue and action. de Antonio was able to expose and decode really hoped that we might be able to get the Since the course was grounded in both theo- ideologies for his audience. Michael Moore’s same flash of intimacy. One of the directors ry and technical understanding, we were pro- documentaries, also viewed in class, employ a commented that in his work, he “wanted what vided with camcorders on the first day of class. similar method. The fact that both rely so heav- we got, not got what we wanted”; my partner My first few minutes “playing” with the camera ily on archival/media footage demonstrates that and I operated similarly— in that we did not felt odd as if I had just been fitted with a pros- meaningful documentaries might not necessar- preselect a narrative and hoped to get multiple thetic device designed for someone else. When ily require exorbitant budgets; having ingenuity interpretations.

38 csw update: special issue on critical media literacy contents Filming the interview turned out much John McCain’s “face of anger” in the middle ing images. Getting the sequence right meant more complex than I had expected. In many of the montage. Beginning with a montage fo- listening to the song over and over while shift- cases the setup took longer than the interview. cused on lack of love, respect, and dignity, we ing, adding, and deleting images. The images, Microphones had to be correctly placed and ended with a brief montage of victory entirely so strongly imprinted, still appear in my head operational, the lighting had to be appropriate, in color. This represents a full circle. In addi- whenever I hear the songs. Sound levels and the background had to be nondistracting, and tion, the “Yes, We Can” song that accompanies effects became another important element. My so on. In addition, interviewees needed time to the closing montage is sung by will.i.am, one partner came up with the idea of the sound become comfortable with interviewer and cam- of the members of Black Eyed Peas. The theme of footsteps with a completely black screen at era. The finished products that we had seen is an end that would not be possible without the beginning. We liked the idea so much that onscreen looked so effortless and so polished. the beginning, a full cycle. added the same effect at the end. The footsteps It was not until the end of our first interview Editing the documentary was the most trod on, signaling that change has started but is that we understood that elements that seemed challenging, yet perhaps the most rewarding, not complete. It is ongoing. trivial, like the placement of wall hangings and part of the process, in that it was where the Forced to acknowledge the encroaching due the positioning of lampshades, could make the message and artistic vision were realized. The date, we agreed on a final cut and were ready difference between an interview appearing entire path up to this point had been a process to transfer it to a DVD for the public screening. credible rather than comical. of experimentation and discovery and this was Uncooperative machines and defective discs Impressed by Dr. Hammer’s own “We didn’t no different. We began the shooting of the caused last-minute panic; upon burning the start the fire” montage, as well as those in documentary with a loose framework and now final copy, however, we felt a subdued sense of Moore’s Farenheit 9/11, ˆand amazed at mon- it was time to piece things together. My part- accomplishment. Although still uncertain about tage’s potential for compacting pages of ideas ner agreed to embark on the first round of ed- how others would receive it and knowing that into seconds of video, we were certain that we its, producing a rough cut. Performing what to we could have done even better with more wanted to open our video with one. Collecting me seemed some kind of sleight of hand, she time, we felt sure that we had created some- and converting images into compatible iMovie transformed our file full of clips into something thing in which our own voices resonated. format was time consuming, though we found comprehensible, even inspiring. In order to We are most proud of the segment relating that it was much easier to have too many to arrive at this point, I know that she must have to media representations. A teenage interviewee choose from than too few. My partner felt an imbibed numerous jugs of coffee and endured mocking the ridiculousness of the fact that emotional investment in the Black Eyed Peas’ several sleepless nights. many Americans get their political news from song “Where is the Love?”; so, we attempted After this initial editing, we met and dis- “fundits” is juxtaposed with clips of Matt Lauer to find images to match the lyrics. Since our cussed changes. First, we experimented with citing statistics about the influence of Stephen theme was “change,” we wanted to have black- the ordering of the images. Having the visuals Colbert and John Stewart on young voters and and-white images dialogue with color photos, match the audio was essential to the overarch- a near 80-year-old who claims these outlets are effectively juxtaposing the past with the pres- ing message and the entertainment experience. the only ones that she allows herself the plea- ent. Though the mood of our piece was meant When constructing the beginning and ending sure of viewing. As a sequence, it provides a dig to be reflective, we realized that some humor montages, we had to be especially meticulous, at the media and a bit of levity. We also enjoyed would be necessary, which is why we included as every line had one or more correspond- some of the commentaries about Reverend Jer-

