Media Messages and Critical Pedagogy #1

The following questions examine the two ad deconstructions linked below:

CenturyLink Deconstruction
AllTel Deconstruction

Do you agree with the deconstruction? Why? Why not? Be specific.

For the most part, I agree with both deconstructions, although I am unaware of whether the economic data provided is accurate.  I agree that the CenturyLink ad was to help people feel good about a merger.  The dark cloud is that less competition may provide reduced customer service, but the silver lining highlighted by the ad is that CenturyLink will connect more people.  I had a slight disagreement with the Alltel deconstruction which I will explain below.

Do you agree with the claims made in the deconstructions? Is the Century Link ad really a cover for a company that is making profits over customer satisfaction? Does the Alltel ad really promote racism or stereotypes of immigrants? Why or Why not?

I was impressed with the amount of evidence the deconstruction author had uncovered on Century Link’s ability and intentions to provide customer service.  As a West Virginian, I have learned that most claims that full wireless coverage exists in the entire service area are dubious.  West Virginia was listed in the deconstruction among the states where the promised amount was estimated to be impossible (apparently communications technology is no match for the Appalachian mountains).  I do believe that companies may merge to eliminate competition and get away with spending less on providing competitive service to customers.  So the notion that this “feel good” ad is just a cover could be true.

No, the Alltel ad does not promote racism or stereotypes of immigrants, however it does capitalize on preexisting classist or xenophobic fears that may already exist in some viewers’ minds.  The ad makers were careful not to use any readily identifiable racial or ethnic stereotype.  I believe they created a fictitious nationality by combining several ridiculous elements.  Of what origin are the men in the bedroom?  We can’t tell.  Are they European “gypsies”?  Are they Middle-Eastern?  Are they South American?  They are none of these… However, if a viewer who believes that outsiders will “ruin the neighborhood” see the ad they are likely to read into the situation the identity of any group they may not like.  The ad makers have created a situation that uses the audience’s possible prejudices to sell the ad… but the racism or the stereotypes themselves are in the viewer alone. 

How do these deconstructions disrupt taken-for-granted realities?

Both deconstructions did well at showing that the ads were geared toward middle-class America.  The clothes, the hair, the buildings in the backgrounds, and the neighborhood settings are all made to appeal to the socioeconomic class that is most likely to buy the product.  The middle-class is numerous, and has the money to spend on things like wireless phone service.  It is too risky to show economic diversity in the ad, because feature people who look too poor or too rich (by their clothes, cars, and homes) is too risky, as it may alienate the target audience.

What ideologies, cultures, economies, institutions or political systems are these deconstructions disrupting or interrogating?

To question whether institutions are using pre-existing prejudices and fears to help sell a product is to challenge the culture that divides people into classes by money.  In America, class always means financial status, and although we rarely think about this, advertisers have to keep this aspect of their audience in mind.

How are these deconstructions examples of individuals investigating manifestations of power relations?

Both deconstructions examined the power of the institution to make the audience feel a certain way (in one case, happiness and in another case fear).  Both examined the institutions ability and intentions to make good on claims made by the ad.  Both examined how the ad uses the middle-class American perspective to win over the audience.  In essence, both asked “Is this company being manipulative? How? Why?”

How might conducting these kinds of deconstruction empower students whom  have been historically and continue to be disenfranchised by  "traditional schooling”?

These types of deconstructions could help young members of the lower-class rise above media messages that make them feel as if they are inadequate because they do not have the money to buy to product or to live like the people in the ad.  If they could understand that the ad is made by people who want to influence people with money to spend their money, they may feel less inclined to accept the taken for granted realities of consumer culture.

How might deconstructing these kinds of media messages help students recognize connections between their individual problems and experiences and the social contexts in which they are embedded?

I honestly don’t know.  Perhaps they could understand no ad is made to make you feel as if you are okay the way you are.  Most are made to help you feel that the way to happiness is participation in consumer culture.

How might conducting these kinds of deconstructions disrupt traditional banking systems of education?

Conducting deconstructions helps students achieve knowledge, form opinions, or reach conclusions that were not just handed to them by an instructor.  They create a learning experience.

