GenderAndViolence MediaMessages

GENDER AND VIOLENCE
How Media Shape Our Culture

A media literacy education curriculum to address
sexual violence and harassment
GENDER AND VIOLENCE
How Media Shape Our Culture
A media literacy education curriculum to address

sexual violence and harassment
© 2015 NEW JERSEY COALITION AGAINST SEXUAL ASSAULT. ALL RIGHTS RESERVED.
This publication was made possible via a grant from the New Jersey Department of
Children and Families’ Division on Women as part of the State of New Jersey’s long
term recovery efforts in the aftermath of Super Storm Sandy. Its contents are solely the
responsibility of the authors and do not necessarily represent the official views of the
Department of Children and Families’ Division on Women.
RECOMMENDED CITATION:
New Jersey Coalition Against Sexual Assault [NJCASA]. (2015). Gender and Violence:
How Media Shape Our Culture. Lawrenceville, NJ: New Jersey Coalition Against
Sexual Assault.
ii New Jersey Coalition Against Sexual Assault

Acknowledgements
This curriculum was created with the time, energy, and expertise of staff from the
New Mexico Media Literacy Project. Media Literacy Project has been educating
youth and adults in media literacy and in more recent years, advocating for media
justice. Media Literacy Project was founded in 1993 and has since become
a nationally recognized leader in media literacy resources and education.
Their media literacy curricula and action guides are used in countless schools
and communities and have inspired thousands of people to think critically and
take action.
For more on Media Literacy Project’s incredible work, visit their website at
www.medialiteracyproject.org.
The New Jersey Coalition Against Sexual Assault (NJCASA) would also like to
thank preventionists from the 21 county-based sexual violence programs and
Rutgers University’s Office for Violence Prevention and Victim Assistance. These
dedicated, passionate, and enthusiastic individuals brought this curriculum to life
and have infused the contents with experiential evidence and intention.
NJCASA would also like to thank the following people and organizations for
providing permission to include resources and activities in this manual:
TEACHING TOLERANCE
www.tolerance.org
THE LESBIAN, GAY, BISEXUAL & TRANSGENDER COMMUNITY CENTER

gaycenter.org
Note About Copyright and Fair Use

Media examples and guidance on relevant media included in this manual are
intended for use as part of media literacy education under The Code of Best Practice
for Fair Use in Media Literacy Education. The media in these sessions is included
to assist facilitators and participants in examining social contexts and constructs
in the United States and provide examples of current mass media and popular
culture, as well as older media examples for historical context. Accurate and proper
attribution and citation of materials is strongly encouraged for facilitators compiling
relevant media examples not specifically named in this curriculum.
GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE iii

iv New Jersey Coalition Against Sexual Assault
TABLE OF CONTENTS
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
Note About Copyright and Fair Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
SESSION ONE: Introduction to Media Literacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Session Agenda. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Activity: Community Agreements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Discussion: What is Media? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Discussion: Media Creators and the Language of Persuasion . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Optional Activities and Modifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Activity-Based Assessment: Agree/Disagree. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Media Justice Scavenger Hunt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Language of Persuasion Skit Activity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Optional “Homework” Assignment:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
SESSION TWO: Gender. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Session Agenda. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Review Concepts from Last Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Sex & Gender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Activity: Gender Boxes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Gender Identity Project Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
LGBT (In)Visibility on TV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Stereotype Analysis of the Latin Lover. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
SESSION THREE: Media Creating Gender. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Session Agenda. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Media Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Guidance for Discussion on Race, Gender, and Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Guidance for Discussion on Sexual Orientation, Gender Identity, and Media. . . . . . . . . . . . 34
SESSION FOUR: Media Creating Fantasy: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Session Agenda. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Music Videos. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Video Games. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Closing Discussion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Activity-Based Assessment: Attitudes Toward Violence in Media . . . . . . . . . . . . . . . . . . . . . 40
GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE v

SESSION FIVE: Media Creating Fantasy:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Session Agenda. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Discussion: How do Media Influence our Actions and Decisions?. . . . . . . . . . . . . . . . . . . . . . . 44
What is an Intersection?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Looking at Real-World Violence in the Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Activity-Based Assessment: Attitudes Toward Violence in Media. . . . . . . . . . . . . . . . . . . . . . 46
SESSION SIX: Taking Action! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Session Agenda. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Discussion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Examples of Proactive Media Consumers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Discussion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Activity: Practicing Proactive Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Bystander Intervention. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Letter Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
What Would You Do? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Street Harassment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
SESSION SEVEN: Reconstruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Session Agenda. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Activity: Building Media Activism Skills. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Poster Activity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Letter Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
APPENDIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Introduction to Media Literacy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Language of Persuasion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Thinking About Media & Social Attitudes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Media Justice Scavenger Hunt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Session Four Activity-Based Assessment:
Attitudes Toward Violence in Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Session Five Activity-Based Assessment:
Attitudes Toward Real-Life Violence in Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Creating Counter-Ads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
vi New Jersey Coalition Against Sexual Assault

Introduction
This resource is the culmination of years of collaboration and trial-and-error. The
first version of this curriculum, Gender, Race, & Sexuality: How Media Shape Our
Culture, was created by the New Mexico Media Literacy Project for NJCASA. It was
designed for preventionists interested in connecting media literacy (the ability to
access, analyze, and create media) with issues of gender, race, sexuality, as a sexual
violence prevention strategy. The approach was implemented with both youth and
adults, but was primarily designed with a youth audience in mind, and was tested
with youth focus groups.
Over the next few years, preventionists throughout the state began implementing
the strategy and gathering information about creating relevant and effective
content. There were a series of informal and semi-formal revisions that helped focus
the strategy, streamline evaluation tools, and collect trends. As this process moved
forward, preventionists felt as though a more structured resource was needed in
order to support sustainability and ongoing community engagement.
The following sections provide background on New Jersey’s journey, as well
as available and accessible research supporting the selection of critical media
literacy as a sexual violence prevention strategy. There is also guidance and
recommendations for facilitators interested in using this resource as a way to
implement critical media literacy in their community.
Background & Overview

In 2006, the Centers for Disease Control and Prevention (CDC) selected New Jersey
as one of the six pilot sites for the Enhancing and Making Programs and Outcomes
Work to End Rape (EMPOWER) project to build the capacity of states to do primary
prevention work. A diverse team of stakeholders, including NJCASA, helped create
a comprehensive primary prevention plan specific to New Jersey. The plan included
a Gender Equity1 goal that looked specifically at promoting protective factors and
social norms, while also mitigating risk factors for perpetration of sexual violence.
Critical media literacy was selected to assist in achieving the Gender

Equity goal in the state prevention plan, specifically to “Create and
market social norms in New Jersey that promote gender equity and
respect for women and girls by reducing sexual stereotypes and
increasing male accountability for prevention of Sexual Violence”.
1 The statewide planning group intentionally used the term “equity” as it includes the “process
of being fair” and in turn ensures equality can be achieved.
GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE 1

The intended aim for the curriculum is to support participants in:
■■ Analyzing and evaluating media messages about gender and
gender-based violence
■■ Identifying how gender stereotypes in media contribute to institutional
gender inequality
■■ Describing how power relations influence the concept of gender
■■ Exploring the possible linkages between media violence and norms around
sexual violence
The public health approach to violence prevention

Gender and Violence: How Media Shape Our Culture was created and implemented
as a sexual violence prevention strategy beginning 2010. Both NJCASA and
preventionists in New Jersey approach sexual violence prevention work with the
public health model for violence prevention, while infusing practice with social
justice principles. The public health approach includes four steps: Define the
problem; Identify risk and protective factors; Test prevention strategies; and Adopt
widespread adoption.2 This curriculum represents an effort at the third step: our
collective contribution to the work of the anti-sexual violence movement by
engaging communities in social change. This methodical and intentional process
informed the planning stages of the EMPOWER project, as well as ongoing
discussions and development of strategy materials.
Critical media literacy as a social change strategy

Young people —
particularly teenagers — Critical media literacy is an opportunity
spend up to eight hours a for individuals to challenge messages
day interacting with some and norms, while also giving them
form of media (e.g. internet, a chance to create their own media
television, video games, messages that reflect their lived
print, etc.).3 The effect this experience and hopes for the future.
has on an individual person
and collective community
is mitigated by a number of influences and conditions; media can shape thoughts
about social norms, relationships, and power dynamics. For example, images and
2 Centers for Disease Control and Prevention. The Public Health Approach to Violence
Prevention. Retrieved from http://www.cdc.gov/violenceprevention/overview/
publichealthapproach.html
3 National Coalition to Prevent Child Sexual Abuse and Exploitation, “Impact of Media &
Technology on Youth.” 2014
2 New Jersey Coalition Against Sexual Assault

depictions of girls and women perpetuate dominant cultural attitudes regarding
female sexuality and gender roles. Girls and women are habitually sexualized in the
media and these messages are being transmitted to young girls and boys alike.4
Critical media literacy is an opportunity for individuals to challenge messages and
norms, while also giving them a chance to create their own media messages that
reflect their lived experience and hopes for the future. This process has the potential
for significant personal transformation among young women, who experience
sexism, and other oppressed groups,
Critical analysis that explores and exposes the structures of oppression is
essential because merely coming to voice is something any racist or sexist
groups of people can claim. Spaces must be opened up and opportunities
created so people in marginalized positions have the opportunity to
collectively struggle against oppression, to voice their concerns, and create
their own representations.5
The core tenets of media literacy are the ability to access, analyze, and evaluate
media messages and constructed images. Critical media consumers also create
their own media to begin presenting new ideas and norms into the social landscape.
Achieving mutual goals: How does media literacy work to prevent

sexual violence?
NJCASA and preventionists in New Jersey appreciated the active nature of media
literacy; participants in programming are challenged to change not only their
attitudes, but also adopt skills to help them navigate a complex world. Media
literacy seemed like the perfect fit when looking at the Gender Equity goal and how
implementation could be informed by prevention principles, the public health
approach, while also addressing risk and protective factors for the perpetration of
sexual violence.
Risk factors for perpetration

Recent research has uncovered unique and shared risk factors for the perpetration
of sexual violence.6 7 Risk factors were organized along the socio-ecological model at
4 American Psychological Association, Task Force on the Sexualization of Girls, “Report of

the APA Task Force on the Sexualization of Girls.” (Washington, DC: American Psychological
Association, 2007), www.apa.org/pi/wpo/sexualization.html.
5 Douglas Kellner & Jeff Share, “Critical media literacy is not an option.” Learning Inquiry, 1, no.
1 (2007): 58.
6 Andra Teten Tharp, Sarah DeGue, Linda Anne Valle, Kathryn A. Brookmeyer, Greta M.
Massetti, & Jennifer L. Matjasko, “A Systematic Qualitative Review of Risk and Protective
Factors for Sexual Violence Perpetration,” Trauma, Violence, & Abuse 00, no. 0 (2012).
7 Natalie Wilkins, Benita Tsao, Marci Hertz, Rachel Davis, & Joanne Klevens, “Connecting the
Dots: An Overview of the Links Among Multiple Forms of Violence,” (Atlanta, GA: National
Center for Injury Prevention and Control, Centers for Disease Control and Prevention
Oakland, CA: Prevention Institute, 2014).

various contexts: individual, relationship, community, and societal.8 Critical media
literacy focuses on individual-level risk factors such as, but not limited to: hostility
towards women, traditional gender role adherence, hypermasculinity, acceptance
of violence, and denial or displacement of blame for sexual assault9. This curriculum
also strives to influence relationship-level risk factors associated with peer norms and
attitudes. The curriculum and strategy of critical media literacy is highly motivated by
the shared societal-level risk factors of media violence, traditional gender roles, and
cultural attitudes that support violence and abuse.10 These risk factors were selected
based on the focus and goals of the state prevention plan, specifically the Gender
Equity goal. Preventionists in New Jersey felt as though these risk factors reflected the
needs and realities of the communities they serve and engage.
Protective and resilience factors

There is limited research
around protective factors Gender and Violence: How Media
for perpetration of violence, Shape Our Culture aims to promote
but there are some community support and connectedness
promising directions11. through group activities, dialogue,
Gender and Violence:
and partnership-building between
How Media Shape Our
sexual violence programs and local
Culture aims to promote
community organizations and youth.
community support and
connectedness through
group activities, dialogue, and partnership-building between sexual violence
programs and local community organizations and youth. Session Six’s emphasis on
individual action and participation is the primary venue for this work; participants
are encouraged and given space to practice challenging media depictions of gender
and gender-based violence.
In addition to this research-based protective factor, preventionists also generated
a number of potential individual- and relationship-level protective or resilience
factors addressed in the curriculum:
■■ Promotion of healthy sexuality (when sexuality is discussed)
■■ Providing alternatives to traditional/hyper masculinity
■■ Providing alternatives to dominant gender roles
At the time of publication, this strategy is still in the initial stages of program
evaluation and consistent implementation among sexual violence programs
and preventionists. The current version of this curriculum is the culmination of
8 Centers for Disease Control and Prevention. The Social-Ecological Model: A Framework for
Prevention, http://www.cdc.gov/violenceprevention/overview/social-ecologicalmodel.html.
9 Tetan Tharp
10 Wilkins et al.
11 Wilkins et al.

years of experimentation, dialogue, research, and focused discussions. NJCASA
and preventionists in New Jersey feel it best represents a solid direction for those
interested in implementing media literacy as a sexual violence prevention strategy.
Using this manual

Critical media literacy is best facilitated by someone who is comfortable being a
little uncomfortable; discussions often veer into challenging territory. Facilitators
must feel confident in their ability to “dig deeper” and encourage participants to
move beyond social norms. Discussions can become passionate at times. This is all
part of changing attitudes and behaviors.
The approach is organized into up to eight sessions:
SESSION ONE
INTRODUCTION TO MEDIA LITERACY

Facilitators will set group ground rules, present media literacy concepts, and
outline skill fundamentals.
By the end of this session, participants will be able to:
A. Describe common types of media.
B. Describe ways media shape cultural attitudes.
C. Describe ways media messages affect our thoughts, attitudes,
actions, or emotions.
D. Describe how media is created with a target audience in mind.
SESSION TWO
GENDER
Facilitators will do an introductory/overview of the concept of gender
(different from biological sex) and facilitate an activity called The Gender Box
to generate examples of gender from participants.
A. Describe the difference between physical/biological sex
and gender.
B. Outline ways gender roles are culturally defined.
C. Provide examples of harmful gender roles.

