the processes of critically examining or exploring meanings be-

MIL Vocabularies hind media. To be a media literate person one must be able to:
Media - [1] physical objects used to communicate;  Access to know where to find the form of the media needed.
[2] communication tools used especially for mass communica-  Analyze to sync reflectively and more critically, and to analyze the va-
tion classified into: Print Media, Broadcast Media, and New Media lidity of the text and the reliability of the source.
 Response to experience and explore the media text
Literacy - the ability identify, understand, interpret, create communicate  Create to use media tools to create media texts
and compute using printed and written materials with varying contexts.
Information Literacy
Information - broad term that covers processed data, knowledge derived Ability to recognize when the information is needed, and to locate, evalu-
from study, experience instruction, signals or symbols. ate and effectively communicate information in its various forms.
Marks of being an information literate individual:
Technology - the application of scientific groundings for practical purpos-  Larger social vision.
es such as the industry and engineering.  Motivated lifelong learner.
 Find and use information in various contexts.
Media and Information Literacy (MIL)
“combination of knowledge, attitudes, skills, and practices required to ac- Technology Literacy
cess, analyze, evaluate, use, produce, and communicate information and [1] Ability of individual, either working independently or with others, to
knowledge in creative, legal and ethical ways that respect human responsibly, appropriately, and effectively use technological tools.
rights” (Moscow Declaration on Media and Information Literacy, 2012) [2] Responsible and effective means of using technological tools in order
to meet one’s goal in acquiring and using the right information.
“set of competencies to search, critically evaluate, use and contribute in- A technology literate:
formation and media content wisely; knowledge of one’s rights online;  Possesses a range of digital skills
understanding how to combat online hate speech and cyberbullying; un-  Skills in computer networks.
derstanding of the ethical issues surrounding the access and use of infor-  Knowledge of basic principle of computing devices.
mation; and engage with media and ICTs to promote equality, free ex-  Abilities to engage in online communities
pression, intercultural/interreligious dialogue, peace, etc.” ( UNESCO,
2016)

Media Literacy
Technical production skills linked with producing media resources and
 context, message, medium, representations, target audience, and
Communication on Media and Information institutional context.
It shapes public discourse
It can foreclose “other” perspectives”
It can open up “other” perspectives

More ways the media impacts communication in our:

 Rate of speech
 Vocabulary
 Logic of argument
 Use of emotional appeals
 Deployment of evidence
 Style of writing
 Method of persuading
 Ways of processing information
 Conception of “the truth”
 Understanding of the role of communication

Responsible use of media and information

 How to be Media and Information Literate (NU Library Way):
 Identify what kind of information you’re looking for
 Know where to find relevant and authoritative media & information
sources.
 Evaluate sources gathered using applicable criteria.
 Organize the reliable sources using trusted tools.
 Cite, refer, and always apply academic integrity, when using sources
of media & information.

