This is a modular open textbook designed for entrepreneurial journalism, media innovation, and related courses. This book has been updated for Fall 2018. Let us know if you have adopted this book in your classroom!

Pop culture and the classroom collide in this lesson when students go behind the scenes to analyze a television series for characterization to use in an original television show proposal.

A Creative Commons Textbook

Short Description:
Tēnā koutou and welcome to Media Studies 101, the open educational resource for media studies studies in New Zealand, Australia, and Pacifica.

Long Description:
We have constructed this text so it can be read in a number of ways. You may wish to follow the structured order of ‘chapters’ like you would in a traditional printed textbook. Each section builds on and refers back to previous sections to build up your knowledge and skills. Alternatively, you may want to go straight to the section you are interested in — links will help guide you back to definitions and key ideas if you need to refresh your knowledge or understand a new concept.

Word Count: 37562

ISBN: 978-0-473-28649-1

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Media Studies 101 is the open educational resource for media studies studies in New Zealand, Australia, and Pacifica. We have constructed this text so it can be read in a number of ways. You may wish to follow the structured order of 'chapters' like you would in a traditional printed textbook. Each section builds on and refers back to previous sections to build up your knowledge and skills. Alternatively, you may want to go straight to the section you are interested in -- links will help guide you back to definitions and key ideas if you need to refresh your knowledge or understand a new concept.

Short Description:
This book explores theoretical perspectives and core issues in the relationship between the media and society, including the production and reception of both news and entertainment. Evaluates the historical, cultural, political and economic contexts of media industries, representations, and audiences.

Word Count: 71516

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
This book is intended for use in a large introductory class in new media in a program that covers the “full-stack” including critical/cultural studies, media management, diffusion of innovation, and synthetic media production. The first half of this basic sequence covered new media and democracy, finance, intellectual property law, basic games, and transmedia. The second half of the sequence covers many topics related to aesthetics, design, technology, and methodology. Data dashboard

Word Count: 53107

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

During the World War Two years, a series of groundbreaking radio programs tried to mend the deep racial and ethnic divisions that threatened America. At a time when blacks were usually shown on the radio as lazy buffoons, the federal government and civil rights activists used radio for a counter attack. Did radio unify America in the face of war? This is "Radio Fights Jim Crow".

This class is an introduction to writing about science—including nature, medicine and technology—for general readers. In our reading and writing we explore the craft of making scientific concepts, and the work of scientists, accessible to the public through articles and essays.

Filmed Shakespeare began in 1899, with Sir Herbert Beerbohm Tree performing the death scene from King John for the camera. Sarah Bernhardt, who had played Hamlet a number of times in her long career, filmed the duel scene for the Paris Exposition of 1900. In the era of silent film (1895-1929) several hundred Shakespeare films were made in England, France Germany and the United States, Even without the spoken word, Shakespeare was popular in the new medium. The first half-century of sound included many of the most highly regarded Shakespeare films, among them -- Laurence Olivier's Hamlet and Henry V, Orson Welles' Othello and Chimes at Midnight, Kurosawa's Throne of Blood, Polanski's Macbeth and Zeffirelli's Romeo and Juliet. We are now in the midst of an extremely rich and varied period for Shakespeare on film which began with the release of Kenneth Branagh's Henry V in 1989 and includes such films as Richard Loncraine's Richard III, Julie Taymor's Titus, Zeffirelli and Almereyda's Hamlet films, Baz Luhrmann's William Shakespeare's Romeo + Juliet, and Shakespeare in Love. The phenomenon of filmed Shakespeare raises many questions for literary and media studies about adaptation, authorship, the status of "classic" texts and their variant forms, the role of Shakespeare in youth and popular culture, and the transition from manuscript, book and stage to the modern medium of film and its recent digitally inflected forms.
Most of our work will involve individual and group analysis of the "film text" -- that is, of specific sequences in the films, aided by videotape, DVD, the Shakespeare Electronic Archive, and some of the software tools for video annoatation developed by the MIT Shakespeare Project under the MIT-Microsoft iCampus Initiative.
We will study the films as works of art in their own right, and try to understand the means -- literary, dramatic, performative, cinematic -- by which they engage audiences and create meaning. With Shakespeare film as example, we will discuss how stories cross time, culture and media, and reflect on the benefits as well as the limitations of such migration.
The class will be conducted as a structured discussion, punctuated by student presentations and "mini-lectures" by the instructor. Students will introduce discussions, prepare clips and examples, and the major "written" work will take the form of presentations to the class and multimedia annotations as well as conventional short essays.
The methodological bias of the class is close "reading" of both text and film. This is a class in which your insights will form a major part of the work and will be the basis of a large fraction of class discussion. You will need to read carefully, to watch and listen to the films carefully, and develop effective ways of conveying your ideas to the class.