SESSION THREE
MEDIA CREATING FANTASY: MEDIA CREATING GENDER

Facilitators will dig a little deeper with participants (building off of Session
Two) to look at how media shape and support gender and our relationships.
By the end of this session, participants will be able to describe ways media
influence our ideas about gender.
SESSION FOUR
MEDIA CREATING FANTASY: ATTITUDES TOWARDS VIOLENCE IN MEDIA

Facilitators will use media examples (music videos and video games) to
further discuss gender, but introduce ways media desensitizes consumers to
gendered violence.
A. Define the difference between fantasy and reality.
B. Describe the amount of violence represented in music videos and
video games.
C. Identify the persuasion technique being used in different types of
music videos and video games.
D. Identify gender stereotypes operating in music videos and video
games.
SESSION FIVE
MEDIA CREATING FANTASY:

ATTITUDES TOWARDS REAL-LIFE VIOLENCE IN THE MEDIA
Facilitators use real-life stories and experiences to draw a connection
between media violence and community violence.
A. Identify where media promotes fantasy (or desensitization from the
impact of real-world violence).
B. Identify instances of real-world violence intersecting with
media violence.
C. Describe their individual role in consuming and creating media.

SESSION SIX
TAKING ACTION! BECOMING PROACTIVE MEDIA CONSUMERS

Facilitators offer examples of proactive media consumers and brainstorm
ideas for participants to take action in their own spheres of influence.
A. Describe their individual role in consuming and creating media.
B. Describe behaviors of a proactive media consumer.
C. Demonstrate at least one way to challenge media portrayals of gender
and violence.
SESSION SEVEN
RECONSTRUCTION
Facilitators use a variety of activities to walk participants through the process
of reconstruction — or creating — new media that challenge social norms.
A. Demonstrate skills to analyze and evaluate media messages.
B. Respond to harmful media messages.
C. Create positive media messages of persuasion and other media skills
in a hands-on project.
D. Describe elements of effective counter ads.
SESSION EIGHT
WRAP-UP
This is an optional session where facilitators can give participants
an opportunity to further discuss concepts within the curriculum.
Preventionists in New Jersey found participants often wanted some time
to collectively process and talk through some of the concepts talked about
outside the confines of the structured sessions.

Within each session there are a number of resources for facilitators:
■■ Suggestions on creating a space that is accessible and comfortable
for participants.
■■ Activities to achieve learning objectives, as well as guidance for
successful facilitation.
■■ Modifications for activities based on participant interests and learning needs.
■■ Process evaluation measures and guidance for collecting information on
implementing each session. Please contact NJCASA for additional instruction
on data analysis, if needed.
Tips for facilitators

The following are a few tips that have worked for Media Literacy Project and
preventionists in New Jersey over the years in leading discussions on media.
Prepared media examples

Media examples are most relevant when collected by participants; however, early
sessions may prevent this from happening or limit the amount of time participants
have to gather examples. It is recommended facilitators prepare enough media
examples for, at least, the first three sessions. These can be part of a PowerPoint
presentation, made into large posters, or clipped from magazines and printed on 8”
by 11” paper for participants to look at. Preparing these ahead of time can alleviate
lulls in discussion and facilitator anxiety.
DVDs and video clips

YouTube and online video clips can be unreliable — particularly in classroom
settings where there may be security features and firewall limitations. Examples
and activities within the curriculum limit the number of movie or TV clips used,
but facilitators in New Jersey found films such as Miss Representation, Dreamworlds,
Killing Us Softly, and Beyond Beats & Rhymes effective as part of this strategy.
Facilitators are encouraged to purchase films and prepare clips to show during
sessions, rather than rely on YouTube and possibly risk copyright infringement.
Room set-up
The room set-up may be limited. If you have control over the arrangement, a semi-
circle formation of desks or chairs is best for discussions. It is most important that
everyone is comfortably seated so that they can see the screen or wall where the
media examples are being projected. This means that the room should not have
bright windows that cannot be shut with light shining onto the projection area.
Good speakers are also important because low audio can weaken the impact of the
media example and make it difficult for people to engage in the discussion.

Program evaluation tools
This manual includes process evaluation tools and activity-based assessments
to gauge learning and the intended goals of the strategy. At time of publication,
preventionists in New Jersey are refining outcomes measures and discovering
practical and reliable ways to assess impact. Outcome evaluation tools were
implemented throughout the development of this strategy and underwent a
number of revisions as new research and resources become available. New Jersey
is committed to contributing to the national conversation around evaluation and
assessment of sexual violence prevention and have included the tools we feel make a
thoughtful contribution.
Process evaluation: Facilitator Reflection

These forms are intended to serve as a “check-in” for facilitators regarding
the goals for each session. There is also space to document challenges and
successes, as well as a question to help plan the next session’s activities
and discussion.
Activity-based Assessments
Two of the sessions include optional activity-based assessments to help gauge
participant behavior change regarding acceptance of violence in media,
as opposed to real-life. Feedback on these new tools was not collected by
preventionists in New Jersey before the publication of this manual.
Considerations for implementing evaluation

This strategy and the language used in handouts and assessments was created
with older adolescents (9th grade aged) and individuals in early adulthood in mind.
The language included may not be accessible to a full range of learning styles or
developmental levels. Please refrain from altering assessment language or contact
NJCASA for more information.
Please contact NJCASA for additional instruction on data analysis, if needed. Head
to www.njcasa.org for contact information and other resources.

SESSION ONE
Introduction to Media Literacy

LENGTH OF TIME: MEDIA EXAMPLES NEEDED:
60 minutes Language of Persuasion PowerPoint
SUPPLIES NEEDED: BY THE END OF THIS SESSION, PARTICIPANTS WILL BE ABLE TO:
Laptop A. Describe common types of media.

Projector B. Describe ways media shape cultural attitudes.
Audio speakers C. Describe ways media messages affect our thoughts,
attitudes, actions, or emotions.
Screen/blank wall
D. Describe how media is created with target audience
Introduction to Media in mind.
Literacy handout
Language of Persuasion
handout
Facilitator notes
Media Justice Scavenger
Hunt handout (optional)
Thinking About Media &
Social Attitudes handout
(optional)

Session Agenda
Activity: Community Agreements (5-10 MINUTES)
Drafting agreements during the first session is also important for establishing what
the norms for the group will be. This can be done as a more structured activity or a
relaxed discussion.
■■ Activity (optional and depending on age/maturity of group):

■■ Supplies needed:
●● Five or six images (more if desired) that represent various elements of the
community agreement (e.g. clock image for time management or keeping
everyone focused).
○○ Sample/Recommended images:
-- Clock: taking up time, being respectful of time
-- Megaphone/Microphone: Everyone has a voice
-- Flag or sign: Raising your hand or indicating you would like to speak
before speaking
-- First aid kit: Safety and taking care of each other
-- Gold star: Assume the best of everyone, everyone has something
to offer
-- Tape for displaying images on wall or screen.
■■ Group format (if there is more time/flexibility):
●● Participants will break into as many groups as there are printed images.
Each group will come up with one agreement based on their group image.
●● If there are duplicate agreements you can highlight the importance of
that agreement and also ask some more questions to get to a different or
alternate agreement.
■■ Discussion format: Use the discussion questions below to generate
agreements and rules for group interactions.
■■ Display the images on a wall or space where everyone can see them. These will
be visible for all sessions and will be revisited at the beginning of each session.

■■ Discussion questions: (Use these for the activity as well to encourage
participants to think critically about the agreements they are creating).
■■ What should we do about cell phones?
■■ Is it okay if people step out when they need to in order to use the restroom, get
water, and take care of themselves?
■■ What about differing opinions and how they should be handled?
■■ What about encouraging ourselves to step up/step back if we are dominating
the conversation or not speaking up enough?
■■ What about side conversations and listening to each person as they speak?
It is also important to say at the beginning that you as the facilitator want to hear from
everyone in the room and that this conversation is about their thoughts, opinions, and
ideas. One media literacy concept is that individuals construct their own meanings
from media. We all come to a piece of media with our own background, experiences,
ideas, and values and that is okay. What one person may think about a piece of media
may vary from the person sitting next to them.
Discussion: What is Media? (10 MINUTES)

■■ What is media?
●● Media are everywhere.
○○ From the minute we wake up to the time we go to sleep at night, we are
bombarded with messages that inform us, persuade us, and entertain
us. Billboards, TV News, cereal boxes, Facebook, movies, music videos,
magazines, text messages, junk mail, YouTube, DVDs, and radio are just a
few examples of what we are exposed to daily.
○○ Our media environment contains many complex layers which give us
both overt and implied messages about gender, race, and sexuality.
●● Media can be good and bad.
○○ It is important for the facilitator to clarify that our message is not that
all media are bad, but that it is important we understand how to think
critically about the message we receive so we can form our own opinions.

■■ Where do we find media?
●● EVERYWHERE. Television, radio, print ads, internet ads, billboards, music
— all of them are media. It’s important to include the fact that cooking meals,
sharing songs, ceremony, dance, poetry, and stories are media as well, but we
don’t often think of them that way. They are all ways people communicate and
share messages with others.
■■ How do media shape our attitudes and beliefs?
●● How does music impact our mood? What do Sometimes when
you think is happening in your body when you viewing media
listen to calming music? Fast-paced music? the reptilian
Loud? Soft? part of our brain
●● How do ads impact the way we see other can override the
people? (e.g. Attractiveness, intelligence, neocortex. These
patriotism, how much money they make, etc.) brain facts are
●● How do you feel after seeing an advertisement also why TV
for something? What makes you want a commercials
product or item? are often more
powerful than
●● Are we always aware of how media are
affecting our mood? What about our attitudes print ads.
and beliefs? Explain that media effects
are subtle.
This is a discussion about media and the way we are influenced by media. The key points
of this discussion are to help participants identify how much media we use and how it
influences our way of thinking. One media literacy concept to note is that the human brain
processes images differently than words. Images are processed in the “reptilian” part of the
brain, where strong emotions and instincts are also located. Written and spoken language
is processed in another part of the brain, the neocortex, where reason lies. Sometimes when
viewing media the reptilian part of our brain can override the neocortex. These brain facts
are also why TV commercials are often more powerful than print ads.

