1. Cut, Paste, Learn: The Educational Affordances of Remix Production

2. Matthew Payne (University of Texas, Austin), Everything I Know About Filmmaking I Learned From Playing The Sims 2: The Educational Promise of Machinima Kelly Mendoza (Temple University), Remixing in an Online Game: Tweens Learning Media Literacy Skills Anna Van Someren (Massachusetts Institute of Technology), Moby Dick Remixed: Appropriation as a New Media Literacy Michael RobbGrieco, chair (Temple University), Mash- up, Mix-down: Mapping Remix Discourses towards an Understanding of the Educational Possibilities of Remix Practices

3. Artists use remix techniques, including homage, parody, and sampling to recombine, transform and re-purpose others’ work in new ways for new audiences Remix productions have a rich, time-honored tradition in expressive arts Digital technologies have facilitated and reshaped the remix process for learners and artists alike Cut, Paste, Learn: Introduction

4. The Pew Internet & American Life project (Lenhardt & Madden, 2005) reports that: “one in five internet-using teens (19%) says they remix content they find online into their own artistic creations” (p. 2).

5. Media Literacy Education lens Drawing from the work of David Buckingham (2003), the Alliance for a Media Literate America (2007) and Henry Jenkins (2005)… the ability to access, analyze, evaluate, and create messages in a variety of media forms (Aufderheide, 1992)

6. Media Literacy Education lens Drawing from the work of David Buckingham (2003), the Alliance for a Media Literate America (2007) and Henry Jenkins (2005)… the ability to access, analyze, evaluate, and create messages in a variety of media forms (Aufderheide, 1992) the methods of inquiry and student-centered approaches

7. Media Literacy Education lens Drawing from the work of David Buckingham (2003), the Alliance for a Media Literate America (2007) and Henry Jenkins (2005)… the ability to access, analyze, evaluate, and create messages in a variety of media forms (Aufderheide, 1992) the methods of inquiry and student-centered approaches the practice of both media analysis and production (balanced & integrated)

8. Media Literacy Education lens Drawing from the work of David Buckingham (2003), the Alliance for a Media Literate America (2007) and Henry Jenkins (2005)… the ability to access, analyze, evaluate, and create messages in a variety of media forms (Aufderheide, 1992) the methods of inquiry and student-centered approaches the practice of both media analysis and production (balanced & integrated) the habits of critical thinking and reflective practice

9. Media Literacy Education lens Drawing from the work of David Buckingham (2003), the Alliance for a Media Literate America (2007) and Henry Jenkins (2005)… the ability to access, analyze, evaluate, and create messages in a variety of media forms (Aufderheide, 1992) the methods of inquiry and student-centered approaches the practice of both media analysis and production (balanced & integrated) the habits of critical thinking and reflective practice the goals of social, political and economic participation through mediated communication

10. Dominant Paradigm: Professional Apprenticeship Model of Media Education Technical skills Medium specific Industry focus Professional production standards Job readiness *Remix as copying/modeling to learn

11. Professional Apprenticeship Technical skills Medium specific Industry focus Professional production standards Job readiness Remix as copying/modeling to learn Media Literacy Lens access, analyze, evaluate, and create messages in a variety of media forms inquiry approach, student-centered analysis /production critical thinking, reflective practice social, political and economic participation

12. Media Literacy Teacher Orientations & Resistances to Remix for ML Education (Hobbs, 2004) A) teachers who want to nurture artistic vision, and personal voice --remix is derivative, unoriginal B) teachers who want media reform and resistance to big media power --remix reproduces cultural norms & big media values --teacher resistance to pop culture in class --student resistance to studying objects of pleasure

13. Professional Apprenticeship Technical skills Medium specific Industry focus Professional production standards Job readiness Remix as copying/modeling to learn Media Literacy Lens access, analyze, evaluate, and create messages in a variety of media forms inquiry approach, student-centered analysis /production critical thinking, reflective practice social, political and economic participation Teachers in ML Ed. -Resistance to Remix a. Teachers: Creative voice, artistic vision -Remix=derivative, unoriginal b. Teachers: Media reform, speaking to power -Remix reproduces norms & big media values c. other -pop culture in class??? -student resistance to critical analysis of objects of pleasure in school

14. Possibilities for Remix as an Educational Tool

15. Complexity of discourses manifest in material acts Complex ideas made tangible Processes of cultural exchange –Transparent –Accessible, effective and consequential

16. Possibilities for Remix as an Educational Tool remix as identity work (sub)cultural studies, youth scene studies & Jamaican music, Hebdige (1978, 1993) & Huq (2006) remix as democratic participation economics, networked information economy, (Benkler 2006) cultural studies, convergence culture (Jenkins, 2006) remix as community participation fan studies, (Jenkins, 1992, 2006) remix as critical thinking exercise throughout all

17. Remix as Identity Work “In this video the creator takes a queer negative movie (the Harry Potter franchise has no real queer themes or characters at all) and uses remix to create a positive queer relationship and storyline. Even so there is a fine line, in this emerging genre, between negatively making fun of queer culture and positively celebrating it.” --politicalremix.wordpress.com (2007)

18. Remix as Identity Work COMMENT: “Y do people make clips about Harry being gay, bysectual, or a "bad boy" again? --srsalda REPLY: “...The same reason people make him straight with girls that he's not involved with in canon (the actual books). People have imaginations, and J.K. Rowling creates a world that is interesting to toy with. Making Harry gay or bisexual is really not so different in the end as pairing him with Hermione or some other girl, which a large amount of fans do. –homicidalpeanut (youtube.com, 2007)

19. Remix as Democratic Participation “I love how the comments here fall into two camps: "it was great how you gay-bashed Harry," and "I wish that movie actually existed." I wonder which was the intention here? I myself fall into the second group. Actually, I wanted to see Harry and Cedric make out right before they grabbed the portkey at the end of the maze…” --mishyshelly (youtube.com, 2007) Diverse Venues: thesun.co.uk; axetogrind.com; gayfamilysupport.com (2006); political remix.wordpress.com (2007)

20. Remix for Democratic Participation “There is something normatively attractive, from the perspective of ‘democracy’ as a liberal value, about the fact that anyone, using widely available equipment, can take from the existing cultural universe more or less whatever they want, cut it, paste it, and make it their own—equally well expressing their adoration as their disgust, their embrace of certain things as their rejection of them” (Benkler, 2006, p. 276)

21. Remix as Community Participation Gotskillls23: i'll give that a D for effort, It just used clips from the same two scenes, and it wasn't that funny. And as for dumbledore being gay, he's not, I know him. No but seriously there is no evidence, I just think that rowling has it out for extremeist christians who hate witchcraft and homosexuality. Cranberrytastic: interesting, you've got a valid point. I think its cool dumbledore is gay. It works either way. Temarifan1994:um dumbledore is gay it was confirmed by JK Rowling.… Gotskills23:Yes, but excepting that there is nothing about dumbledore's character that would lead you to believe that he is homosexual. (youtube.com, 2007)