MIL aspires to help people become involved citizens and responsible de-
cision-makers by fostering critical thinking about the media and infor-
mation they consume.
MIL promotes people to assess media critically by analyzing its source,
Pre-industrial age (<1700s)
Early hominids discovered fire, made paper from plants, and made weap-
ons 4.5 million years ago. Prehistoric hunters and gatherers employed
stone and metal implements. They made rock art using rudimentary
stone tools. Petroglyphs and pictographs were the oldest traditional me-
dia.
Lists of media that have evolved during Pre-Industrial Age:
 Cave paintings (35,000 BC)
 Clay tablets in Mesopotamia (2400 BC)
 Papyrus in Egypt (2500 BC)
 Acta Diurna in Rome (130 BC)
 Dibao in China (2nd Century)
 Codex in the Mayan region (5thCentury)
 Printing press using wood blocks (220 AD)
Industrial (1700s-1930s)
The Industrial Age begins with the British Industrial Revolution. This time
produced economic and social advances, such as the power loom and
the steam engine. Manufacturing industry and commercial company
transformed for mass production of diverse items. Long-distance com-
munication became feasible through telegraph.
Lists of media that have evolved during Industrial Age:
 Printing press for mass production (19th century)
 Newspaper - The London Gazette (1640)
 Typewriter (1800)
 Telephone (1876)
 Motion picture photography/projection (1890)
 Commercial motion pictures (1913)
 Motion picture with sound (1926)
 Telegraph
 Punch cards
Electronic Age (1930s - 1980s)
The electronic age started when people utilized the power of electricity
that made electronic devices like transistor radio and television work. The
creation of the transistor piloted the rise of the electronic age. The power
of transistors was used in radio, electronic circuits, and early computers.
In this period, people made use of air access to communication.
Lists of media that have evolved during Industrial Age:
 Transistor Radio
 Television (1941)
 Large electronic computers- i.e. EDSAC (1949) and UNI-
VAC 1 (1951)
 Mainframe computers - i.e. IBM 704(1960)
 Personal computers - i.e. HewlettPackard 9100A (1968),
Apple 1 (1976)
 OHP, LCD projectors
Information Age (1900s - 2000s)
It's also called the digital era. This time marked internet-connected online
usage. Facebook, Messenger, Instagram, and Twitter made communica-
tion quicker and simpler. Rapid microelectronics innovation led to com-
puters, netbooks, mobile phones, and wearable technologies.
Lists of media that have evolved during Industrial Age:
 Web browsers: Mosaic (1993), Internet Explorer (1995)
 Blogs: Blogspot (1999), LiveJournal (1999), Wordpress
 (2003)
 Social media: Friendster (2002), Multiply (2003), Face-
book (2004)
 Microblogs: Twitter (2006), Tumblr (2007)
 Video: YouTube (2005)
 Augmented Reality / Virtual Reality
 Video chat: Skype (2003), Google Hangouts (2013)
 Search Engines: Google (1996), Yahoo (1995)
 Portable computers- laptops (1980), tablets (1993)
  netbooks (2008)
 Smartphones
 Wearable technology
 Cloud and Big Data

 Could people look at the same exact thing and see something com-
pletely different?
 Media = Perception of reality as individuals (*We've contextualize our
human experience with those around us).
 Media has provided us with that ability to say I “know how to act ...”
 We process media point differently and as a result we all have unique
relationships with media, and because of this our perceptions of the
world diverges from one another.
 Media has become pervasive and constant filter for how one sees
society and reality. In so, we inhabit unique digital worlds.

We have to see media as a two-edged sword:

[1] Media has allowed us to transcend our media physical realities, al-
lowed us to gain exposure to things that we wouldn't have but,
[2] Our digital filters have also limited our worldview feeding us things
that we like to see and what we already know.

Individual effect - media information about new norms persuade individu-

als to accept them.

Social effect - the information creates common knowledge of a norm and

enhances social coordination as individuals more readily accept the
information if they believe others have also accepted it.
  -ROM media
Print Media 
Media consisting of paper and ink, reproduced in a printing process that 
is traditionally mechanical. telephony.
 Magazines  Digital cameras
 Newspapers  Media Convergence
 Flyers
 Newsletters Media Convergence
 Scholarly Journals  The co-existence of traditional and new media. The co-existence of
print media, broadcast media (radio and television), the Internet, mo-
Broadcast Media bile phones, as well as others, allowing media content to flow across
Media such as radio and television that reach target audiences using various platforms.
airwaves as the transmission medium.  The ability to transform different kinds of media into digital code,
 Television which is then accessible by a range of devices (ex. from the personal
 Radio computer to the mobile phone), thus creating a digital communication
 Podcasts environment.
 Blogs
 Advertising Truth Decay
 Websites  Increasing disagreement about objective facts, data, and analysis;
 Online streaming  a blurring of the line between fact and opinion;
 Digital journalism  an increasing relative volume of opinion over fact;
 and declining trust in institutions that used to be looked to as sources
New Media of factual information, such as the government and the media.
Content organized and distributed on digital platforms.  Truth decay phenomenon driven by the interaction of four primary
 Websites and blogs drivers:
 Streaming audio and video  characteristics of human cognitive processing, such as cognitive bias;
 Chat rooms changes in the media ecosystem;
 Email  competing demands on the education system that challenge its abil-
 Online communities ity to prepare students for this new media ecosystem;
 Social media and sharing platforms  and political, social, and demographic polarization.
 Mobile apps
 Web advertising
Framing
[1] - The way the news is packaged, interpreted
[2] Includes such elements as word choice, what information is empha-
sized, how it is organized, and even what other stories or information
is presented nearby—or omitted.