Discussion: Media Creators and the Language of Persuasion (30 MINUTES)
The intent of this exercise is to introduce the tenets of media literacy and the potential
for social change. One of those core tenets is the language of persuasion and the
intentions of media creators to promote certain social norms and ideas.
●● At least two media examples that will be used to highlight a variety of persuasion
techniques (Media examples within the two PowerPoints require relevant media
— ads, images, and content — recognizable and relevant to participants). One
example should be “neutral” in terms of gender representation (e.g. an ad
without people) and a second with a gendered representation (e.g. fashion ad
with scantily-clad women or men in sexualized positions).
●● PowerPoint for either Introductory or Comprehensive outline with
additional media examples (optional).
●● Introduction to Media Literacy and/or Language of Persuasion handouts —
Introductory or Comprehensive format.
■■ Discussion questions: (Use these to introduce concepts, as well to encourage
participants to think critically).
●● Present first media example to the group.
○○ Whose message is this?
-- Who created or paid for it?
-- Why?
○○ Who do you think is the target audience?
●● Introduce the concepts of text and sub-text
○○ Text: The “obvious” message(s) within media. This could be the written or
printed words or the intent. For example, an advertisement’s text is to buy
the product pictured.
○○ Subtext: The hidden messages within media. This is more attached to
cultural attitudes and persuasion. For example, an advertisement’s subtext
is that buying this product will make you more attractive to others.
What you just did is called media literacy. Media literacy is the process of
accessing, analyzing, evaluating and creating media. When we’re more media
literate, we’re able to question media messages and think for ourselves, and begin
to understand how certain messages promote ideas about culture and gender,
for example.
●● How many of you have ever tried to persuade someone to do something?
○○ What did you do to persuade someone?
Now we’re going to deconstruct more media examples by asking questions,
looking at the small pieces that make up an ad, and some of the techniques that
media makers use. Media makers use techniques to persuade us, too. They may

try to persuade us to purchase certain products or believe in a certain idea (for
example, that recycling is a good thing). Movie makers often use certain music or
dialogue to persuade us to be scared, sad, or feel anger toward a certain character.
The next couple of media examples demonstrate certain techniques of persuasion.
From here, there are two options for presenting this content:
■■ Introductory: Present at least two different media examples and connect them
to the following 25 persuasion techniques.
●● Ad hominem ●● Explicit claims ●● Plain folks

●● Analogy ●● Fear ●● Repetition
●● Association ●● Flattery ●● Rhetorical questions
●● Bandwagon ●● Glittering generalities ●● Simple solution
●● Beautiful people ●● Humor ●● Symbols
●● Bribery ●● Intensity ●● Timing
●● Cause vs. correlation ●● Name-calling ●● Warm & fuzzy
●● Celebrities ●● New
●● Experts ●● Nostalgia
■■ Comprehensive: Present two media examples and connect them to the 40

persuasion techniques. See Appendix for handouts.
●● Ad hominem ●● Extrapolation ●● Plain folks

●● Analogy ●● Experts ●● Repetition
●● Association ●● Explicit claims ●● Rhetorical questions
●● Bandwagon ●● Fear ●● Scapegoating
●● Beautiful people ●● Flattery ●● Scientific evidence
●● The Big Lie ●● Glittering generalities ●● Simple solution
●● Bribery ●● Group dynamics ●● Slippery slope
●● Card-stacking ●● Humor ●● Straw Man
●● Cause vs. correlation ●● Intensity ●● Symbols
●● Celebrities ●● Majority belief ●● Testimonials
●● Charisma ●● Maybe ●● Timing
●● Denial ●● Name-calling ●● Warm & Fuzzy
●● Diversion ●● New
●● Euphemism ●● Nostalgia

OPTIONAL ACTIVITIES AND MODIFICATIONS
Activity-Based Assessment: Agree/Disagree (15-20 MINUTES)
Activity-based evaluation is a great way to build assessment into the session without
causing survey fatigue or disinterest.
●● The first section is for folks to fill out or for you to read (depending on how
you are facilitating the activity).
●● Four signs: “Strongly Agree,” “Agree,” “Disagree,” and “Strongly Disagree.”
●● A large space for participants to move around.
This activity should be done before the media literacy presentation. Place the signs
in four distinct corners or areas of the room. One option for the activity is to have
participants respond to questions on the Agree/Disagree handout. They will pass
these in, you will shuffle them up, and then redistribute. This way, people will get
someone else’s responses when they move around the room. Then, have participants
move to the corresponding spaces based on the answers to the statements on their
handout — not how they actually feel. After reading all of the statements, discuss
some of these statements and possible responses with your group. Another option
is to have participants respond when you verbally read out the questions. Then they
would be answering for themselves.
Media Justice Scavenger Hunt (15 MINUTES)

If this presentation is done for a group that isn’t familiar with each other, this can be
used as an ice-breaker. If participants are acquainted, this activity can be modified
in order to begin a discussion about access to and the impact of media. This activity
taps into learners’ background knowledge and will help familiarize them with some
topics that will be discussed in this training. Furthermore, it provides space to begin
conversations about these topics.
●● Blank Media Justice Scavenger Hunt handout
●● Space for everyone to move around the room.
Have members in your group sign their name in the corresponding box of the
statement if they know the answer. (You want to avoid asking others “Which of
these statements can you answer?” and instead, ask a specific question, i.e. “Do you
have Internet access at home?”) The goal of this game is to get as many different
signatures from people in your group—one signature per box. Play off the energy in
the group—the facilitator can choose to participate. Give larger groups a little more
time to play than a smaller group.
Have participants return to their seats and discuss each statement on the form using
the answers on the next page. As an option, ask participants the following questions:

■■ How many of you got at least 10 different signatures? 12? 15?
■■ Did anything surprise you about the responses? Explain.
■■ What conclusions can you draw from the responses to the statements?
It is important to say that some items on this handout may not commonly be viewed
as forms of media, but they are ways that people communicate. For example, a
traditional meal or dance communicates something and sends a message to others.
These things can be viewed as types of media. Please bear in mind that the activity
is optional.
Language of Persuasion Skit Activity

(30-50 MINUTES DEPENDING ON GROUP SIZE)
Break into small groups by counting off. An ideal group size is between four to six
people. Groups will first come up with an imaginary product (remind them not to
spend too much time coming up with a product.) Next, a point person will be the
script writer and the group will write a 30-second commercial skit for their new
product. When writing the skit each group will incorporate ten or more persuasion
techniques they have learned into their skit. Have the groups practice their skit a
couple times before they perform. Groups typically need at least twenty minutes
to write and practice their skit. Finally, when all the groups are done writing (or
time is up) they will each perform their skits for the larger group. After each group
performs, discuss what techniques they used and how.
Optional “Homework” Assignment:

If the facilitator chooses, participants can be given assignments of looking for
examples of media (including news stories) that relate to the concepts talked
about in future sessions. Examples can be used in activities and in the final
deconstruction doses.

FACILITATOR REFLECTION
Session One
THIS IS A SPACE WHERE YOU CAN THINK ABOUT THE SESSION YOU JUST PRESENTED.
Do you feel as though participants are better able to do the following after the session?
Yes No I’m not sure…
Describe common types of media?

Describe ways media shape attitudes?
Describe ways media messages affect our thoughts, attitudes,

actions, or emotions?
Describe how media is created with a target audience in mind?

Describe the visual parts of a piece of media (the text)?
Describe the hidden message of a piece of media (the subtext)?
NOTES:
Circle the concepts you feel you successfully and/or effectively presented (if you selected the
Introductory format for reviewing persuasion):
Ad hominem Analogy Association Bandwagon Beautiful people
Cause vs.
Bribery Celebrities Experts Explicit claims
correlation
Glittering
Fear Flattery Humor Intensity
generalities
Name-calling New Nostalgia Plain folks Repetition
Rhetorical
Simple solution Symbols Timing Warm & Fuzzy
questions
Other:
NOTES:

Circle the concepts you feel you successfully and/or effectively presented (if you selected the
Comprehensive format for reviewing persuasion):
Ad hominem Analogy Association Bandwagon Beautiful people
Cause vs.
The Big Lie Bribery Card-stacking Celebrities
correlation
Charisma Denial Diversion Euphemism Extrapolation
Glittering
Experts Explicit claims Fear Flattery
generalities
Group dynamics Humor Intensity Majority belief Maybe
Name-calling New Nostalgia Plain folks Repetition
Rhetorical Scientific
Scapegoating Simple solution Slippery slope
questions evidence
Straw Man Symbols Testimonials Timing Warm & Fuzzy
NOTES:
What felt successful?
What challenges did you encounter? How did you overcome or redirect these challenges?
What would you do differently the next time you present this content/session?
What would you keep the same the next time you present this content/session?
What would you like to cover in Session Two?

SESSION TWO
Gender
60 minutes Up to five examples of gender from media. The Thinking
About Media & Social Attitudes handout and optional activity
SUPPLIES NEEDED: are designed to assist in gathering examples that will be
relevant to future sessions. There is also the option of
Laptop asking participants to bring in examples that depict women
Projector and girls in gender conforming and non-confirming ways.
The same should be done for men and boys.
Audio speakers
Flipchart paper BY THE END OF THIS SESSION, PARTICIPANTS WILL BE ABLE TO:
Markers A. Describe the difference between physical/biological sex
Screen/blank wall and gender.
Facilitator notes B. Outline ways gender roles are culturally defined.
C. Provide examples of harmful gender roles.12
12 In order to promote protective factors such as resilience and alternatives to traditional gender roles,
facilitators are encouraged to incorporate opportunities for participants to generate positive and affirming
portrayals of gender. Although these may be challenging to come by, an emphasis should be placed on the
ways media examples make participants feel, as opposed to obvious text or subtext. For example, a popular
performer may promote feminism or feminist ideals, while also still using sexuality in her music. Facilitators
should emphasize the ways this performer is challenging traditional conceptions of the word “feminism” and
the potential this performer has for creating positive change.

Session Agenda
Revisiting ground rules is very important for this session. Reminding students about
safe space early on will serve the facilitator in being able to stay on topic. The topic
of sex and gender can sometimes lead to jokes or comments that are detrimental
to the safety of the group. Discussions around race, ethnicity, and sexuality may
also come up during this session’s discussion. It is important to intentionally create
accountability and safety throughout each session.
Review Concepts from Last Session (5 MINUTES )
Sex & Gender (20+ MINUTES)

■■ These concepts can be challenging for
individuals, particularly if this is the first Gender: The
time talking about them. With that stated the combination
differences between sex and gender are essential of social and
for moving forward with the other sessions and cultural messages
curriculum goals. Facilitators are encouraged we get about
to cover all of these concepts intentionally and what it means to
respectfully, but should cover the first two at
“be” a girl or boy.
a minimum.
For example, girls
●● Sex (in terms of biology, not sexual acts): have a vagina ,
Biological sex identifies a person as either dress a certain
female, male, or intersex. It is determined way, and are not
by a person’s anatomy, chromosomes, and
as aggressive
hormones. Biological sex is often simply
as boys.
referred to as “sex.”13
●● Gender: The combination of social and
cultural messages we get about what it means to “be” a girl or boy. For
example, girls have a vagina , dress a certain way, and are not as aggressive
as boys.
○○ Gender Equity/equality: Efforts and actions that make equality among
genders a reality. For example, advancing equal pay among men and
women, regardless of race or ethnicity.
●● Intersex: Genitals that are not easily identifiable as female or male at birth
or until puberty. People with intersex conditions may have genitals that
appear to be somewhat female or male or both. They do not, however, have
complete female genitals and complete male genitals. Some people have
13 “Female, Male & Intersex at a Glance” Planned Parenthood, accessed December 17, 2014,
http://www.plannedparenthood.org/health-info/sexual-orientation-gender/female-male-
intersex

chromosomes that are different from XX (female) or XY (male). There are
other differences that cannot be found without testing chromosomes and
hormones or invasive examinations. Sometimes the difference is never
noticed.14 If you ask experts how often a baby is born with noticeably
intersex genitalia it would be about 1 in 1500
to 1 in 2000 births. But a lot more people than
Gender Equity/
that are born with the internal or unnoticeable
equality: Efforts
differences mentioned above.15
and actions
●● Transgender: Trans (sometimes written as that make
trans*) is a broad or umbrella term describing equality among
people whose gender identities aren’t in sync
genders a reality.
with the sex they were assigned at birth. Some
For example,
trans people use their dress, behavior, and
mannerisms in order to present the gender
advancing equal
that feels right for them. Some get surgery pay among men
and/or take hormones to change their body. and women,
Some trans people reject the choices of either regardless of race
“male” and “female” and experiment with or ethnicity.
different gender expressions and behaviors.16
●● NOTE: Intersex and transgender are NOT the same thing. Intersex is about
biology and transgender is about culture and identity.
■■ What is gender? How does it differ from our understanding of a person’s sex?
●● Sex is biological. It refers to the anatomy that babies are born with.
●● Gender is social or cultural. Gender is about how we feel about ourselves
and how we present that self to the world.
This is a teachable moment. Use the term intersex when talking about people who are
born with a spectrum of anatomical and chromosomal experiences. In other words, it’s
about more than genitals — many people who are intersex may not even know until
adolescence or after genetic testing. Intersex helps broaden our understanding of what
it truly means to “be” a girl or a boy. It is of utmost importance to maintain a level of
safety. Students using terms like “ew” or making jokes should be addressed immediately.
■■ Gender is a more complicated concept. When we think of colors, what color
do we associate with boys? Let participants answer. What about girls? Are babies
born either blue or pink? If a boy is dressed in pink, does that change his genitals?
Does color determine a baby’s gender? Does sex determine a person’s gender? No.
14 “Female, Male & Intersex” Planned Parenthood

15 “How common is intersex?” Intersex Society of North America, accessed December 17, 2014
http://www.isna.org/faq/frequency
16 “Trans Identities” Planned Parenthood, accessed December 17, 2014, http://www.
plannedparenthood.org/en/health-info/sexual-orientation-gender/trans-identities

■■ Gender is a construct.
●● What does the word construct mean? Something that is built.
●● Our ideas about gender have been built and are influenced by family,
community, friends, culture, and especially by media.
■■ (How do) Media influence gender?
●● Revisiting discussion question from Session One: How do ads impact the
way we see other people? (Attractiveness, intelligence, patriotism, how
much money they make, etc.)
●● Given the fact that media are everywhere, it makes sense that media would
influence our ideas about gender.
■■ What is a stereotype? What is the danger in stereotypes (buying into them,
perpetuating them, etc.)? The facilitator should take the time to pick a stereotype
that will relate to the young people and take a few minutes to deconstruct it. For
example: All young people are trouble makers. Is this true? Why or why not? Why
would this stereotype be harmful to young people?
●● Discussion: Have some markers and flipchart paper ready. Write the word
“Stereotype” on it and then write each word (i.e. Prejudice, Discrimination,
Thought, Belief, Action) as the discussion unfolds.
○○ What is a stereotype?
○○ What is prejudice?
○○ What is discrimination?
●● It’s helpful to think of a STEREOTYPE as a THOUGHT. It is something that is
planted in our brains. Sometimes there is truth and many times there is not.
PREJUDICES are attitudes, so our thoughts begin to shape how we interact
with people and make decisions. DISCRIMINATION is an ACTION and is
supported by prejudices and stereotypes.
●● How do these concepts relate to our discussion of gender? How do harmful
gender stereotypes keep up from connecting with each other? What
stereotypes and prejudices are supported in media?