Magazine Cover Project- Gender Stereotypes Counter-Message

In this magazine cover I named myself “person of the year,” and aligned it to our purpose of challenging mainstream gender roles.  Here are the techniques I used:

Media language techniques- The two main types of language I used in my text were teasers and exclamations.  Both of my purple statements are teasers designed to generate some interest in the theme of the magazine.  Before I explain the first one, I must ask you to imagine that I am famous enough or important enough to be named “Person of the Year” by a legitimate magazine… Let’s pretend I’m a cross between George Clooney and Michelle Obama, and I’ve spent all year babysitting Angelina Jolie’s children while she was recovering from surgery.  Can you imagine how a simple statement like “At Your Service” from a person like that would entice you to want to know more about his story?  Certainly the text relies on ‘star power,’ but so often, that is why magazines name a “person of the year”- to capitalize on the fame of an interesting or well-liked person.  The teaser at the bottom of the page does two things: first it presupposes that being macho “holds men back” inviting you to go along with the idea, and it promises to prove that claim with six points.  I don’t know why, but a certain portion of the population seems to like short numbered lists (“Top ten things you never say on a first date”, “Three sex secrets”, “Five things Mitt did wrong in 2012”).  I think lists like that promise an easy, entertaining read.  Finally, the yellow exclamation, “Person of the Year!” looks as if it is trying to proclaim some news readers have been waiting for… As if they can now get the results of a yearlong competition.   

Persuasion techniques- As for persuasion there are a couple of emotional appeals embedded into those purple teaser statements as well.  In the first, using the term “servant leaders” borrows a term from Christianity, so a large number of Americans will respond to (perhaps even those who aren’t sure where they first heard the term).  In the second teaser, by creating a comment that presupposes that machismo inhibits men, I have attempted to persuade the audience to agree without asking the question, “Does it really?”  Those who are curious to find out how may consider buying the magazine. 

Design choices-Some magazines frequently choose to create black and white covers in order to make a statement about the artistic or philosophical depth of the individuals featured.  Rolling Stone, for  example, goes black and white when featuring  Bob Dylan or someone known for being thoughtful.  People use this choice to appear smart in headshots for acting or on the back cover of a book.  The starkness of the colorless image seems to cut out the distractions, and causes us focus on tone and shape instead of hue.  I used this black and white image to take advantage of the precedent.  The image itself contains the subtext of me carrying luggage, and possibly serving someone.  This supports the text in both teasers.  The color choices in the title and text are based on the photo itself.

Magazine Cover Analysis

I still love Terminator movies!

Media Language: The most noticeable element on the piece is the image of Arnold Schwarzenegger.  Although he is not as ubiquitous as he once was, he is still iconic to this day.  He is even recognizable by one name (like Madonna or Elvis) as is demonstrated on the magazine cover (“T3 Arnold Exclusive”).  His face and muscular torso are synonymous with action films, and the entire cover design seems to be evoking the fantasy world created by those movies.  Behind Arnold are the colors of fire, which put one in mind of an explosion, and that combined with the sunglasses and black gloves on his person help to enhance the action film illusion.  Arnold’s head partially covers the name of the magazine which shows that the designers have confidence in the public’s familiarity with their brand.  The text “GET LEAN” actually overlaps the image of Arnold which tries to appeal to the desires of the magazine’s readership.  Positioned next to a picture of the actor in his prime can make readers wish to learn the secret of becoming as lean as Arnold.  The next most noticeable bit of text is “20 INCH ARMS in 3 BIG MOVES” positioned next to Arnold’s 20 inch arms.  Again, this seems to meant to tap into the fantasy world of action films where male heroes have giant muscles.  While the focus of the magazine seems to be bodybuilding and exercise, this particular cover attempts to equate fitness with being a cool, hardcore, hero.

Institution: Magazine cover

Genre: Men’s bodybuilding and exercise magazine

Representation: Although there are many forms and definitions of masculinity, this particular image of Arnold Schwarzenegger represents a popular ideal for masculinity: the strong, and brave, heroic man.  This is an archetype of manhood that goes back to ancient times (Samson, Gilgamesh, Hercules, Beowulf), and it manifests today in our adoration of athletes, firefighters, soldiers, and, of course, actors like Arnold.  Although the actor’s level of apparent toughness and physical beauty isn’t achievable for most readers of Muscle and Fitness, his image works for representing the high standard that those who exercise and body build may hope to achieve.  Again, he just represents the popular ideal.