Even though multiple sources cover the same issues, they may convey
information in different ways, with varied clues, language, and context.
“... different ways of presenting the same basic information, with different
points of emphasis”.
 Cable TV, the internet, and social media have lessened entry barriers,
enabling citizen journalism and online news channels to thrive and
increasing customer options.
 As customers have more options, media businesses are under pres-
sure to generate more content and promote it.
 Technology has led to new news gathering approaches, such as col-
laborative and networked journalism, crowdsourcing, and open infor-
mation.
 Technology affects news presentation through increasing economic
competitiveness and news production rules.
Information can come from virtually anywhere -- media, blogs, personal
experiences, books, journal and magazine, and web pages -- and the type
of information you need will change depending on the question you are
trying to answer.
Books
Information
 Books cover virtually any topic, fact or fiction.
 For research purposes, it will be used to synthesize all the information
on the topic to support a particular argument or thesis.
 Libraries organize them in "stacks" (which are shelves)
Uses
To:
 Look for plethora of information on a topic
 Put topic into context with other important issues
 Find historical information
 Find summaries of research to support and argument
Uses
To:
 look for background information on a topic
 trying to find key ideas, important dates or concepts
 find bibliographies that point to other relevant research
Journals
 Collection of articles usually written by scholars in academic or pro-
fessional field
 Editorial board reviews articles to decide whether they should be ac-
cepted
 Articles in journals can cover very specific topics or narrow fields of
research.
Uses
 when doing scholarly research
 to find out what has been studied on your topic
 to find out bibliographies that point to other relevant research

Encyclopedias Databases
Collections of short factual entries often written by different contributors contains citations of articles in magazines, journals, and newspapers.
who are knowledgable about the topic. may contain citations to podcasts, blogs, videos, and other media types.
Some databases contain abstracts or brief summaries of the articles,
There are two types of encyclopedias: General and Subject. while databases contain complete, full-text articles.
 General encyclopedias provide concise overviews on a wide variety of
topics. Uses
 Subject encyclopedias contain in-depth entries focusing on one field find articles on your topic in magazines, journals or newspapers.
of study.
 Magazines Uses
Information: To find:
 collection of articles and images about diverse topics of popular inter-  out what items the library owns your topic
est and current events.  where a specific item is located in the library
 these articles are written by journalists or scholars and are guarded

Uses: Internet
 find information or opinions about popular culture  through browser on the internet, web allows access of most types of
 find up-to-date information about current events information.
 find general articles for people who are not necessarily specialists  Web has the ability to quickly link other related information and can
about the topic contain beyond plain text, including sounds, images, and video.
 The important thing to do when using information on the internet is to
Newspapers KNOW HOW TO EVALUATE IT!
Information:
 collection of articles about current events usually published daily. Uses:
 there is atleast one in every city, it is a great source for local infor- to find:
mation.  current information
 information about companies
Uses:  information from all levels of government - federal to local
To find:  both expert and popular opinions
 current information about international, national and local events.  information about hobbies and personal interests
 editorials, commentaries expert or popular opinions

Library Catalog
 organized and searchable collection of records of every item in a li-
brary and can be found on the library home page.
 catalog will point to a location of a particular source, or a group of
sources, that the library owns your topic.
 Forms of Indigenous Media and Local Examples
INDIGENOUS MEDIA  Folk or traditional Media
Indigenous  Gatherings and social organizations
- native; local; originating or produced naturally in a particular region.  Direct observations
 Records - may be written, carved, or oral
Indigenous Knowledge  Oral instruction
- knowledge that is unique to a specific culture or society; most often it is
not written down.

Indigenous Communication
- communication transmission of information through local channels or
forms. It is a means by which culture is preserved, handed down, and
adapted.

Indigenous Media and Information

- original information created by a local group of people. - - This also re-
fers to content about indigenous peoples that may be distributed through
dominant forms of media or through forms of communication unique to
their people group

Importance of Indigenous media and information

 Rural communities don't get popular media.
 There are still locations where print, broadcast, and new media have-
n't reached.
 Indigenous media and information are highly credible since they're
close the source and seldom circulated for profit.
 Indigenous media have direct access to local channels, which pro-
motes change, education, and development.
 Ignoring indigenous media and information may lead to inefficient
and irrelevant development and education programs.
  Images - size & position
Media Codes  Text - typography
Technical, written and symbolic tools used to construct or suggest mean-  Composition & Layout
ing in media forms and products.  Paper stock
The physical elements that the audience experiences. Which brings the  Framing
narrative conventions to the media form.  Distribution
 Readership
Media Conventions
Rules or generally accepted ways of constructing form and informing Codes and Conventions of Advertising
meaning in media products.  Symbolic Codes
Narrative conventions are usually implied - that is they exist in the minds Mise En Scene, props, settings, costumes and colors. These codes
of the audience rather than being explicitly seen in the Narrative. help symbolize the meaning of something.