39 csw update: special issue on critical media literacy contents emiah Wright. His was the only representation and images for critical discussion, which is con- feel confident that I now have the ability to help that all four interviewees brought up as both- tinued during class. For many, this is their first others to start their way. ersome, and their comments represented an experience in analyzing media. Several students important critique of the media and a “talking have approached me with questions concerning Heather L. Caban is a Ph.D. candidate in the back” for us. Most mainstream media outlets additional methods of including media in the Department of Social Sciences and Comparative portrayed Rev. Wright in a negative light, show- classroom, and I have responded to them with Education in the Graduate School of Education at ing reactions of “normal (white) folk” being examples taken from Dr. Hammer’s course. UCLA. She is currently conducting research in the appalled, with few images of non African-Amer- Amazed when told that we were expected to area of new media literacies and globalization in icans defending Wright. create our own documentaries, more than one Seoul, South Korea. Our project ended up much differently than has asked me to include a production aspect in we had envisioned. The fact that Obama won my course for next semester. And, Dr. Hammer the presidency drove us to reorient and reex- has given me invaluable advice concerning my amine the message that we were exploring. To dissertation. She has encouraged me to use the be honest, our mood had changed dramatically, observations gained from the course that I am from criticizing media representations out of a teaching. in the in-class and online discussions, fear of a repeat of George Bush’s two elections, the video analysis assignments, and the inci- to, though cliché, a mood of almost astonished dental feedback have provided a rich amount hope. In a sense this experience made it all the of data. Without the experience of this course more clear that a media driven by immediate and Dr. Hammer’s direction, I don’t believe that events is inevitably shrouded in ideology. my dissertation focus would be as meaningful. Dr. Hammer’s course fulfilled its objective This class has served as a remarkable model twofold and was one of the most meaningful of how a critical media literacy course should experiences of my graduate studies at UCLA. be taught. The way in which the syllabus I draw on the concepts and skills learned coherently wove together theory and produc- throughout her course daily, as I teach English tion made it the first example of praxis that I Conversation to Education majors at a univer- have seen in a UCLA classroom. Uncovering the sity in South Korea. Making a significant break mystery in the production of media messages from the existing curriculum, I have designed has made me realize my own potential for my course around the topic of “globalization,” creating media that has impact. All of the final with an emphasis on the role of global media videos produced could easily be used as educa- and new media technology. Students are asked tional material or components of a curriculum to critique media representations employing a embodying the tenets of social justice. To be variety of lenses. Using a Facebook fan page for honest, I am not sure if I will ever again make a the course, they openly engage in weekly dis- documentary, though a webpage or short video cussions, sharing links to videos, news stories, clip may not be far out of reach; however, I

40 csw update: special issue on critical media literacy contents THE POWER OF CRITICAL ME- DIA LITERACY CSW u p d at e2010 by Myrna A. Hant

41 csw update: special issue on critical media literacy contents The Power Of Critical Media Literacy by Myrna A. Hant

