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| Image 1. The fate that awaits the computer illiterate. |
With such emphasis placed on computer literacy, it may be prudent to raise the question as to why equal emphasis has not been placed on critical media literacy in current educational frameworks. The dominance of the media in 21st Century life has occurred to such an extent as to prompt scholars to suggest that media no longer merely influences modern culture, but defines it (Thoman, 2003). If the development of computer literacy skills is to create successful learners by enabling them to achieve in Australian society, then critical media literacy is surely an essential component to creating active and aware global citizens. As argued by Kellner (in Trifonas, 2000), critical media literacy empowers students to challenge the ideologies of cultural domination and resist manipulation and dominance by the media, transforming them from passive recipients to active participants in their culture.
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| Image 2. The unquestioning community. |
Consequently there has been much discussion amongst the academic community in the past decade which has focused on the incorporation of critical media literacy to facilitate transformative learning. In this manner students begin to challenge a number of social issues which are represented or misrepresented in the media, which may ultimately alter student behaviour in a way which leads to greater tolerance, creativity and sustainability in society (Tisdell, 2008). Thoman (2003) presents a framework for media literacy analysis that allows students to engage with media texts in such a way.
Five Questions for Media Analysis:
1. Who created this message and why are they sending it?
2. What techniques are being used to attract my attention?
3. What lifestyles, values and points of view are represented in this message?
4. How might different people understand this message differently from me?
5. What is omitted from this message?
(Thoman, 2003)
Through an examination of the television commercial for the Channel 9 documentary In Their Footsteps it is possible to determine the ways in which social and political ideals presented in the media can be challenged. This text could be incorporated into a Stage 5 history unit examining Topic 2: Australia and World War I (Board of Studies, 2003). In this context students would learn about the creation of the ANZAC Legend using In Their Footsteps as a current media source to explain different contexts, perspectives and interpretations of the past (Outcome 5.7) (BOS, 2003). This would be achieved using the five questions outlined for critical media analysis by Thoman (2003), indicated above. By conducting a comparison between the way in which the ANZAC Legend has developed over time students will develop both their historical and literacy skills as the learn to examine multiple perspectives of the past and demonstrate an understanding of purpose for a variety of audiences respectively (BOS, 2003). The following section will provide a close analysis of In Their Footsteps which considers each of the key questions stipulated by Thoman (2003) and an examination of the relevance of such a study for student development and learning.
In Their Footsteps
Perhaps one of the most important aspects to remember when viewing any media message is that all messages are constructed for a purpose. While media is recognised as a valuable tool through which education can take place, Kellner and Share (2005) argue that media forms are constructed in order to gain profit and/or power. The In Their Footsteps commercial has been constructed by the Channel Nine Network Australia, which would certainly have such a profit driven motive being a commercial station. This being the case it is important for students to understand the reasons for which messages may be constructed, In order to maximise ratings, Channel Nine aims to provoke an emotional response from viewers by appealing to aspects of national pride conveyed through the ideology of the ANZAC legend with which a dominant Australian audience can identify. By targeting dominant audiences in order to maximise viewing and profit, media organisations can threaten the independence and diversity of information, creating a dominant and in many ways unchallenged homogeneous culture and knowledge that is inconsistent with the heterogeneous nature of Australian society (Kellner & Share, 2005). In understanding the reasons for which a media text or message has been created, students can begin to question the underlying values that are inherent within texts acting as agents of social change (Considine, 2002).
In order to enable students to effectively decode the messages presented to them in the media, they must understand that media are constructed using a number of techniques, which subtly convey their message in order to get the attention of the target audience. The commercial In Their Footsteps uses a number of visual, audio and language features in order to achieve this. Camera techniques, such as the use of close up shots to convey the emotional responses of participants in the documentary, invite viewers to feel a sense of empathy, encouraging them to watch the program in order to share in the emotional journey that is represented through the advertisement. High angle shots of various landscapes creates a sense of adventure in order to excite audiences to want to take part in the historical discovery that the program advertises. The commercial integrates original footage from the first and second world wars with modern footage, which depicts the descendants of Australian servicemen from these wars exploring historic war sites. Such a technique further heightens this sense of adventure by suggesting that it is possible for modern Australians to relive the experiences of "our nations heroes".
By using original footage in conjunction with a range of sound effects that are indicative or war, such as machine gun fire and bomb blasts, the commercial aims to attract viewer's attention by creating a sense of nostalgia. Accompanying instrumental music which builds in texture, tone and dynamic throughout the commercial further aims to build emotional engagement with the stories presented, while the song 'Amazing' by Alex Lloyd provides a link to modern Australia while simultaneously emphasising the amazing achievements and stories that the documentary portrays. This is supported by the repetition of emotive language such as "amazing", "courageous" and "bravery". By describing In Their Footsteps as being a "rare piece of television", Channel Nine aims to create a sense of urgency by indicating that such a media event is not likely to be soon repeated. Finally phrases such as "come with us" invites the audience to take part in the emotional adventure and journey of discovery that the commercial portrays.
Clearly within multimedia there are many techniques that are used simultaneously in order to entice viewers to engage and participate in their message. Television is particularly powerful in shaping social attitudes, values and behaviours (Luke, 1999). In an age that is increasingly dominated by multimedia forms, critical media literacy has thus never been more important. By educating students about media language and the ways in which media utilise these techniques to attract our attention, they can be made less susceptible to manipulation (Thoman, 2003).