Activity: Gender Boxes (20+ MINUTES)
Draw two boxes on the board or use chart paper. You can also draw one box and
complete it before drawing and completing another.
Part A: “Be a Man” Box

■■ Write “Be-A-Man” at the top of one of the boxes. Ask if anyone has ever been
told or heard someone being told to “Be a man.” Ask: “What does it mean to be a
man? What are the expectations? What is the reality?”
NOTE: Sometimes students want to point out that the traditional answers aren’t
what they personally think being a man/lady is about. Validate their statement
and point out that we’re talking about societal beliefs, not individual ones. The
facilitator may need to redirect back to this throughout the activity.
●● Write the words in the box as people call them out.
SUGGESTED ANSWERS: be tough, date and have sex with different women, be
the breadwinner (also, identify the type of work that is “men’s work” such as
construction worker, doctor, lawyer, etc.), make the decisions in the family,
play and watch sports. Sometimes, food and beverages can come up, such
as eat steak, drink beer, etc. These types of examples demonstrate the direct
impact that advertising has on our ideas of gender.
■■ What are names applied to persons outside the box? (Write these outside the
box on the left side of the paper and/or around the box.)
SUGGESTED ANSWERS: wimp, fag, queer, pussy, wussy, gay, etc.
○○ These words are important to say and to write down, but ask participants
to answer this question as calmly and respectfully as possible.
■■ What things can other people physically/emotionally do to people outside
the box? (Write these outside the box on the right side of the paper.)
SUGGESTED ANSWERS: beat them up, threaten, tease, ignore, isolate, abuse, rape,
murder them, etc.
■■ What things can people do to themselves if they are outside the box? (Write
these outside the box on the right side of the paper and/or on the bottom.)
SUGGESTED ANSWERS: try to fit in, have lots of sex, substance abuse, cut
themselves, isolate themselves, run away, suicide, etc.

Part B: “Act Like a Lady” Box
■■ Write “Act-Like-A-Lady” at the top of the other box. Ask if anyone has ever
been told or heard someone being told to “act like a lady.” Ask: “What does it
mean to act like a lady? What are the expectations? What is the reality?”
NOTE: Sometimes students want to point out that the traditional answers aren’t
what they personally think being a lady is about. Validate their statement and
point out that we’re talking about societal beliefs, not individual ones. The
facilitator may need to redirect back to this throughout the activity.
●● Write the words in the box as people call them out.
SUGGESTED ANSWERS: be kind and gentle, wear feminine clothes (dresses,
skirts, etc.), spend time taking care of kids, smile, make dinner, do the
laundry, etc.
■■ How are women supposed to be different from men?
SUGGESTED ANSWERS: more polite, gossiping, weaker, less athletic than men, etc.
■■ What are names applied to persons outside the box? (Write these outside the
box on the left side of the paper and/or around the box.)
SUGGESTED ANSWERS: dyke, tomboy, slut, ho, whore, bitch, lesbian.
○○ Again, these words are important to say and to write down, but ask
participants to answer this question as calmly and respectfully as possible.
■■ What things can other people physically/emotionally do to people outside
the box? (Write these outside the box on the right side of the paper.)
SUGGESTED ANSWERS: beat them up, threaten, tease, ignore, isolate, abuse, rape,
murder them, etc.
■■ What things can people do to themselves if they are outside the box? (Write
these outside the box on the right side of the paper and/or on the bottom.)
SUGGESTED ANSWERS: try to fit in, become sexually promiscuous, get pregnant,
substance abuse, cut themselves, isolate themselves, run away, suicide, etc.
Discussion
■■ How do gender stereotypes lead to violence?
●● Against women?
●● Against men?
●● Against transgender and gender non-conforming people?
■■ When thinking about media’s role in gender stereotypes it is important to
consider that media aren’t “just a movie” or “just a song.” We are heavily
influenced by media and we act out the stereotypes that we buy into.

Gender Identity Project Video (20+ MINUTES)
APPROPRIATE FOR AGES 16–ADULT
https://www.youtube.com/watch?v=UXI9w0PbBXY
Transgender Basics is a 20 minute educational film on the concepts of gender and
transgender people. Two providers from The Lesbian, Gay, Bisexual, & Transgender
Center’s Gender Identity Project (GIP) discuss basic concepts of gender, sexual
orientation, identity and gender roles. Three transgender community members
share their personal experiences of being trans and genderqueer. The film targets
service providers and others working with the LGBT community, but it also provides
a fascinating glimpse into gender and identity for the general public.
LGBT (In)Visibility on TV (15+ MINUTES)

Review GLAAD’s most recent Where We Are on TV report at http://www.glaad.org/
whereweareontv14 to see how television channels and shows are portraying LGBT
characters and families. This is a great opportunity to also explore portrayals or
race, ethnicity, and ability on television and in movies.
Discussion:
■■ How are LGBT characters represented in the media? What do they look like?
How do they speak? What do they do?
■■ What specific images and words shape our collective understanding of what it
means to be LGBT?
■■ What impact do LGBTQ representations have on the opportunities and
possibilities for people who identify as LGBT?

Stereotype Analysis of the Latin Lover (15+ MINUTES)
http://www.tolerance.org/exchange/stereotype-analysis-latin-lover
We begin by reading about Charles Ramírez Berg's six media stereotypes of Latinos/
Latinas: the bandido, the harlot, the male buffoon, the female clown, the Latin lover
and the dark lady.
Next, we watch several Dos Equis “The Most Interesting Man in the World”
commercials on youtube.com (e.g., “Dos Equis Sword Fight”) and assess how the
male protagonist is portrayed, how he interacts with others on screen (especially
women) and how this representation matches the Latin lover stereotype.
We replay the videos as often as necessary to observe the subtle nuances that are
frequently missed during the first viewing (e.g., the number of women on screen at
one time, the number of romantic glances aimed at the protagonist).
After the students have finished watching the selected videos, their task is to reflect
on their observations and answer the following questions:
■■ What do these commercials indicate about the representation of Latinos/
Latinas on TV?
■■ What are your thoughts and feelings about these commercials?
■■ The Latin lover stereotype is often perceived as positive. Does that make
it acceptable?
Students address these questions and explain how these particular Dos Equis
commercials reinforce the stereotype of the Latin lover. They describe what occurs
in the commercials, how these activities and behaviors are stereotypical and how
the stereotypes affect the way Latinos/Latinas are perceived.

Session Two
Describe the difference between physical/biological sex

and gender.
Describe gender roles or gender stereotypes.

Outline ways gender roles are culturally defined.
Describe how gender roles can be harmful.
Describe ways media shape cultural attitudes about gender?

actions, or emotions about gender?

NOTES:
What would you like to cover in Session Three?

SESSION THREE
Media Creating Gender

60 minutes Up to seven examples of gender from media. The Thinking
About Media & Social Attitudes handout and optional activity
SUPPLIES NEEDED: are designed to assist in gathering examples that will be
relevant to future sessions. There is also the option of
Flipchart paper asking participants to bring in examples that depict women
Markers and girls in gender conforming and non-confirming ways.
The same should be done for men and boys.
Audio speakers
Screen/blank wall BY THE END OF THIS SESSION, PARTICIPANTS WILL BE ABLE TO:
Completed gender A. Describe ways media influence our ideas about gender.
boxes (if applicable)
Facilitator notes

Session Agenda
Review Concepts from Last Session (5 MINUTES )
Media Examples (30+ MINUTES)

Facilitators will use at least six or seven media examples for this session. Examples
should illustrate dominant gender norms (e.g. women as submissive, men as powerful,
men as physically strong, women as small and thin, etc.). Diversity in gender
presentation, appearance, ability, race, and ethnicity are encouraged for increased
discussion and for “diving deeper” into the topic of gender and media. Facilitators can
also ask participants to bring in media examples to make sure examples are relevant
and participants are engaged in session development.
The facilitator should spend about five minutes on each media example. Points to ask
with each:
■■ What is the subtext or “hidden” message of this? What is being said without
any words?
■■ What is the untold story? Whose experience or perspective is not being seen?
■■ Who is being seen or valued in this image? Who is being de-valued or
made invisible?
■■ How do these images shape our ideas of gender? Going back to the gender
discussion from last session, we have pretty rigid ideas of how men and women
are supposed to act. Do the media images influence that idea? Are these media
images influenced by gender stereotypes? This takes us to the “which came first
— the chicken or the egg?” argument. In all reality, media messages about gender
have existed for generations and the ideas and the media influence each other.

Guidance for Discussion on Race, Gender, and Media (30+ MINUTES)
Facilitators must feel comfortable discussing current issues related to race and
be willing to address conversation topics that might come up in the course of this
discussion: power, privilege, race as a construct, the difference between race and
ethnicity, as well as historical portrayals of people of color in the U.S.
■■ What is the message of this? What is being said without any words?
■■ What is the untold story? Whose experience or perspective is not being seen?
●● People of color are often un/derrepresented on television, advertising,
movies, and other forms of media17.
○○ Researchers from The University of Southern California evaluated 500
top-grossing movies released at the U.S. box office between 2007 and 2012
and 20,000 speaking characters, finding patterns in the way different
races, ethnicities and genders are depicted.
-- Only 10.8% of speaking characters are Black, 4.2% are Hispanic, 5% are
Asian, and 3.6% are from other (or mixed race) ethnicities. Just over
three-quarters of all speaking characters are White (76.3%).
-- Hispanic women are the demographic most likely to be shown nude or in
sexy attire.
-- Black men are the group least likely to be portrayed in a
committed relationship.
○○ How do these trends impact the way we see the world and the people
in it?
○○ Who is being seen or valued in this image? Who is being de-valued or
made invisible?
■■ How do these images shape our ideas of race?
■■ Do the media images influence our ideas of people when it comes to race
and ethnicity?
■■ Are these media images influenced by those ideas?
17 Smith, S.L., Choueiti, M, & Pieper, K. (2013). Race/Ethnicity in 500 Popular Films: Is the Key to
Diversifying Cinematic Content held in the Hand of the Black Director? Los Angeles: Media
Diversity & Social Change Initiative, University of Southern California. Retrieved May 2014
from http://annenberg.usc.edu/sitecore/shell/Applications/~/media/PDFs/RaceEthnicity.ashx

Guidance for Discussion on Sexual Orientation, Gender Identity,
and Media (30+ MINUTES)
Facilitators must feel comfortable discussing current issues related to gender identity,
trans communities, and be willing to address conversation topics that might come up
in the course of this discussion: power, privilege, the power of language, and gender
bullying/sexuality bullying.
■■ What is the message of this? What is being said without any words?
●● What assumptions about attraction or love are being made? (Men have sex
with women/Women have sex with men).
■■ What is the untold story? Whose experience or perspective is not
being seen?
●● LGBTQ people are not consistently represented in major broadcast networks
and primetime programming:18
○○ Following a slight decrease last season, the analysis of characters for the
2012-2013 television schedule found that 4.4% of series regulars will be
lesbian, gay, bisexual or transgender characters. This is up from 2.9%
in 2011, 3.9% in 2010, 3% in 2009, 2.6% in 2008 and 1.1% in 2007. LGBT
characters on scripted cable television also rose this year with an additional
six regular characters from last year’s count, making the total 35 for the
2012-2013 season
●● Who is being seen or valued in this image? Who is being de-valued or
made invisible?
○○ Sexual orientation and race or ethnicity
○○ Sexual orientation and gender identity
●● How do these images shape our ideas of sexual orientation? Love?
Relationships? Families?
■■ Do the media images influence our ideas of people when it comes to sexual
orientation? Love? Relationships? Families?
■■ Are these media images influenced by those ideas?
18 GLAAD. (n.d). Where are we on TV? Retrieved May 2014 from http://www.glaad.org/files/
whereweareontv12.pdf

Session Three
Describe ways media influences our ideas about gender.

