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Remapping Pedagogical Borderlands: Critical Media Literacy as a Pedagogy of Freedom
Unformatted Document Text:  Remapping Pedagogical Borderlands 15 older generations. While this is partially true, the existence of visual images is so commonly taken for granted that there is little serious discussion about how to use visual images to realize the vision of critical pedagogy. Given that “visual images completely surround us socially and permeates our personal identity,” 23 it becomes critical to educate students to develop critical abilities of decoding the social, cultural, and political meanings attached to and embedded in various types of visual images. However, this cannot be accomplished by simply showing students some video clips or presenting educational materials with the aid of visual technologies. Rather, as Kellner argues, “reading images critically involves learning how to appreciate, decode, and interpret images concerning both how they are constructed and operate in our lives and what they communicate in concrete situations.” 24 Finally, but not leastly, we need to incorporate media production into critical media literacy education. However, the emphasis on media production as an essential feature of media literacy does not mean that students should be well trained in managing production skills according to the established industry rules. Rather, students’ media production practices are identified as a way of cultivating alternative and oppositional media culture rather than mastering a predetermined set of training modules, which Renee Hobbs termed “vocational” media production as opposed to “expressive” media production. 25

Authors: Nam, Siho.
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background image
Remapping Pedagogical Borderlands
15
older generations. While this is partially true, the existence
of visual images is so commonly taken for granted that there is
little serious discussion about how to use visual images to
realize the vision of critical pedagogy. Given that “visual
images completely surround us socially and permeates our personal
identity,”
23
it becomes critical to educate students to develop
critical abilities of decoding the social, cultural, and
political meanings attached to and embedded in various types of
visual images.
However, this cannot be accomplished by simply showing
students some video clips or presenting educational materials
with the aid of visual technologies. Rather, as Kellner argues,
“reading images critically involves learning how to appreciate,
decode, and interpret images concerning both how they are
constructed and operate in our lives and what they communicate in
concrete situations.”
24
Finally, but not leastly, we need to incorporate media
production into critical media literacy education. However, the
emphasis on media production as an essential feature of media
literacy does not mean that students should be well trained in
managing production skills according to the established industry
rules. Rather, students’ media production practices are
identified as a way of cultivating alternative and oppositional
media culture rather than mastering a predetermined set of
training modules, which Renee Hobbs termed “vocational” media
production as opposed to “expressive” media production.
25


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