Audience: The target audience is males (of perhaps any age beyond puberty), especially those who are interested in getting fit or bodybuilding.  The image appeals to two desires in the target audience: to be healthy, and to be sexually attractive.  Men who have (or even just want) an exercise routine or gym membership may be interested some up-to-date literature about getting the most out of the workout.  Also men in general (gay or straight) equate fitness with sex appeal.  The idea that being muscular serves to insure that a man can be a bread-winner and protector has not gone out of fashion even though many lucrative careers do not depend on physical strength.  Since that’s the case, muscular men are thought to be appealing as mates.  Men themselves believe this, and sometimes long to have a body more like Arnold’s.  These core desires help to win the magazine a wide readership, and to make money by selling ad space to companies that make health, hygiene, nutrition, sports, and fitness products for men.  Of course, any company that makes products that appeal to men (automotive, entertainment, fashion, etc.) are likely to advertise as well.

Values and Ideals: Again, this magazine cover capitalizes on the popular ideal that a man who is valuable as a mate, and valuable to society is tough, physically fit, and healthy.

Narrative: This cover tells a combination of stories drawn from Arnold Schwarzenegger’s many films in which a brave and muscular man saves the day.  The story here is that one should build muscles in order to achieve similar heroic feats should the situation arise.  Almost every man knows that stories featuring Arnold’s characters are pure fantasy, but it doesn’t stop us from living the fantasy a little when we work out (or by the products advertised in the magazine).

Reading and Discussion #3

Identify the main  arguments

The main arguments of Semali’s article are that the advent of new communication technology has created the need for several new branches of critical study (or “literacies”), but this “explosion has outpaced our pedagogy” (Semali, 2001).  So to catch up, the many literacies need to be defined (preferably by the authors of each critical study), and then the overlapping “relationships among them and among other literacies now emerging” needs to be examined (Semali, 2001).  For Semali, it is not enough to examine, create, and appreciate something like visual literacy.  Students must be taught to  examine and analyze “the motive of the creator relative to one’s own experience” (Semali, 2001).  If this does not happen we risk allowing students to become “passive citizens” (Semali, 2001).

Explain whether or not you agree or disagree with the main arguments?

I agree with Semali, so much so, that I wonder why twelve years after his article, and after the arguments of many more pedagogical thinkers, there has been little change in public school curricula.   West Virginia has adopted a set of blanket 21^st Century CSOs that may have helped to identify some desired outcomes along these lines, but the subjects that can help most with Media Literacy (English, History, Sociology, Psychology, Journalism, Civics, etc.) have been hindered by everything from copyright laws, to censored internet access, to just flat out discouragement from school boards over showing videos (DVD or internet).  Youtube is blocked, Netflix is blocked, social media in general is blocked, and many blogs (news or otherwise) are blocked.  Our pedagogy has been “outpaced” (Semali, 2001), but it is difficult to catch up when so many of the avenues to media sources are blocked.   Are teachers meant to teach media literacy without media?  Or are they expected to violate policy to do it?  Personally, I’d like to see a relaxing of these blanket restrictions, and to see a greater spirit of trust in teachers infuse he whole process.

 To what extent do you think that media can be held responsible for low self-esteem in women and violence behavior in men?

Media is among the main culprits in producing low self-esteem in women.  Young people tend to look for cues on how to present themselves, and so often they choose trends in advertising over suggestions from parents or other nearby role models.  The beautiful people in the photos are cool, right?  Girls especially, aspire to a certain standard of physical beauty that requires an array of fashion elements (clothes, hair, make up).  Many things drive this, but part of it is just proving to other women that she can keep up with our consumer culture by being among the first to invest money in trends.  Another part of it is proving to men that they are healthy and willing candidates for a sexual relationship.  Cues for how to do both of these come primarily through advertising which is loaded with messages in beauty and sex appeal.