Describe ways media shape cultural attitudes about gender?

actions, or emotions about gender?

NOTES:
What would you like to cover in Session Four?

SESSION FOUR
Media Creating Fantasy:

Attitudes Towards Violence in Media
60 minutes Up to three (each) music videos and video game clips are
needed for this session. The Thinking About Media & Social
SUPPLIES NEEDED: Attitudes handout and optional activity are designed to
assist in gathering examples that will be relevant to future
Laptop sessions. There is also the option of asking participants
Projector to bring in examples that they consume regularly and are
relevant to their lives and their peers’ lives.
Audio speakers
Screen/blank wall BY THE END OF THIS SESSION, PARTICIPANTS WILL BE ABLE TO:
Three to five music videos A. Define the difference between fantasy and reality.
Three video game B. Describe the amount of violence represented in music
scenes or snippets videos and video games.
(as well as examples
of advertisements C. Identify the persuasion technique being used in different
for video games) types of music videos and video games.
Facilitator notes D. Identify gender stereotypes operating in music videos
and video games.
Gender box exercise notes
from previous session
(optional/if available)

Session Agenda
Review Concepts from Last Session (5 MINUTES)
Music Videos (30+ MINUTES)

Select music videos from genres and bands relevant to the group. The facilitator can
refer to Session One’s People Search activity for ideas on bands and music trends
among the group. Another way to generate media examples for this session — and all
sessions — is to request participants come prepared with suggestions for discussion.
These can be collected at the beginning or end of each session so that the facilitator can
prepare ahead of time (e.g. Session Five’s examples and suggestions will be collected at
the end of Session Four).
■■ Who makes music videos? Record labels and independent bands
●● Why? To sell more music. Videos are basically four-minute commercials.
●● What else are they selling? Image, lifestyle, products, sex, glamour, parties,
popularity, and the telling of a story, etc.
●● Is the story always real? No.
●● Do all videos sell this image? No.
●● When we see these images, what kinds of feelings come up?
■■ Can videos make us more violent? The effects of media are very subtle — we
don’t always notice the effect or the feelings — we just know they exist. Media
messages and other things we see in life can desensitize us to violence, which is
often how violence keeps happening — we don’t think it’s a big deal, we excuse
behavior, and we look the other way when we see violence happening.
■■ Discussion Questions: (ask with each video)
●● Who is the target audience of this message?
●● What story is being told? What do we see and hear?
●● Is the whole story being told or are there some things that are left unsaid?
●● Looking back at our Persuasion Techniques, which ones are being used in
this video?
●● What forms of violence are seen in this video?
●● Is this story an accurate reflection of real life?

●● How are men portrayed in this media example? How are women portrayed?
Do these portrayals challenge or reinforce gender stereotypes?
●● Can these stereotypes/roles support gender inequality? Can they influence
the way people behave?
Video Games (15+ MINUTES)

Select video games relevant to the group. The facilitator can refer to Session One’s
People Search activity for ideas on trends among the group. Another way to generate
media examples for this session — and all sessions — is to request participants come
prepared with suggestions for discussion. These can be collected at the beginning or
end of each session so that the facilitator can prepare ahead of time (e.g. Session Five’s
examples and suggestions will be collected at the end of Session Four).
■■ Who plays video games?
■■ How are women treated in the gaming world? Women are often sexually
harassed when they play online or in gaming communities. Why is it easier to
harass women in the online fantasy world? Because of anonymity.
■■ Are video games violent? Yes, many of them are.
●● What kind of violence do we see in video games?
■■ Are video games a way for us to live out fantasies vicariously that we don’t
necessarily live out in real life?
●● Why do we play violent video games?
■■ Discussion Questions: (ask with each example)
●● Who is the target audience of this message?
●● What story is being told? What do we see and hear?
●● Is the whole story being told or are there some things that are left unsaid?
●● Looking back at our Persuasion Techniques, which ones are being used in
this video?
●● What forms of violence are seen in this video?
●● Is this story an accurate reflection of real life?
●● How are men portrayed in this media example? How are women portrayed?
Do these portrayals challenge or reinforce gender stereotypes?
●● Can these stereotypes/roles support gender inequality? Can they influence
the way people behave?

Closing Discussion (15+ MINUTES)
What does fantasy mean? What is reality? What is the difference between the
two? (5 minutes) It’s important to note that people have different realities, but when
it comes to music videos and video games, the fantasy is being shown from only one
perspective. Everyone brings their own experiences, opinions, and interpretations to
every piece of media. It is the facilitator’s role to talk about the context of the culture
that the image exists in and was created by.
During the next session, we will discuss the way in which media can affect the way
we think about violence.

Activity-Based Assessment: Attitudes Toward Violence in Media
(5+MINUTES)
This activity can be woven into discussion during this session. There is a
complementary activity in Session Five that connects these two sessions. The
assessments make the most sense and helps make connections when used together.
You will need the ASSESSMENT in the appendix for tracking responses and notes.

Session Four
Define the difference between fantasy and reality.

Describe the amount of violence represented in music videos
and video games.
Identify the persuasion technique being used in music videos
and video games.
Identify gender stereotypes operating in different types of music
videos and video games.
NOTES:
What would you like to cover in Session Five?

SESSION FIVE
Media Creating Fantasy:

Attitudes Towards Real-Life Violence in the Media
LENGTH OF TIME: BY THE END OF THIS SESSION, PARTICIPANTS WILL BE ABLE TO:
60 minutes A. Identify where media promotes fantasy (or
desensitization from the impact of real-world violence).
SUPPLIES NEEDED: B. Identify instances of real-world violence intersecting
Laptop with media violence.
Projector C. Describe their individual role in consuming and
creating media.
Audio speakers
Screen/blank wall
Three to five examples
from local or national
news that mirror or
reflect violence in media
Facilitator notes
Video game clips
and music videos
from Session Four
Dreamworlds 3
(optional/if available)

Session Agenda
Discussion: How do Media Influence our Actions and Decisions?

(10 MINUTES)
■■ When are media more than just words and pictures? How powerful are words
and images?
●● How many of us have a favorite song that makes us smile?
●● Examples?
■■ What about a song or movie you can’t stand? How does it make you feel?
This discussion opens up the fact that yes, media does influence us emotionally.
Sometimes, participants make the argument “it’s just a movie” or “it’s just a song” and
that music and movies are “no big deal.” It’s important to remind participants about
the influence that media have on our thinking.
■■ Do media make us go out and commit acts of violence? Not necessarily but it
influences the way in which we think about violence. When we think of violence
as no big deal, then we are part of the problem.
●● Silence allows violence to continue happening.
●● How? Silence gives room for perpetrators of violence to continue their behavior
because other people are looking the other way.
■■ While media may not make us violent, it can desensitize us (make us less
likely to feel shock or distress because of our overexposure to violence). Media
effects are subtle.

What is an Intersection? (30+ MINUTES)
■■ Something that crosses, like two streets.
■■ In this case, it means that there are different ideas going on, and they cross
with each other.
●● How do images, words, and violence intersect?
■■ Fantasy & Reality: Intersections
●● Option A: Revisit music videos and video games from the previous session
(briefly) and begin making connections to real-life violence and abuse.
●● Option B: Dreamworlds 3 — Clips from Dreamworlds 3 talk about music
videos being a form of promotion to sell records. Music videos, like many
other forms of advertisements use the female body to draw attention.
Oftentimes women are treated very disrespectfully in music videos and pop
culture. To illustrate this point the narrator shows strikingly similar images of
the way women are portrayed in the media to the way women were treated at
the Puerto Rican Day Parade in NYC and at Mardi Gras in Seattle, WA.
●● Discussion Questions:
○○ Does the way the media portray women and the way the media portray
men, influence the way we treat each other?
○○ Does the way the media portray violence, influence the way we think
about violence in real life.
■■ If media can influence us to purchase items and believe in different things,
why can’t it also influence the way we think about violence? Again, we may
think that it is just a song or just a movie, but revisit the idea that media are
meant to sell products, ideas, and lifestyles.
●● We must remember that media effects are subtle. Media don’t necessarily
make us more violent; but it can influence the way we think about violence.
Looking at Real-World Violence in the Media (15+ MINUTES)

Prepare participants for the potentially upsetting content of any graphic depictions
of violence. Any videos or accounts of violence should be thoroughly vetted by your
supervisor and any adults present during the session.
■■ Discussion questions: (after each example)
●● Compared to violence in music videos and video game examples we looked
at last time, how do we feel about these real-life examples? Do you think
there is any connection between being exposed to media violence and real-
life depictions of violence?
■■ When we are desensitized, how do we contribute to the cycle of violence? By
looking the other way or dismissing violence, we contribute to the culture of
silence that allows violence to happen. Note: This is a lead-in to the next dose,
which covers being a proactive media consumer.

Activity-Based Assessment: Attitudes Toward Violence in Media
(5+MINUTES)
This activity can be woven into discussion during this session. There is a
complementary activity in Session Five that connects these two sessions. The
assessments make the most sense and helps make connections when used together.
You will need the materials in the appendix for tracking responses and notes.

Session Five
Identify where media promotes fantasy (or desensitization from

the impact of real-world violence).
Identify instances of real-world violence intersecting with media
violence.
Describe their individual role in consuming and creating media.
Describe the responsibility we have to critically question media
as we consume it.
Describe ways to be an active consumer of media.
NOTES:
What would you like to cover in Session Six?

SESSION SIX
Taking Action!
Becoming proactive media consumers
60 minutes News and events are referenced within this session.
Facilitators are encouraged to find relevant local, state, and
SUPPLIES NEEDED: national news stories to increase participant connection
and engagement.
Laptop
Projector BY THE END OF THIS SESSION, PARTICIPANTS WILL BE ABLE TO:
Audio speakers A. Describe their individual role in consuming and
Screen/blank wall creating media.
Facilitator notes B. Describe behaviors of a proactive media consumer.19
“What would you do?” C. Demonstrate at least one way to challenge media
video clips (optional) portrayals of gender and violence.
19 Note to facilitator: Some facilitators may choose to use the term “media bystander” while others may be
comfortable with terms such as ”proactive media consumer” or “media activist.” Regardless of the term used,
the intent is to be proactive and use media platforms to challenge when we see something that reinforces
stereotypes. This session is not meant to cover bystander intervention or engagement in its entirety. More
training on what to do is needed for complete training on this subject. This session is meant to start the
conversation and connect how we can be proactive media consumers as opposed to passive consumers.

Session Agenda
Discussion (10 MINUTES)

Open with stating participants may have had discussions about violence and what it
means to be an active bystander in the past. However, as cycles of violence continue in
our world it is important to continue these discussions and connect them to what we
see in our media, including our own social media.
■■ What kinds of violence do we see in real life? Participants should list different
types of violence, including (but not limited to) bullying, unwelcome or
threatening sexual comments, physical violence, grabbing at someone’s body
parts or sexual violence.
■■ Are verbal comments or inappropriately touching somebody’s body a form
of violence? Yes
■■ What types of violence do we see in the media? The same types of violence.
■■ Have you ever seen gossip lead to violence?
●● What are the connections between talking
negatively about someone and violence? Is Are our responses
gossip harmless? Have you ever witnessed this void of gender
on your social media sites, such as Facebook, stereotypes,
Snapchat or Twitter? There are times in which harmful messages
we may be witnesses to violence — maybe or victim blaming?
our friends are bullying someone or sexually
harassing someone.
■■ How do we react when we see violence? Many different ways. There is no correct
way to react — there is fear, anger, indifference, numbness. Our own experiences
contribute to the way in which we react. Sometimes, we have biological
responses such as fight, flight, or freeze. Any way in which we react is okay,
even if it’s freezing up. Session Six is about taking action. As proactive media
consumers we can take action by responding to media - especially the social
media we create and view. As proactive media consumers, it may be helpful to
ask ourselves the following:

●● Are our responses void of gender stereotypes, harmful messages or
victim blaming?
●● Are we using our voices or the power of the
written word for the betterment of society? Are we using
■■ What do you think it means to be a proactive our voices or
media consumer? Someone who takes action to the power of the
challenge damaging media messages. written word for
■■ Do proactive media consumers have
the betterment
responsibility to take action when we see these of society?
negative gender norm portrayals?
The following examples portray the positive impact proactive media consumers
have on promoting the message of gender equity and non-violence.
Examples of Proactive Media Consumers (20+ MINUTES)