Codes and Conventions of Moving Image  Written Codes

 Visual Elements Headlines, captions, speech bubbles, language style.
Costume, camera angle and or position, framing, lighting, location,
setting, visual composition.  Technical Codes
camera techniques, framing, depth of field, lighting, exposure, sound
 Audio Elements and editing. these codes include camera angles, shots, lighting, edit-
Music, sound effects, dialogue, jingles, catchphrases ing and sound.

 Technical Elements Codes and Conventions of Storytelling

Acting, lighting, editing, color grading  Opening Development & Closure
 Multiple Storylines
 Written Elements  Narrative Possibilities
Adjectives, headlines, subtitles  Character Development
 Cause & Effect
 Setting
Codes and Conventions of Print  Structuring of Time
 Layout  Point of View
 Color
 SETTING
 Includes the film's time and location.
CAMERA  Climate (season), geography, people, social structures, economic fac-
 Techniques qualities including shot selection, movement & focus. tors, customs, moral attitudes, and codes of behavior.
The camera's movement, pan, angle, and framing convey the tale. It
reveals characters' lives it highlight objects, events, and actions and MISE EN SCENE
set the scene's tone and convey a perspective.  Visual composition inside the shot/frame.
 Angle - angle from which the image is viewed; character's  Moving figures and elements inside a frame may create different ef-
point of view fects.
 Movement - how the camera moves will reveal information to  Blocking is the placement and movement of performers on the set;
the audience enabling audience to follow and engage charac- it's also a film's appearance or style. The film's tone or atmosphere.
ters Visual elements in a frame including:
 Displacement - dictates the audience how involved they will [1] set design
become with the characters or settings [2] lighting
 Shot selection: [1] extreme close-up; [2] close-up; [3] medium [3] space & shot selection
shot; [4] medium long shot; [5] long shot [4] costume & make-up
 Lens/focus alterations in focus can have a signifying effect
 Height can give the audience a varied perspective EDITING
 Creates the appearance that a film is unfolding naturally without inter-
ACTING ference.
 Most obvious production element in a moving picture.  Good editing creates the appearance of time and space consistency
 Visual components (appearance, gestures, facial expression) and with smooth cuts.
sound make up an actor's cinematic performance (voice and effects). There are numerous editing techniques:
The actor's character is essential to the plot. [1] cut
[2] fade
Acting discussion topics include:
[3] dissolve
[1] body language;
[4] wipe
[2] voice/accent/pace of speaking;
[5] shot-reverse shot
[3] facial expression;
[6] graphic match
[4] any distinctive common character movement
[7] crosscutting
[5] stance/walk/movement
[8] timing
LIGHTING MUSIC
 Defines space within a frame, separate foreground from background,  (in films) usually non-realisitc and the audience sees its source in the
create textures, mold and shape, reveal or conceal, lighting can be frame
expressive - setting a mood or a look in a film. An entire film can be lit  used to amplify the mood or atmosphere and conveys the emotional
in an expressive way. significance of a scene
Features of lighting:
Reference can be made to its
[1] intensity;
[1] tempo/beat;
[2] source;
[2] style;
[3] direction;
[3] volume
[4] color