Media does help to reinforce the misconception that violence is a natural part of masculinity, but I do not think it is the main cause of violent behavior.  I actually think that local influences (family, neighborhood, and school culture) do much more to help men determine if, when, and how much violence is acceptable.  I think this for two reasons: First, violent behavior changes from region to region.  Some cities are incredibly violent (Washington D.C. is #1 in the U.S.) while other cities of comparable size are much less violent.  If mass media was responsible, violence would be about the same everywhere people have cable TV, cinema, and internet.  Second, violent crime in the U.S. has gone down every year since the mid-1990s, and is now as low as it was in the early 1960s.  Media, however has become much MUCH more violent.     When I was in high school, the criticism of violence in the media was at an all-time high.  Television and video games were mostly to blame, however, these were not reinvented to be more family friendly.  Nightly viewing now includes The Walking Dead, Breaking Bad, and a few dozen violent crime dramas.  Video games include the Grand Theft Auto series, the Call of Duty series, and several others that are more violent than would have been technologically possible twenty years ago.  If there was a direct correlation between media and violent behavior, this generation of young men should be one of the worst in history.  However, even with a rise in school shootings, crime statistics seem to show otherwise.

So yes, I believe media is very responsible for low-self esteem in women, but only responsible in part (a small part) for violent behavior in men.  Other social factors affect men.

Make connections between the videos and two quotes from the reading.

The two video selections this week, “Tough Guise: Violence, Media, & the Crisis in Masculinity” and “Killing us Soflty” were very insightful and relate to Semali’s article in at least a couple of points.  Jean Killbourne points out in her presentation that “everyone in America feels personally exempt from the influence of advertising” (Killbourne, 1999).  Perhaps this is because of a lack of media literacy education.  As Semali points out, “lack of critical pedagogy in schools creates passive citizens” (2001).  Without a doubt, this perceived immunity to advertising could be just a lack of critical analysis skills.  Similarly, the messages of toughness identified by Jackson Katz are just another aspect of media that students must be trained to question.  “The time has arrived to broaden the canons of traditional education and the curriculum to include the expanding technologies of television, film, video, and computers,” Semali wrote in 2001.  However, now that it’s 2013 and media portrayal of beauty and violence has not improved, broadening the canons may be long overdue.

References

Katz, J. Tough Guise: Violence, Media & the Crisis in Masculinity. Retrieved from https://www.youtube.com/watch?feature=player_embedded&v=3exzMPT4nGI

Killbourne, J. Killing Us Softly - Woman are used like pieces of meat. Retrieved from https://www.youtube.com/watch?feature=player_embedded&v=KVmcmePRqSk

Semali, L. (2001, November). Defining new literacies in curricular practice. Reading Online, 5(4). Retrieved from http://www.readingonline.org/newliteracies/semali1/index.html

The Oil Spill and Obama- Two Photo Analyses



Photo #1 New York Daily News June 14, 2010




Photo #2 Christian Science Monitor June 14, 2010



Photo #1, captioned “Obama and the Oil Spill,” draws attention to the Presidents face alone, as the background over his left and right shoulders is blurred to obscurity.  Only a fair amount of speculation would allow the observer to determine where Obama is sitting or what he is doing.  The picture cuts off just below his shoulders, so we are unable to observe the President’s gestures or body language, although his posture leads us to believe that he is sitting and leaning forward with his elbows on a table.  He is not dressed in the coat and tie he may wear for a typical public address.  He is dressed in a gray gingham, collared shirt.  Again, most of the attention is drawn to his facial expression.  The photographer catches him with a look of thoughtful concern: furrowed brow, mouth slightly grimaced, eyes fixed directly ahead as if looking forward.  Although, the photographer probably didn’t have much control over the lighting, the soft glow from the Presidents left helps to make him look approachable and inviting (as opposed to the harsh look that intense top or back lighting may bring out).

I do not believe the picture is posed because it does not look like other posed Presidential photos which are taken during a ceremony or the presentation of an award (shake hands, turn, and smile).  This picture looks to be one of many captured during a press event.

This photo seems to depict a worried Obama… but not one without a plan.  Those of us who remember the historical contexts surrounding this photo, may realize two things:  This is one of the biggest environmental disasters since the Exxon Valdez oil spill in the 80’s, and this is biggest disaster to hit the gulf coast since Hurricane Katrina.  In both of those disasters, the President at the time (Regan and Bush respectively) came under intense scrutiny by the public.  The Exxon oil spill seemed like a tragedy that brought about a never ending clean up.  As pictures of sludge-covered wildlife hit the news, people wanted to know that the government was concerned about health, safety, etc.  After Hurricane Katrina, the government was harshly criticized for responding too slowly and not doing enough in the long run to help victims.  The Katrina response did much to shape public perception of Bush’s Presidency.  This photo seems to portray an Obama who is concerned about the many effects of the spill (pollution, damage to the fishing trade, etc.), but who is worried that there may be very little that he can do.