These examples are offered as ways to introduce the concept of media activism;
facilitators are encouraged to find more relevant, timely, or local examples for in-depth
discussion and engagement. Facilitators may also have to look online for new articles
and coverage of the events described below.
Discussion:
How would this work in a real life situation? Sometimes, participants feel that
taking action doesn’t work because situations escalate; they feel that they don’t have
the language to be a non-violent bystander, or they are afraid for their own safety.
These examples can be used as “springboards” to generate ideas about in-person
and online action.
■■ Julia Bluhm and her impact on Seventeen magazine. Julia Bluhm, a 14-year-
old, started a campaign with a petition on Change.org that called for Seventeen
magazine to print one unaltered photo spread each month. “The petition —
and a demonstration at the corporate offices of Hearst, which owns Seventeen
— led to more than 80,000 signatures from around the world.”
■■ Schuyler Emde, an 18-year-old, started a blog and a Twitter account to address
bullying, by offering encouraging words and interacting with victims. He also
started an anti-bullying club at his high school.
■■ #NotBuyingIt — The Representation Project
A campaign that uses the social media platform Twitter to call attention to
sexism and gender inequality in the media.
http://therepresentationproject.org/take-action/not-buying-it/

Discussion (10 MINUTES)
What are ways that people can become proactive media consumers? How can they
push back against violence and gender stereotypes? How do media literacy skills
play a role in this behavior? Media literacy knowledge combined with willingness and
confidence to use skills may increase the chance that someone will intervene.
■■ How have you been a proactive media consumer in the past?
■■ How can you become a more proactive media consumer?
■■ How can you intervene in potentially harmful situations you witness? How are
you an engaged bystander? Give examples- language in the hallways, posts on
social media demeaning someone, racists remarks, bullying, etc.
■■ How can you work to stop attitudes that excuse or support violence?
●● Ways to be a proactive media consumer20
○○ Be a critical and active viewer of media messages and images.
○○ Question what you see (or what you don’t see) in the media.
○○ Consciously choose the media you engage with.
○○ Gather news from independent sources.
○○ Contact media industry executives and inform them of your opinions and
dissatisfactions with their products.
○○ Add media issues and your opinion on them to everyday conversations.
○○ Use the editorial/opinion section of the newspaper to voice your opinions
and raise awareness.
○○ Get involved at your local cable and/or radio station.
○○ Start a youth video production program and get the project aired on local
cable access.
○○ Organize a media education week.
○○ Advocate for and/or teach media literacy in your community or school.
○○ Contact local government officials about legislation focusing on media
issues and reform.
Activity: Practicing Proactive Skills (10+ MINUTES)

Have participants create a simple positive message that they would like to spread to as
many of their peers as possible. Brainstorm creative ways to use all the media at their
disposal to accomplish this.
Ask participants to name one change they will make in their lives based on this and
other doses they completed.
20 Adapted from Media Education Foundation. (n.d.). “20 Ways to be a Media Activist.”
Retrieved January 26, 2015 from http://www.mediaed.org/Handouts/20-Ways.pdf

Bystander Intervention (20+ MINUTES)
■■ What is a bystander? A bystander is someone who is a witness. For example,
research shows that most men feel uncomfortable with violence against women
and sexual violence, but they remain silent about it because they believe their
peers are in favor of it. A positive active bystander or engaged bystander should
be someone who sees something for what it is and speaks out against inequality
or harmful behaviors.
■■ What is bystander intervention? Bystander intervention means someone who
witnesses violence or behavior that encourages violence and intervenes in order
to change a potentially harmful situation.
Examples of bystander intervention and media
Sexual Assault
The Steubenville Rape Case: In 2012, a 16 year old girl was sexually assaulted
while unconscious by two Steubenville High School football players. Comments
on the matter were shared via social media.
●● The police searched through thousands of pieces of digital evidence of the
rape, including tweets, facebook posts, texts, pictures, video and e-mails.
Many were created while the crime was occurring. Why didn’t any of
the bystanders intervene? Name some ways that the bystanders could
have intervened.
●● Again, connecting this to media, how do media play a role in how others are
treated? Can you name some media examples that celebrate or glamorize
binge drinking behaviors? How about media examples of men targeting
intoxicated women because they are perceived as easy to manipulate
into sex?
Bullying
●● In 2012 a video was leaked of a school bus monitor, Karen Klein age 68,
being bullied by some male middle school students on a bus. The video
was originally uploaded on Facebook. Later, a YouTube user reposted the
video onto YouTube. Within a few days, it had been watched by millions
of viewers.
Letter Project (15 MINUTES)

This option relies on students being given the time and opportunity to bring in ads
that depict rigid/harmful gender norms. If they do not, pass an assortment out in the
classroom for students to choose. With the help of the facilitator/educator, students/
individuals will write a letter to the corporation that created the ad, telling them
why they think the ad is harmful and give suggestions for creating more positive ads
promoting gender equity and preventing sexual violence.

“What Would You Do?” (10+ MINUTES)
This activity uses segment’s from an episode of ABC's "What Would You Do?"
looking at teen dating abuse. Facilitators may need to purchase or request videos,
and are encouraged to use and adapt media examples to the audience. Any and all
substitutions should be consistent with the goals of the session.
■■ In this show, we see a guy being verbally abusive to his girlfriend. What did you
think about what happened?
■■ What could be the reason that the show picked this topic? Media can be used to
highlight concerns.
■■ What kinds of questions did they ask? How was it narrated?
■■ This was a constructed scenario with security guards — what about real life
situations? Why do you think they had to have security guards?
■■ When the man at the end got in the abuser’s face, was that making the
situation worse or better? Often we learn that men are supposed to confront
abusive men with violence, but then the bystander just walked away. Is the
victim safe?
■■ The bystander also said that private matters should be kept private — how does
that contribute to violence? When we say that intimate partner violence should
be kept behind closed doors, we’re adding to the problem.
■■ Discuss:
How would this work in a real life situation? Sometimes, participants feel that
bystander intervention doesn’t work because situations escalate; they feel that
they don’t have the language to be a non-violent bystander, or they are afraid
for their own safety. These are real and valid feelings and should be discussed.
In addition to this, people don’t always feel comfortable calling the police. There
may be outstanding warrants, issues of immigration, or even negative past
experiences. It’s important to validate the fact that even the police don’t always
feel like a safe option. Brainstorm about other NON-VIOLENT ways in which
someone can find help.
Street Harassment (10 MINUTES)

Young women are speaking out against the violence they face on their walk home.
They are using media to raise awareness about an issue and “talk back.” Facilitators
can point to the work of HollaBack! and other organizations or national campaigns
that seek to address street harassment or young women, men, and people who are
gender non-conforming.
■■ Who has the right to be safe? Everyone.
■■ Should a person be free to walk through the halls, or the neighborhood,
without being harassed? Yes.

Session Six
Describe their individual role in consuming and creating media.

Describe behaviors of a proactive media consumer.
Demonstrate at least one way to challenge media portrayals of

gender and violence
NOTES:
What would you like to cover in Session Seven?

SESSION SEVEN
Reconstruction
LENGTH OF TIME: BY THE END OF THIS SESSION, PARTICIPANTS WILL BE
60 minutes ABLE TO:
A. Demonstrate skills to analyze and evaluate
SUPPLIES NEEDED: media messages.
Laptop, projector B. Respond to harmful media messages.
Screen/blank wall C. Create positive media messages of persuasion
and other media skills in a hands-on project.
Magazines to cut from
D. Describe elements of effective counter ads.
Selected ads pulled from magazines
Art supplies: scrap paper,
scissors, glue sticks, markers
Intro to Media Literacy
handouts for participants
Tips for Creating Media
handout (optional)
Facilitator notes
Optional/If available: Flip
cameras, Photoshop, iMovie,
media-creation software

Session Agenda
Activity: Building Media Activism Skills (30+ MINUTES)

Open with stating
participants are going to get It is important for participants to
a chance to practice the skills realize that they have the power to
they’ve been learning and access the same persuasive techniques
talking about over the past
that advertising and entertainment
few sessions. It is important
industries use to create positive
for participants to realize
that they have the power to
messages that challenge unhealthy
access the same persuasive behavior, harmful gender stereotypes
techniques that advertising and promote respect for others.
and entertainment
industries use to create
positive messages that challenge unhealthy behavior, harmful gender stereotypes and
promote respect for others. Facilitators can choose from the Talk Back or Creating
Counter-Ads activities below depending upon time constraints and participant
interests. Please note that some of them can be structured as contests or as additional
doses if students participate in displaying or distributing this work outside the space.
Option A: Creating counter-ads

You can respond to and challenge deceptive or harmful media messages by creating
counter-ads. These are parodies of advertisements, delivering more truthful or
constructive messages using the same persuasion techniques as real ads. By creating
counter-ads, you can apply media literacy skills to communicate positive messages in
a fun and engaging exercise.
The simplest way to create a counter-ad is to alter a real ad (magazine or newspaper
ads work best) by changing the text or adding graphic elements; just write or draw
over the original ad, or paste new materials onto it. A counter-ad can also be created
by drawing a new image, or by copying the design and layout of a real ad. Collage
techniques work well, too. Counter ads can be created using programs like Photoshop,
but today we will be using basic art techniques to talk back to an ad of your choice.

If it is difficult to access print ads, an alternative can be to have students create a
positive message that can be made into a poster and displayed around the school
building. Educators can pick a theme that supports the reconstruction dose concepts,
gender equity and/or sexual violence prevention concepts such as consent. (Note: If
available, participants can use Photoshop or other programs or technology.)
Discussion:
■■ Give a brief introduction to counter-ads and/or show examples http://
medialiteracyproject.org/counter-ads (10 minutes)
■■ Direct participants to Tips for Creating Media handout and review strategies
(5+ minutes)
Option B: “Talk Back”

This activity empowers students to “talk back” to the media messages regarding
gender norms in print ads/magazine covers. Some suggestions for how the educator
can present the ads/magazine covers for the project: enlarge the ad/covers and
mount them on foam board, project the ad onto a wall, print out 8” x 11” copies from
ads found online, etc.
■■ Students break up into groups and are assigned a print ad or magazine cover.
They are given post-it notes, markers and scissors depending on the method
you choose to present the ad/magazine cover.
■■ Groups will respond or “talk back” to any gender-based messages on the ad/
cover creatively. They can change the message, draw on it, bring attention
to it, write a question about it, etc. “Talk back” responses should be directed
towards pointing out messages in the ad/magazine cover that are harmful
or reinforce negative gender stereotypes and /or send a message that sexual
violence is acceptable.
■■ When the projects are complete, one person from each group will report
to the rest of the class what they discovered on the ad/cover and how they
responded to it.

Poster Activity (30+MINUTES)
This option below can be customized to have students create a positive message that
can be made into a poster and displayed around the school building. Educators can
pick a theme that supports reconstruction concepts, gender equity and/or sexual
violence prevention concepts such as consent.
Letter Project (20+ MINUTES)

This option can be done individually or in groups and relies on students being given
the time and opportunity to bring in ads that depict rigid/harmful gender norms.
If they do not, pass an assortment out in the classroom for students to choose. With
the help of the facilitator, students/individuals will write a letter to the corporation
that created the ad, telling them why they think the ad is harmful and give
suggestions for creating more positive ads promoting gender equity and preventing
sexual violence. Facilitators can encourage participants to share letters with the
larger group and send letters in to media entities to practice media activism.

Session Seven
Demonstrate skills to analyze and evaluate media messages?

Respond to harmful media messages?
Create positive media messages of persuasion?
Describe elements of effective counter ads?
NOTES:
Is another session needed to wrap-up discussion?
What topics should be revisited?

Appendix

Introduction to Media Literacy

medialiteracyproject.org
!
Introduc)on to Media Literacy
Media literacy is a set of skills that anyone can learn. Just as literacy is the ability to read and write, media
literacy refers to the ability to access, analyze, and create media messages of all kinds.
These are essen<al skills in today's world. Today, many people get most of their informa<on through complex
combina<ons of text, images, and sounds. We need to be able to navigate this complex media environment, to
make sense of the media messages that bombard us every day, and to express ourselves using a variety of
media tools and technologies.
Media literate youth and adults are beBer able to decipher the complex messages we receive from social
media, television, radio, newspapers, magazines, books, billboards, packaging, marke<ng materials, video
games, music, websites, and other forms of media. Being media literate means we can understand how these
media messages are constructed, and discover how they create meaning, usually in ways hidden beneath the
surface. We can also create our own media, becoming ac<ve par<cipants in our media culture.
Media literacy skills can help all of us—children, youth, and adults to:
• Understand how media messages create meaning
• Iden<fy who created a par<cular media message
• Recognize what the media maker wants us to believe, think, feel, or do
• Name the "techniques of persuasion" used (See MLP’s Language of Persuasion handout)
• Recognize bias, spin, misinforma<on, and lies
• Discover the part of the story that's not being told
• Evaluate media messages based on our own experiences, beliefs, and values
• Create and distribute our own media messages
• Become advocates for change in our media system
Media literacy educa<on is a valuable tool both in and outside of the classroom. MLP’s media literacy
educa<on develops cri<cal media consumers and engaged media jus<ce advocates. Our goal is two-‐fold: 1) an
increase in cri<cal thinking skills that are applied to media analysis specifically, and more broadly, applied to
the culture at large and 2) ac<ve par<cipa<on in our media culture. Ac<ve par<cipa<on can take the form of
media crea<on, holding media systems accountable for representa<ons of our communi<es, or working for
just media policies.
!
!
Copyright 2014 Media Literacy Project.

