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Remapping Pedagogical Borderlands: Critical Media Literacy as a Pedagogy of Freedom
Unformatted Document Text:  Remapping Pedagogical Borderlands 14 object that should be protected from socially harmful media messages. In this scenario, there is no such conception of agency and no possibility of understanding youth culture as oppositional sub-culture. While it would be hazardous to romanticize all aspects of youth sub-culture, it is equally detrimental to look at youth’s cultural experiences only from the perspective of protectionism. As Giroux relentlessly argues in his works, 21 when the texts of everyday media culture are incorporated into the project of critical pedagogy, they provide the possibility for combining textual, historical, political, and ideological analyses in ways that help teachers and students move beyond the limits of protectionism and traditional disciplinary boundaries. Third, we need to take visual images as a serious subject of media literacy education. Admitting the importance of visual literacy does not solely reside in some humanistic or aesthetic dimensions, but in political a dimension. As John Hartley argues, cultural sphere is political in nature: “They are the place where collective social action, individual identity and symbolic imagination meet – the nexus between culture and politics.” 22 Therefore, instead of dismissing visual images as something trivial, we need to recognize that visual images are strong forces of shaping our daily media culture. Nevertheless, a common misconception about today’s young generation with respect to their use of visual media including TV, movies, videogames, is that they are competent in their use of visual media and communication technologies compared to the

Authors: Nam, Siho.
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Remapping Pedagogical Borderlands
14
object that should be protected from socially harmful media
messages. In this scenario, there is no such conception of
agency and no possibility of understanding youth culture as
oppositional sub-culture. While it would be hazardous to
romanticize all aspects of youth sub-culture, it is equally
detrimental to look at youth’s cultural experiences only from the
perspective of protectionism.
As Giroux relentlessly argues in his works,
21
when the texts
of everyday media culture are incorporated into the project of
critical pedagogy, they provide the possibility for combining
textual, historical, political, and ideological analyses in ways
that help teachers and students move beyond the limits of
protectionism and traditional disciplinary boundaries.
Third, we need to take visual images as a serious subject of
media literacy education. Admitting the importance of visual
literacy does not solely reside in some humanistic or aesthetic
dimensions, but in political a dimension. As John Hartley
argues, cultural sphere is political in nature: “They are the
place where collective social action, individual identity and
symbolic imagination meet – the nexus between culture and
politics.”
22
Therefore, instead of dismissing visual images as
something trivial, we need to recognize that visual images are
strong forces of shaping our daily media culture.
Nevertheless, a common misconception about today’s young
generation with respect to their use of visual media including
TV, movies, videogames, is that they are competent in their use
of visual media and communication technologies compared to the


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