Overall the photo seems to evoke the following questions: Is the President worried?  Is he concerned that there is nothing his administration can do?  How might his deep concern for the oil spill affect his attention to other important concerns? 

Photo #2, comes with the caption explaining that Obama is meeting with Coast Guard Admiral Thad Allen to gather information on the BP oil spill.  Unlike photo #1, this picture provides readers with much more than Obama’s facial expression.  In the upper left hand corner, there is an enlarged photo of what appears to be Coast Guard workers gathering equipment to help contain floating crude oil.  This image is only partially shrouded by an American flag.  In the upper right hand corner, we see a small map of the Gulf Coast, next to a piece of another photo of emergency workers.  In the lower left we see Thad Allen, hands folded, calmly listening to the President.  Allen is holding a pen, and his arms are surrounded by papers.  In the lower right we see an optimistic looking Obama in mid speech.  His hands are casually raised and open as if he is explaining something.  He also happens to be dressed in the same gray gingham shirt shown in Photo #1.  Here we see that the President has his sleeves rolled up.  Directly behind both men is a large wall map that shows the Gulf Coast, and bears the title “Deepwater Horizon Response.”

Again this photo, does not look posed, but captured during a press meeting.  This photo, however, can make people think that this event is more than just a press meeting.  The images behind Obama and Allen make it look like the two are seated at the command center of the oil spill response.  Maps, pictures of rescue workers, and a table full of papers, makes it look like the two men are hard at work planning out the best way minimize the damage.  In fact, Obama’s slight grin, makes the situation seem hopeful as if the government can “do something about it.”  Obama’s choice of clothing is no accident.  He is not in a suit and tie.  He is dressed like a hardworking supervisor, and his sleeves are rolled as if he is ready to get down to business.  Without a doubt, every component of this photo is meant to help the public feel as if the Obama administration and the Coast Guard is doing all that they can.

Despite the positive message ingrained in the photo, the questions it evokes are a little less optimistic : Who posted the giant photos of Coast Guard workers behind the two men?  (The Coast Guard?  White House officials?  Press workers?) Does the government have the ability to clean up the worst oil spill in history?  What will become of the issues Obama was handling before this disaster?

Alternate Captions

The neutral caption of Photo #1 does little to shape the message we receive.  A caption like “Obama considers environmental and economic impact of the BP Oil Spill,” would communicate a feeling of anxiety to the reader.  It would be like saying, “The President is worried.  Shouldn’t you be?”

The caption of Photo #2 is much more descriptive: “President Obama meets with National Incident Commander US Coast Guard Admiral Thad Allen for a briefing on the BP oil spill at Coast Guard Station Gulfport in Gulfport, Mississippi, on Monday.”  If the caption were changed to “President Obama fields questions about environmental clean up,” we may see this as a photo of a President under fire.

Photo Analysis Lesson Plan

This photo analysis lesson plan from the Library of Congress is great for helping students learn to do some critical thinking about a specific period in history, by using what they see.  A contrasting photo is provided in the lesson to help students make further comparisons:

 http://www.loc.gov/teachers/classroommaterials/lessons/civil-war/index.html

Jared's Intro

I was born in West Virginia and have lived there all my life except for eight years in which lived in different places throughout Texas, New Mexico, and Arizona working for the USAF.  After a those adventurous years in the Southwest, I moved back to Appalachia in hopes of becoming a school teacher and starting a family.  I met Albani my first day back in WV and we were married ten months later.  This is our tenth year together and we are expecting our third child this semester.  These days, I teach English and Theatre at Bridgeport High School and I truly love my job.  Having a deeper understanding of media literacy will certainly enrich both of my content areas.  From this class I hope to strengthen my knowledge of how media has come to take such an important place in 21^st century culture and to make me aware of my responsibilities as educator to pass that on to the next generation.

To gain a glimpse of my lifestyle please check out the following video:

Jared's Intro