DIALOGUE
SOUND
 important information can be revealed about the storylines and/or
 Important in a film's narrative; provides emotional accompaniment at
characters.
its high points and enhances realism and visually draw attention by
 significant line of dialogue conveys important plot information
producing sounds that would depict visually.
 provides prediction of what may occurs, identifies themes and assists
 sound can be used as a traditional device in editing with dialogue, mu-
in explaining characters motive and actions
sic or sound effects carrying over form one scene to the next.
Falls into three categories:
SPECIAL EFFECTS
[1] dialogue;
(SFX, SPFX, or FX)
[2] music;
 Illusions or visual tricks used in the film, television, theatre, video
[3] sound effects
game and simulator industries to simulate the imagined events in a
Sound effects - added to improve realism and impact story or virtual world
Foley - natural sound caused by movement or nature 1. Mechanical effects (also called practical or physical effects)
- any other sounds which cannot be recorded are sound effects 2. Optical effects (also called photographic effects)
- added to soundtracks
Score TYPOGRAPHY
- musical component of a movies soundtrack in which the film composer typefaces communicate a variety of meanings for the audience
specifically compose it for a film  organizes text and creates meaning it does through hierarchy, the use
- background music of fonts to emphasize some content over others.
- orchestral, synthesized or performed by a small group of musicians.
COLOR
 Color affects audiences psychologically in print and moving images.
This media code is also known as the explicit convention. Creators
use color to express ideological meaning to audiences.
 Color grading affects how an audience reads a story.
 Color manipulation implies a preferred text interpretation.
 Before any performers even mutters a word of dialogue, color sets
the scene's
VISUAL COMPOSITION
 Specifically refers to the placement of all elements within the shot.
 Hierarchy between characters and objects is used to suggest various  Providing a false lead, contrasting characters, situations or ideas to
things.
 Some artists rely heavily on visual composition to please the audi-
ence and ensure they receive the hidden messages they intended.
STORY PRINCIPLES
 The plot comprises both revealed and inferred occurrences. The tale
includes non-diegetic content such as special effects that are dis-
closed to the viewer.
MULTIPLE STORYLINES
 Storylines may run parallel to, comment on, or intersect with the main
storyline.
 Designed to add depth and color to the narrative, it complicates lives
of the characters and adds range of narrative possibilities, illustrating
a moral dilemma.
provide relief to a distressing point.
Concurrent storylines
Interrelated or interconnected storylines

TEXT AND GRAPHIC THEMES

 Representation and narrative comprehension are crucial so clean,  Values statement that motivates or shapes a narrative.
consistent, easy-to-read typefaces needs to be used.  Often point to the ideology behind the text, creators will often use
 A picture is worth a thousand words; graphics make an impact in- technical codes to convey the themes throughout the narrative.
stantly.
Things to discuss when referring to text and graphics:
[1] Styles; OPENING, DEVELOPMENT & CLOSURE
[2] Fonts;  Opening gives the viewers a sense of what's to come and introduces
[3] Body Text; them to the film's themes, motifs, and storyline.
[4] Masthead;  Information is revealed and built upon during a film's opening and
[5] Space; storyline.
[6] Visual composition;  Characters, scenarios, and locations are typically introduced to help
[7] Color; the viewer grasp the story.
[8] Hierarchy
 self-preservation.
FORM AND STRUCTURE
Hollywood's three-act structure (Opening, Development, Resolution) isn't POINT OF VIEW
always fixed. There are few crucial features that ensure the viewer can Term has two meanings:
recognize and follow the action.  All narratives being applied which refers to the story's point of view.
STEP 1: Establish normal  Film, TV, and photographic narratives which refers to a character's
STEP 2: Disrupt normal point-of-view (POV)
STEP 3: Create turning points
STEP 4: Develop the characters STRUCTURING OF TIME
STEP 5: Restore normal  Compression - seeing rapidly seasonal change
 Ellipsis - long series of events cut down to few significant shots
CHARACTER  Freeze Frame - still image appearing on a screen & voice-over on time
Create engagement for the audience and passed
help them understand the attitudes and  Slow motion - time-stretching (lengthening) gives emphasis onto
behaviors of the leading characters When casting an actor: scenes
How do they behave? What do they say?  Fast Motion - increased pace to pick up speed on an event/scene
How do they appear? Why have they been included?  Flashbacks and flash-forwards - the travel in time to the past as the
How do they help propel the story? audience mentally rearrange the events.
How does their relationship with other  Repeats - shows coherence and different camera viewpoints for audi-
characters affect the narrative? What type of character are they? ence
How do they compare to or compliment the  Parallel Actions - audience experiences events at different places at
others? different times.
The story arc will vary depending on the genre or style of the
narrative. TITLES & CREDIT SEQUENCE
Things to consider when thinking and discussing title & credit sequence:
CAUSE AND EFFECT  Font Choice
 Motivated because there is a clear reason for the actions of the char-  Background selection (Color or location - moving or still)
acters and the events in the film.  Duration - length of opening sequence
 Usually the characters are instrumental in cause and effect. the narra-  How much information you wish to give away to your audience
tive is centered around and driven by character choices, decisions  Narrative possibilities
and traits.  Closure of the narrative or sequel possibilities
 Characters can be motivated by love, greed, revenge, power, wealth,