Introduction to Media Literacy – p. 2
!
!!
Introductionmedialiteracyproject.org
to Media Literacy – p. 2 !
Media literacy in the classroom

Media literacy in the classroom
We understand that teaching media literacy begins with aligning the curriculum with educa<onal standards.
We understand
Educa<onal that teaching
standards in many m edia literacy
states—in begins aw
language ith social
rts, aligning the curriculum
studies, health, and wo ith educa<onal
ther standards.
subjects—include the
Educa<onal standards i n m any states—in l anguage a rts, s ocial studies, h ealth,
skills of accessing, analyzing, and evalua<ng informa<on found in media. These are media literacy skills, though a nd o ther s ubjects—include the
skills osf tandards
some accessing, analyzing,
may not use tahat
nd eterm.
valua<ng informa<on
Teachers know that found in media.
students like tTo
hese are maedia
examine literacy
nd talk skills,
about their though
own
some standards
media, may
and they've not utse
found that
hat term.
media Teachers
literacy is an know that w
engaging students like to ae w
ay to explore xamine and otf
ide range alk about
topics their
and own
issues.
media, and they've found that media literacy is an engaging way to explore a wide range of topics and issues.
Media literacy in the community
Media literacy in the community
Researchers and prac<<oners recognize that media literacy educa<on is an important tool in addressing social
Researchers
issues. Media and prac<<oners
literacy has been recognize
used as at p hat media literacy
reven<on tool for eaduca<on
lcohol and is atn important
obacco use, stool
exual in aassault,
ddressing social
bullying,
issues.
and Media Aliteracy
diabetes. has b
lso, media een used
literacy as alight
sheds preven<on
on the rtoles
ool fm or edia
alcohol
play ain
nd tobacco
obesity use,
and sexual
ea<ng assault, bbullying
disorders, ullying,
and vdiolence,
and iabetes. gAender
lso, miedia
den<ty literacy
and ssexuality,
heds light on the arnd
racism, oles media
other play
forms in doiscrimina<on
of besity and ea<ng and odppression.
isorders, bFullying
or
and v iolence, g ender i den<ty a nd s exuality, racism, a nd o ther forms o f d iscrimina<on
these reasons media literacy is o]en used in life skills classes. Media literacy skills empower people and a nd o ppression. For
these reasons um
communi<es edia sliteracy
sually hut out is
of ot]en
he muedia
sed in life skills
system to tcell
lasses.
their M edia
own literacy
stories, skills teheir
share mpower people aand
perspec<ves, nd work
communi<es
for jus<ce. usually shut out of the media system to tell their own stories, share their perspec<ves, and work
for jus<ce.
Media literacy in public life
Media literacy in public life
Media literacy helps us understand how media create cultures, and how the media monopoly—the handful of
Media
giant literacy helps
corpora<ons us cuontrol
that nderstand
most hoow media
f our create cultures,
media—affects our paoli<cs
nd how
and the media
our society. monopoly—the
Media literacy handful of
giant corpora<ons
encourages that control
and empowers most
youth and oaf dults
our mtedia—affects
o change our o mur poli<cs
edia system, and aond
ur tso ociety.
create M edia mliteracy
new, ore just, and
encourages
more and m
accessible empowers youth and adults to change our media system, and to create new, more just, and
edia networks.
more accessible media networks.
!!
_
_
!!
!!

!
!
Media Literacy Concepts
The study and prac<ce of media literacy is based on a number of fundamental concepts about media
messages, our media system, and the role of media literacy in bringing about change. Understanding these
concepts is an essen<al first step in media literacy educa<on.
We’ve organized Media Literacy Concepts into three levels: Basic, Intermediate, and Advanced. Basic concepts
focus on how media affect us. Intermediate concepts examine more closely how we create meaning from
media messages. Advanced concepts examine the interac<on of media and society, and the role of media
literacy in bringing about change.
Basic concepts
1. Media messages can be deconstructed. Each piece of media was constructed—it was put together by
someone whether it is a selfie on social media or a documentary film. In any case, we can figure out who
created the message, and why. We can iden<fy the techniques of persuasion being used and recognize how
media makers are trying to influence us.
2. Media use the language of persuasion. All media messages try to persuade us to believe or do something.
News, documentary films, and nonfic<on books all claim to be telling the truth. Adver<sing tries to get us to
buy products. Novels and TV dramas go to great lengths to appear realis<c. To do this, they use specific
techniques (such as flaBery, repe<<on, fear, and humor) called the language of persuasion.
3. Media messages contain texts and subtexts. The text is the actual words, pictures, colors, and/or sounds in
a media message. The subtext is the hidden and underlying meaning of the message.
4. Media construct our culture. Our society, culture, and percep<on of reality are shaped by the informa<on
and images we receive via the media. A few genera<ons ago, our culture’s storytellers were family, friends, and
others in our community. For many people today, the most powerful storytellers are online, on television, in
movies, and other forms of media.
5. Media messages affect our thoughts, aDtudes, and ac)ons. We don’t like to admit it, but all of us are
affected by adver<sing, news, movies, pop music, video games, or other forms of media. That’s why media are
such a powerful cultural force, and why the media industry is such big business.
6. Media construct fantasy worlds. Fantasy can be pleasurable and entertaining, and it can also be harmful.
Movies, TV shows, and music videos some<mes inspire people to do things that are unwise, an<-‐social, or
even dangerous. At other <mes, media can inspire our imagina<on and help us to envision the world as we
want it to be. Adver<sing constructs a fantasy world where complex problems can be solved with a simple
purchase. Media literacy helps people to recognize fantasy and construc<vely integrate it with reality.
7. No one tells the whole story. Every media maker has a point of view. Every good story highlights some
informa<on and leaves out the rest. O]en, the effect of a media message comes not only from what is said,
but from what part of the story is not told.
8. Media messages reflect the values and viewpoints of media makers. Everyone has a point of view. Our
values and viewpoints influence our choice of words, sounds, and images we use to communicate through
media. This is true for all media makers, from a preschooler’s crayon drawing to a media conglomerate’s TV
news broadcast.
!

Introduction to Media Literacy – p. !4
! Introduction medialiteracyproject.org
to Media Literacy – p. !4
!9. Individuals construct their own meanings from media. Although media makers aBempt to convey specific
messages,
9. Individuals people receive
construct and ointerpret
their them fdrom
wn meanings ifferently,
media. based
Although on their own
media prior kanowledge
makers Bempt to aconvey
nd experience,
specific
their values,
messages, and their
people receive beliefs.
and Tinterpret
his means that dpifferently,
them eople can bcased reate different
on subtexts
their own prior kfnowledge
rom the same and epxperience,
iece of
media.
their values, and their beliefs. This means that people can create different subtexts from the same piece of
media.
10. Media literate youth and adults are ac)ve consumers of media. Some forms of media seek to create
passive,
10. Media impulsive
literate cyonsumers.
outh and aM edia alre
dults iteracy helps
ac)ve people o
consumers consume
f media. m edia fworms
Some ith a ocf ri<cal
media eye, ask
seek to qcues<ons,
reate
and evaluate
passive, sources,
impulsive intended Mpedia
consumers. urposes, persuasion
literacy techniques,
helps people consume and
mdedia
eeper meanings.
with a cri<cal eye, ask ques<ons,
and evaluate sources, intended purposes, persuasion techniques, and deeper meanings.
11. We all create media. Maybe you don’t have the skills and resources to make a blockbuster movie or host
your
11. Woe
wn
all rcadio show.
reate media. However,
Maybe just
you adbout
on’t ahnyone can
ave the snap
skills and a p hoto, write
resources to ma lake
eBer,
a bolockbuster
r sing a song. New
movie or host
technology
your own radio has ashow.
llowed millions joust
However, f paeople
bout tao make cm
nyone edia,
an snap including
a photo, awr<s<c
rite ai mages
leBer, otr hat are
sing a shared
ong. Noew nline,
social media,
technology websites,
has allowed vm ideos, mousic,
illions and tbo
f people logs which
make can ibncluding
media, e created some<mes
ar<s<c images cheaply.
that are Csrea<ng
hared oynline,
our own
media
social mmedia,
essages is an important
websites, videos, mpusic,
art oaf nd
media literacy.
blogs which cIt is bce
an ri<cal to tell
created the stories
some<mes of our Ccommuni<es
cheaply. rea<ng your own
especially when wis e aan re
media messages not accurately
important part orf epresented in news,
media literacy. It is csri<cal
itcoms,
to atell
nd tohe
ther programs.
stories of our communi<es
!
especially when we are not accurately represented in news, sitcoms, and other programs.
!!
!
_
!
_
!
! Copyright 2014 Media Literacy Project.

!!
Intermediate concepts
Intermediate concepts
12. The human brain processes images differently than words. Our minds react differently to images versus
12. The human brain processes images differently than words. Our minds react differently to images versus
words. Studies find that our brain decodes images quickly, while words are decoded in an organized sequence,
words. Studies find that our brain decodes images quickly, while words are decoded in an organized sequence,
taking more <me to process. Images and graphics are the quicker way to communicate. Images aBract our
taking more <me to process. Images and graphics are the quicker way to communicate. Images aBract our
aBen<on and can more deeply affect our emo<ons and adtudes. Words make us pause, re-‐read, and process
aBen<on and can more deeply affect our emo<ons and adtudes. Words make us pause, re-‐read, and process
informa<on in an orderly fashion. For example, it is much easier to understand what a circle is if you see one
informa<on in an orderly fashion. For example, it is much easier to understand what a circle is if you see one
rather than read a defini<on of one.
rather than read a defini<on of one.
_ vs. A circle is a curved line with every point equal distance from the center.
_ vs. A circle is a curved line with every point equal distance from the center.
13. Media are most powerful when they operate on an emo)onal level. Most fic<on engages our hearts as
13. Media are most powerful when they operate on an emo)onal level. Most fic<on engages our hearts as
well as our minds. Adver<sements take this further, and seek to transfer feelings from an emo<onally-‐charged
well as our minds. Adver<sements take this further, and seek to transfer feelings from an emo<onally-‐charged
symbol or imagery (family, sex, the flag) to a product. Some<mes news programs u<lize emo<onal stories to
symbol or imagery (family, sex, the flag) to a product. Some<mes news programs u<lize emo<onal stories to
increase ra<ngs.
increase ra<ngs.
14. Media messages can be manipulated to enhance emo)onal impact. Movies and TV shows use a variety of
14. Media messages can be manipulated to enhance emo)onal impact. Movies and TV shows use a variety of
filmic techniques (like camera angles, framing, reac<on shots, quick cuts, special effects, ligh<ng tricks, music,
filmic techniques (like camera angles, framing, reac<on shots, quick cuts, special effects, ligh<ng tricks, music,
and sound effects) to reinforce the messages in the script. Quality graphic design can do the same for print
and sound effects) to reinforce the messages in the script. Quality graphic design can do the same for print
images or websites.
images or websites.
15. Media effects are subtle and complex. Few people believe everything they see and hear in the media. Few
15. Media effects are subtle and complex. Few people believe everything they see and hear in the media. Few
people rush out to the store immediately a]er seeing an ad. Direct messages can tell us to buy something in
people rush out to the store immediately a]er seeing an ad. Direct messages can tell us to buy something in
order to be happy or tell us that we are not aBrac<ve if we don’t look a certain way. Some media effects are
order to be happy or tell us that we are not aBrac<ve if we don’t look a certain way. Some media effects are
indirect and can change us over <me. Playing a violent video game won’t automa<cally turn you into a
indirect and can change us over <me. Playing a violent video game won’t automa<cally turn you into a
murderer. The effects of media are more subtle than this. However, there is a cumula<ve affect when we see
murderer. The effects of media are more subtle than this. However, there is a cumula<ve affect when we see
certain messages repeated again and again. For example, some media outlets use the term “illegal immigrant.”
certain messages repeated again and again. For example, some media outlets use the term “illegal immigrant.”
Using this term repeatedly can create more nega<ve feelings toward immigrants and even create violence
Using this term repeatedly can create more nega<ve feelings toward immigrants and even create violence
towards immigrant communi<es. Another example is that we are taught there is a gender binary, meaning
towards immigrant communi<es. Another example is that we are taught there is a gender binary, meaning
there are only two genders and there are various aBributes that are assigned to each gender such as pink for
there are only two genders and there are various aBributes that are assigned to each gender such as pink for
girls and blue for boys. When we see these messages over <me it can change our behavior and even cause
girls and blue for boys. When we see these messages over <me it can change our behavior and even cause
people to fear others or harm others that don’t fit into society’s view of how to present one’s gender. We must
people to fear others or harm others that don’t fit into society’s view of how to present one’s gender. We must
consider both direct and indirect effects to understand media’s true influence.
consider both direct and indirect effects to understand media’s true influence.
16. Media convey ideological and value messages. Ideology and values are usually conveyed in the subtext.
16. Media convey ideological and value messages. Ideology and values are usually conveyed in the subtext.
For example, news reports o]en reinforce sexism when they primarily use men as expert sources of
For example, news reports o]en reinforce sexism when they primarily use men as expert sources of
informa<on, regardless of the topic. Also, adver<sements besides selling par<cular products, almost always
informa<on, regardless of the topic. Also, adver<sements besides selling par<cular products, almost always
promote the values of a consumer society.
promote the values of a consumer society.
!!