This collection of assignments is designed to teach first-year university students core rhetorical concepts (ethos, pathos, logos, and kairos) by analyzing Taylor Swift's songs, videos, interviews, and social media posts.

How the rest of us can make sense of it. An Everyday Media User’s Survival Guide

Word Count: 26023

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

We will doggedly ask two questions in this class: "What is history?" and "How do you do it in 2010?" In pursuit of the answers, we will survey a variety of approaches to the past used by historians writing in the last several decades. We will examine how these historians conceive of their object of study, how they use primary sources as a basis for their accounts, how they structure the narrative and analytical discussion of their topic, and the advantages and limitations of their approaches.

This subject examines some of the many ways that contemporary historians interpret the past, as well as the multiple types of sources on which they rely for evidence. It is by no means an exhaustive survey, but the topics and readings have been chosen to give a sense of the diversity of work that is encompassed in the discipline of history.

This module is intended to provide students with a starting point for the mock trial exercise. Students should be assigned reading of Harr's book "A Civil Action" as well as view the Touchstone Pictures movie by the same name. Following the reading and viewing, students should prepare an exercise that allows them to put the chronology of events together to help them better understand the sequence of activities related to the trial as well as the characters who were involved in these activities.

Transmedia narratives exist across multiple storytelling platforms, using the advantages of each to enhance the experience of the audience. No matter which medium nor how many, the heart of any successful transmedia project is a good story. In this class we will spend time on the basics of solid storytelling in speculative fiction before we move on to how to translate those elements into various media. We will then explore how different presentations in different media can complement and enhance our storytelling. While we will read scholarly articles and discuss ideas about transmedia, this is primarily a class in making speculative fiction transmedia projects. We will analyze the strengths and weaknesses of various mediums and consider how they complement each other, and how by using several different media we can give the audience a more complete, rewarding, and immersive experience.

According to the author, the world did not need another introductory text in mass communication. But the world did need another kind of introductory text in mass communication, and that is how Understanding Media and Culture: An Introduction to Mass Communication was birthed.

This course focuses on a number of qualitative social science methods that can be productively used in media studies research including interviewing, participant observation, focus groups, cultural probes, visual sociology, and ethnography. The emphasis will primarily be on understanding and learning concrete techniques that can be evaluated for their usefulness in any given project and utilized as needed. Data organization and analysis will be addressed. Several advanced critical thematics will also be covered, including ethics, reciprocity, "studying up," and risk. The course will be taught via a combination of lectures, class discussions, group exercises, and assignments. This course requires a willingness to work hands-on with learning various social science methods and a commitment to the preparation for such (including reading, discussion, and reflection).

In this course we will read essays, novels, memoirs, and graphic texts, and view documentary and experimental films and videos which explore race from the standpoint of the multiracial. Examining the varied work of multiracial authors and filmmakers such as Danzy Senna, Ruth Ozeki, Kip Fulbeck, James McBride and others, we will focus not on how multiracial people are seen or imagined by the dominant culture, but instead on how they represent themselves. How do these authors approach issues of family, community, nation, language and history? What can their work tell us about the complex interconnections between race, gender, class, sexuality, and citizenship? Is there a relationship between their experiences of multiraciality and a willingness to experiment with form and genre? In addressing these and other questions, we will endeavor to think and write more critically and creatively about race as a social category and a lived experience.

During this seminar, students will chronicle their MIT experiences and investigate MIT history and culture. Visits to the MIT archives and museum, along with relevant readings, will supplement students’ experiences as source material for discussion and writing.

The reading and writing in this course will focus on the art of self-narrative or autobiographical writing. Such writing can be crafted in the form of a longer autobiography or of separate, shorter autobiographically-inspired essays. The various forms of autobiographical narrative can both reflect on personal experience and comment on larger issues in society.
This course explores, through reading and writing, what it means to construct a sense of self-and a life narrative-in relation to the larger social world of family and friends, education, media, work, and community. What does it mean to see ourselves as embodying particular ethical values or belonging to a certain ethnic, racial, national or religious group(s)? How do we imagine ourselves within larger "family narrative(s)" and friendship groups? In what ways do we view our identities as connected to and expressed by our educational and work experiences, including experiences at MIT? How do we see ourselves as shaping and shaped by the popular media culture of our society? How do we think about our ethical and social responsibility to our friends, families and communities (large and small)? Readings will include autobiographically-inspired nonfiction and fiction.