Having considered the ways in which media techniques are used in order to attract the attention of viewers, students must learn to consider the values which are embedded within multimedia texts. Kellner and Share (2005) argue that media, as cultural texts, often contain content that is highly symbolic in nature. These messages are ingrained with sub-texts that indicate who or what is important to a particular society or culture (Thoman, 2005). This is exemplified in Channel Nine's In Their Footsteps, which uses the ideology of the ANZAC legend to promote values of bravery and courage. The program's title itself indicates that these are values that should be emulated within the Australian community, promoting a lifestyle of adventure and discovery which lives up to the legacy left by "our nations heroes".
However students must develop the skills to recognise that the values presented within media will be understood differently by other people. As with much of media in Australia, the point of view presented in In Their Footsteps reflects a dominant Anglo-Celtic Australian heritage (Aldassar & Rigger, 2011), exemplified through the exclusive representation of such a culture throughout the text. While the values and meanings inherent in the text may be significant to Australian's who identify with this group, students should also consider how members of other cultural groups within Australia may receive these messages. For example, for an Australian of Turkish, German or Japanese descent, the ideologies surrounding the ANZAC legend that are drawn on in this text may not be as prominent or even considered at all. how can this text be viewed from a feminist perspective when there is a gross over-representation of the significant experiences of males during these wars? Decoding texts in a way that is in opposition to the dominant reading is an essential practice for students to begin to challenge the power of the media and enhance multicultural education, contributing to a more understanding and tolerant society (Kellner & Share, 2005).
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| Image 3. Private William Joseph Punch |
In this respect what is omitted from a message can be equally as powerful in perpetuating cultural values as what is included. When conducting an analysis of In Their Footsteps it is important to note that no alternative ethnic background is represented, with all images representing Australian's who appear to belong to the dominant Anglo-Celtic heritage identified above. This is done despite the fact that indigenous Australian's also fought for Australia during both the First and Second World Wars. The significance of this has been identified in recent studies which demonstrate that children often receive messages about their race and the race of others based on how often its members are portrayed in the media (Lake Sosin Snell Perry and Associates and Motivational Educational Entertainment for Children Now, 1998). The under-representation or omission of certain racial groups from media therefore sends the message that the group is not valued equally in society, further marginalising and disadvantaging its members (Kellner & Share, 2005). By challenging the naturalness of these messages, students can begin to recognise the ways in which media can not only promulgate inequalities, but also empower groups within society through the construction of alternative media (Kellner & Share, 2007).
Although it has been repeatedly stressed that computer literacy is an essential component to successful learning and achievement in the modern climate, critical media literacy has been frequently underprioritised in Australian education. However support for media literacy education is gaining much recognition amongst the academic community. Without a critical understanding of media and its ubiquity in the emergent global network, students are in danger of being as equally disadvantaged in modern society as they would be were they functionally illiterate. In developing the necessary skills to critically engage with media, students are able to transform themselves from passive recipients to active participants who have the ability to challenge the dominant ideologies presented and ultimately reconstruct a more equitable medium for expression in our global culture.
Reference List
Aldassar, L. and Rigger, D. (2011). Countries and their cultures: Australia. Retrieved June 9, 2011, from
http://www.everyculture.com/A-Bo/Australia.html
Board of Studies. (2003). Years 7-10 history syllabus. Sydney: Board of Studies.
Considine, D. (2002). Putting the ME in MEdia literacy. Middle Ground: The Magazine of Middle Level Education, 6, 15-21.
Kellner, D. (2000). Multiple literacies and critical pedagogies. In Trifonas, P. (Ed.). Cultural Politics, Instituting Education,
and the Discourse of Theory (pp. 196-224). New York: Routledge.
Kellner, D. and Share, J. (2005). Toward critical media literacy: core concepts, debates, organisations, and policy. Discourse:
Studies in the Cultural Politics of Education, 26 (3), 269-386.
Kellner, D. and Share, J. (2007). Critical media literacy is not an option. Los Angeles: Springer.
Lake Sosin Snell Perry and Associates and Motivational Educational Entertainment for Children Now. (1998). A different
world: children's perceptions of race and class in media. Retrieved June 6, 2011, from http://www.media-
awareness.ca/english/resources/research_documents/reports/diversity/upload/different_world_pdf2.pdf
LSKnine. (2011, April 26). In their footsteps: sneak peek [video]. Retreived from http://www.youtube.com/watch?
v=1A1LthDOCAY
Luke, C. (1999). Media and cultural studies in Australia. Journal of Adolescent and Adult Literacy, 42, 622-626.
Ministerial Council on Education, Employment, Training and Youth Affairs. (2008). Melbourne declaration on educational
goals for young Australians. Melbourne: Ministerial Council on Education, Employment, Training and Youth Affairs.
Thoman, E. (2003). Skills and strategies for media education. Centre for Media Literacy. Retrieved 6 June, 2011, from
http://www.medialit.org
Tisdell, E. (2008). Critical media literacy and transformative learning: drawing on pop culture and entertainment media in
teaching for diversity in adult higher education. Journal of Transformative Education, 6(1), 48-67.
Images:
Image 1. Retrieved June 6, 2011, from http://www.cartoonstock.com/lowres/aba0954l.jpg
Image 2. Retrieved June 6, 2011, from http://laurend2010.blogspot.com/2011/03/media-literacy.html
Image 3. Retrieved June 9, 2011, from http:// www.abc.net.au/rn/awaye/galleries/2011/3082951/P01625.htm