everal years ago I decided to leave an In order to pursue my research interests, I ap- cultural texts are ambiguous and contradictory in administrative position at Chapman Univer- plied to, and was accepted as, a Research Scholar their representations. (2008: 160) sity and to pursue new goals. Soon after I at the prestigious UCLA Center for the Study of S I had become patently aware of the dearth left Chapman, I audited Dr. Rhonda Hammer’s Women. At this point in my returning studies, I “Critical Media Literacy” course, an experience knew that I wanted to investigate depictions and of positive representations of mature women, or that enriched all aspects of my new work life. My portrayals of particular marginalized peoples, in at what often appeared as a lack of any kinds of rep- return to scholarly studies was provoked, in part, least one of my projects, and discovered that the resentation, in commercial mass media and popu- by my interests in the intersectional relations of dialectical and polysemic nature of what is often lar culture. After further investigation, it became research, teaching, and community activism. In described as “the politics of representation,” was apparent to me that the majority of images of each of these areas I became aware of the em- especially appropriate for these kinds of endeav- mature women in television often serve to perpet- powering dimensions of critical media literacy ors. As Douglas Kellner describes it: uate stereotypes and, in the case of older people, perspectives. This course, and another like it,1 usually a negative one. Incorporating conceptual- enabled me to better apply theoretical and prag- Critical media literacy needs to engage the ‘politics izations and theories from this course assisted me matic approaches to both my research and my of representation’ that subjects images and dis- to approach my research, in this regard, in a far courses of race, gender, sexuality, class, and other teaching. Moreover, this course helped to inspire more sophisticated manner than I might otherwise features to scrutiny and analysis, involving critique have done. This encouraged me to draw on par- me to engage in the kinds of scholarship that had of violent masculinities, sexism, racism, classism, ticular series, including the classic 1960s program been put on hold during many of the years I had homophobia, and other hurtful forms of repre- spent working in academic administration and sentation. A critical media literacy also positively Bewitched and the cult TV favorite The Sopranos, raising a family. valorizes more progressive representations of gen- to demonstrate how older women continue to be der, race, class, and sexuality, and notes how many depicted on television as caricatures, informed by 1. Professor Douglas Kellner’s graduate course in the “Introduc- tion to Cultural Studies.” 42 csw update: special issue on critical media literacy contents ageist ideologies. This method was a radically ing such luminaries as Gertrude Bell, Freya Stark, increased public awareness and involvement. new for me, as I had never considered that Isak Dinesen (Karen Blixen), and Beryl Markham. It is incumbent on any educated person to I could actually engage specific media in my These multitalented mavericks were famous in thoroughly understand the implications of the writings. their own times, but are, sadly, largely unknown media. Undoubtedly, Dr. Hammer is doing a great My research then focused on portrayals of to contemporary audiences. service in educating her students to become cog- certain ethnic (with emphasis on Jewish ones) Indeed, to better facilitate an engaged peda- nizant of its pervasive manipulation. Because the and African American mothers in the media, gogy in the classroom, I have become literate course is not only theoretical but also pragmatic, from the early 1950s series The Goldbergs to in the production and incorporation of archi- it is highly accessible to students, regardless of such contemporary shows as Curb Your Enthu- val footage and video and film clips, as well as their background or experience. I have readily siasm and Everybody Hates Chris. I am now a diversity of media forms in my PowerPoint applied her course material to my divergent in- pursuing representations of ethnic and moth- presentations. These are skills perfected from terests and consider myself lucky to have discov- ers of color within a period in which many those I initially gained in Dr. Hammer’s course. ered her class. baby boomers (generally identified as those The latest in my multimedia PowerPoint projects born between 1946 and 1964) appear to be in is a presentation on ethnic women “who misbe- References denial about the aging process and therefore haved,” which will focus on such social justice are redefining what it means to get older. This mavericks as Clara Lemlich, Emma Lazarus, and Kellner, Douglas. 2008. Guys and Guns Amok: Do- has become especially the case with consumer- Emma Goldman. The employment of these kinds mestic Terrorism and School Shootings from the based corporate media in which some televi- of media productions has become mandatory for Oklahoma City Bombing to the Virginia Tech Mas- sacre. Boulder: Paradigm. sion advertisements, in an effort to sell drugs effective contemporary education. or insurance, present an ultra-active senior Social activism today is also unquestionably Myrna A. Hant has been a CSW Research Scholar who isn’t really a “senior” at all. A welcome dependent upon media interpretations. As Presi- since 2001. Her research focus is popular culture/ respite, from the classic (mis)representations, dent of the Board of P.A.T.H. (People Assisting television with an emphasis on portrayals of 50+ occurred in the early 2000s when such pro- the Homeless), I am often asked to present a women and men in the media. She is the author grams as Judging Amy and Six Feet Under positive image of the homeless and the work that of articles on older mothers/women on primetime presented more realistic and counterhegemon- we are doing in the community. It is essential that television programs such as Bewitched, All in the ic depictions of older women. Unfortunately, the homeless be presented as individuals who Family, The Sopranos, and Curb Your Enthusiasm. most others continue to resort to hackneyed are similar to those of us who are not home- With a Master’s in English, an M.B.A., and a Ph.D., stereotypes. less—that is, as people with goals and hopes. Dr. Dr. Hant is an instructor in gender studies and Critical media literacy has also assisted me Hammer’s course clarified for me not only how later-life transitions at the UCLA Osher Institute. in my pedagogical pursuits. For example, I teach we think we are projecting ideas, concepts, and a series of courses, which I call Women Who images but also how the viewer interprets these. Misbehave, for the Osher Institute at UCLA. In it, The politics of representation promotes, ultimate- I present women and women’s issues that rarely ly, more or less assistance for the homeless. It is receive attention. At present I am teaching a se- in this sense, that I have endeavored to develop ries of classes on the Women Adventurer, includ- media presentations that further the objectives of

43 csw update: special issue on critical media literacy contents ucla center for the study of women CSW u p d at e2010

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