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EDUC 3900 Chapter --: Jan 20 - Module #3- Popular Music, Videos and Pedagogy
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Department
Education
Course
EDUC 3900
Professor
Dejan Ivkovic
Semester
Winter

Description
Module #3: Popular Music, Videos and Pedagogy Levitt, S. D. (2012, July 25). What do hip-hop/pop song mash-ups teach us? http:// www.freakonomics.com/2012/07/25/pop-culture-introspection-part-ii-what-do-hip- hoppop-song-mash-ups-teach-us/ - What does it say about our society that Adam Levine of Maroon 5 willingly plays the jilted lover, but Wiz Khalifa’s take on the events are so different? And I presume it is not coincidence that Jay-Z and Wiz hit on many of the same themes. Do hip-hop artists ever admit to being dumped in their songs McClain, J. M. (2016). Aframework for using popular music videos to teach media literacy. Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy. 3(1). http:// journaldialogue.org/issues/a-framework-for-using-popular-music-videos-to-teach-media- literacy/ - popular music videos have long been criticized for their superficiality, fast edits, and sensational content, features like these help make the videos an excellent teaching tool, effective for getting students’ attention and exploring broad issues. - Cayari wrote about students creating music videos in order to learn music and technology skills. - Maskell discussed the use of music videos for teaching English, saying the content has “huge potential for use across the entire English curriculum” - music videos are increasingly seen as elements within complex assemblages of image and sound that circulate the world and are recombined within a variety of diasporic media, from satellite television networks through DVD and Internet video clip sites - examines how music videos influence the ways audiences think and behave, especially younger groups like adolescents, teens, or college students. Studies have looked at music video effects in terms of sex, such as how kids imitate the content, how they sext, and what their attitudes are toward sex & rape, gender-specific ideas related to misogyny or bodily self-perception - Gender often emerges as a main focal point, such as Wallis’s content analysis of differences in gender displays. Many have also tied race to genre, with rap being a dominant line of inquiry - Overall, work on representation has spanned topics like sexual objectification, sexuality, and violence - music videos are characterized by a combination of features that make them an ideal fit for in-class activities about media and popular culture: - 1 They are conventionally short, compared to a full movie or television episode. - 2 They are often familiar, which benefits group discussion because many students bring background knowledge - 3 They are common online, which makes it simple for instructors to find multiple good examples. - 4 They are easy to access, such as the free official content available on video- sharing sites like YouTube or hosting services like Vevo. - 5 They are often controversial, working as a compelling catalyst for critical discussion and thus able to help students identify important issues, then articulate their views on social or political matters. - 6 They are commonly imitated on the Web, as evidenced by remakes, parodies, satires, and mash-ups that have become a common way for lovers and haters— including amateurs, professionals, and people in between—to express themselves online. - 7 They are popular culture, as a collective form and as individual artifacts, which gives them instant student appeal and significance as a teaching tool. - Next, to successfully analyze popular music videos and expand on the preexisting five key questions of media literacy, I proposed four follow-ups for each of the main questions—to help prompt critical thought and advance media literacy about popular music videos: - 1 Authorship: “Who created this message?” - a Who is explicitly identified as a creator?
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