Advanced concepts
17. Our media system reflects the power dynamics in our society. People and ins<tu<ons medialiteracyproject.org
with money,
Advanced c oncepts
privilege, influence, and power can more easily create media messages and distribute them to large numbers
of people. People without this access are o]en shut out of the media system. A clear example is the fact that
17. Our cmomprise
women edia system over r5eflects
1 percent the opf ower
the Ud.S.
ynamics
popula<on in our society.
but People
hold less than a7nd ins<tu<ons
percent of all w ith
TV money,
and radio sta<on
privilege, i nfluence, a nd p ower c an m ore easily c reate m edia m essages
licenses and people of color make up over 36 percent of the U.S. popula<on but hold just over 7 percent a nd d istribute t hem t o l arge numbers of
of p eople. P eople w ithout t his a ccess
radio licenses and 3 percent of TV licenses. (Free Press) a re o ]en s hut o ut o f t he m edia s ystem. A c lear e xample i s t he fact that
women comprise over 51 percent of the U.S. popula<on but hold less than 7 percent of all TV and radio sta<on
18. Most am
licenses nd edia are ocontrolled
people f color make by u commercial
p over 36 piercent
nterests. of tIhe
n the Up
U.S. nited States,
opula<on the
but marketplace
hold just over 7largely percent of
determines
radio licenses what
and w3e psercent
ee on toelevision,
f TV licenses. what we hPress
(Free ear on ) the radio, what we read on news sites, or in
magazines. As we use media, we should always be alert to the self-‐interest of corporate media makers. Are
18. Mcost
they media aabout
oncerned re controlled
your health? by commercial
Do they care interests.
if you’re In the Uonited
smart States, the m
r well-‐informed? Aarketplace
re they interested largely in
determines w hat w e s ee o n t elevision, w hat w e h ear o n
crea<ng ac<ve par<cipants in our society and culture, or are they invested in programming passive t he radio, w hat w e r ead o n n ews s ites, or in
consumers
magazines. A s w e u se m edia,
of their products, services, and ideas? w e s hould a lways b e a lert t o t he s elf-‐interest o f c orporate m edia m akers. Are
they concerned about your health? Do they care if you’re smart or well-‐informed? Are they interested in
crea<ng
19. Media ac<ve par<cipants
monopolies reduce in oour society and tco
pportuni)es ulture,
par)cipate or are in they invested
decision in programming
making. When a few passive
huge mconsumers
edia
of their products,
corpora<ons control services,
access atnd ideas?
o informa<on, they have the power to make some informa<on widely available
and privilege those perspec<ves that serve their interests, while marginalizing or even censoring other
19. Media maonopolies
informa<on nd perspec<ves. reduce Tohis pportuni)es
censorship tao ffects par)cipate
our ability in decision
to make minformed
aking. When a few ahbout
decisions uge m edia
our own
corpora<ons c ontrol a ccess to i nforma<on, t hey h ave t he p
lives, and reduces opportuni<es to par<cipate in making decisions about our government and society. ower to m ake s ome i nforma<on w idely a vailable
and privilege those perspec<ves that serve their interests, while marginalizing or even censoring other
informa<on
20. Changing and
the pm erspec<ves.
edia system This
is ac ensorship
jus)ce issue. affects Our om ur ability
edia to mpake
system informed
roduces lots odf ecisions
nega<ve, about our own
demeaning
lives, and vralues,
imagery, educes opportuni<es
and ideas. It renders to par<cipate
many people in making
invisible decisions about our government
or misrepresented. It provides atnd oo sliBle
ociety.
funding
and too few outlets for people without money, privilege, influence, and power to tell their stories. If we really
20. Changing
want equality tahe nd mjus<ce,
edia system then wis e aw jant
us)ce
to cissue.
hange Otur he m media
edia ssystem
ystem. p roduces lots of nega<ve, demeaning
imagery, values, and ideas. It renders many people invisible or misrepresented. It provides too liBle funding
and W
21. too
e cfan
ew cohange
utlets ofor ur pmeople
edia swystem.
ithout M more
oney, privilege,
and more people influence, and power
are realizing how to important
tell their sitories.
t is to hIf we ar eally
ave media
want e quality a nd j us<ce, t hen w e w ant to c hange t he m edia
system that is open to more people and more perspec<ves, that elevates human values over commercial s ystem.
values, and that serves human needs in the 21st century. All over the world, people are taking ac<on to reform
21. W
our me can system
edia change our create
and media nsew ystem. More and
alterna<ves. more people are realizing how important it is to have a media
system that is open to more people and more perspec<ves, that elevates human values over commercial
values,
22. and literate
Media that serves
youth human needs aire
and adults n tmhe 21st
edia century. AAs ll woe
ac)vists. ver the hwow
learn orld,
to paeople
ccess m are taking
edia ac<on
tools, to rm
analyze eform
edia
our m edia s ystem a nd c reate n ew a lterna<ves.
messages, and as we create our own media, we recognize the limita<ons and problems of our current media
system. It is incredibly difficult not to speak out and take ac<on once we’re media literate. Media literacy is a
22. Mfedia
great literate
ounda<on to youth
build aand adults
media are mthat
system edia bauilds
c)vists.
bridges As wbe learn hcow
etween to access m
ommuni<es edia
and takes tools,
down analyze
walls. mIedia
f
messages, a nd a s w e c reate o ur o wn m edia, w e recognize
you want to know more about how to take ac<on, then visit medialiteracyproject.org. t he l imita<ons a nd p roblems o f o ur c urrent m edia
!
system. It is incredibly difficult not to speak out and take ac<on once we’re media literate. Media literacy is a
great founda<on to build a media system that builds bridges between communi<es and takes down walls. If
you want to know more about how to take ac<on, then visit medialiteracyproject.org.
!!
!
!
!

!
Text & Subtext
Text
We o]en use the word text to mean wriBen words. In media literacy, text has a very different meaning. The
text of any piece of media is all that you see and/or hear. It can include wriBen or spoken words, pictures,
graphics, moving images, sounds, and the arrangement or sequence of all of these elements. For most of us,
!
the text of a piece of media is always the same.
Subtext
The subtext is your interpreta<on of a piece of media, or the interpreta<on that the media maker wants us to
arrive at, whether or not we actually do. It is some<mes called the latent text. The subtext is not actually
heard or seen. It is the meaning we create from the text in our own minds. While media makers (especially
adver<sers) o]en create texts that suggest certain subtexts, each person creates their own subtext
(interpreta<on) based on their previous experiences, knowledge, opinions, adtudes, and values. Thus, the
!
subtext of a piece of media will vary depending on the individual seeing/hearing it.
Example: Evian Purity

!
The text of this media message includes:
• An image of a naked black woman lying in a pile of snow making a
snow angel
• Snow-‐covered mountains and sky are shown in the background
• The color scheme is blue and white. The model and red font stand
out against the background
• The largest font reads “Return to Purity”
• We see a water boBle with the Evian label in the boBom right corner
• Very small text toward the boBom reads “Detox with water from the
French Alps that’s been naturally filtered for over 15 years”
• The website www.eviandetox.com appears beside the water boBle
• The only two items in red are the brand word “evian” and the label
!
on the boBle
Some subtexts include:

• Drinking Evian is like rolling through the snowy French Alps
• Evian is the purest water there is
• You can detoxify your body by drinking this boBled water
• Drinking Evian will make you pure
• This black, female model needed to become pure by drinking Evian
• When you drink Evian you can’t feel the elements
• Evian, snow, and all things white are pure
• Black women are part of natural landscapes
• Black women are consumable like the water
• Black women need to be detoxified
• Naked women can be used to sell anything
_
• There is nothing pure about using plas<c boBles all the <me
! • The Alps may not look like this someday if people con<nue to use
!
large amounts of wasteful products without recycling
!

! Introduction to Media Literacy – p. !8
Text & Subtext Media Messages

Deconstruc)ng
Text
All media messages are made or constructed by people. One of the most important media literacy skills is
deconstruc<on—closely examining and taking apart media messages to understand how they work.
We o]en use the
Deconstruc<ng a mwedia
ord tm
ext to mean
essage can w riBen
help us w ords. In media
understand who lciteracy,
reated ttext
he m has a very ad
essage, ifferent
nd who is mintended
eaning. Tto
he
text o f a ny p iece o f m edia i s a ll t hat you s ee a nd/or h ear. I t can i nclude w riBen
receive it. It can expose the point of view of media makers, their values, and their biases. It can also uncover o r s poken words, p ictures,
graphics,
hidden moving iimages,
meanings, ntended sounds, and the aTrrangement
or unintended. or scequence
here is no one of tao ll doeconstruct
orrect way f these elements.
a media Fmor essage—each
most of us,
!
the
of us text of a piece
interprets of mdedia
media is always
ifferently, the
based same.
on our o wn knowledge, beliefs, experiences, and values. Just be
prepared to explain your interpreta<on.
Subtext
Key
The scubtext
oncepts for idnterpreta<on
is your econstruc)ng
of a m edia
piece of media, or the interpreta<on that the media maker wants us to
• Source. All media messages are created. The creator could be an individual writer, photographer, or
blogger. In
adver<sers) the ccase
o]en reate of taexts
Hollywood movie,
that suggest the scriptwriter,
certain subtexts, each director,
person producer,
creates taheir nd m oovie studio all play a
wn subtext
role i n c rea<ng t he m essage. A ds a re u sually p ut together b
(interpreta<on) based on their previous experiences, knowledge, opinions, adtudes, and values. y a d a gencies, b ut t he c reator is really the the
Thus, client
—the company
a piece oof r moedia
rganiza<on that is paying ofn
or the
the individual
ad. The key point is: Whose
it. message is this? Who has
!
subtext of will vary depending seeing/hearing
control and final say over the content?
!
• Audience. Media messages are intended to reach a target audience. Some, like prime<me TV shows, are
Example: Evian Purity The text of this media message includes:
designed to reach a broad demographic that includes millions of people. Other messages, like a leBer or
social media message, may be intended only for •one
An image of a naked black woman lying in a pile of snow making a
person. Most media messages are designed to reach
snow angel
specific groups of people—defined by age, gender, race, class, interests, and other factors.
• Text. We o]en use the word text to mean wriBen words. In media literacy, text has a very different
meaning. The text of any piece of media is all that you see and/or hear. It can include wriBen or spoken
words, pictures, graphics, moving images, sounds, a
• We nd see
the arrangement
a water boBle with otr he
sequence
Evian label oif
n athe
ll obf oBom
these right corner
elements. For most of us, the text of a piece of m edia i s a lways t he s ame.
• Subtext. The subtext is your interpreta<on of a p•iece The owf ebsite
media, or the interpreta<on
www.eviandetox.com that
appears the tm
beside he edia mbaker
water oBle
wants us to arrive at, whether or not we actually • do. Soubtext
The nly two iis the in
tems mreaning
ed are the we create
brand word from the and
“evian” text in label
the our
!
own minds. While media makers (especially adver<sers) on the booBle
]en create texts that suggest certain subtexts,
each person creates their own subtext (interpreta<on) based on their previous experiences, knowledge,
opinions, adtudes, and values. Some subtexts include:
• Language of persuasion. Media messages use a• number
Evian is othe
f techniques
purest water tto try its o persuade us to believe or
here
do something. If we can spot the techniques being
• You can detoxify your body bo
u sed, w e’re l ess l ikely t y bde persuaded,
rinking this boBled and more likely
water
to think for ourselves. See Media Literacy Project’s L anguage o f Persuasion
• Drinking Evian will make you pure h andout for a l ist o f persuasion
techniques and defini<ons. • This black, female model needed to become pure by drinking Evian
• Point of view. No one tells the whole story. Everyone tells
• Evian, part
snow, of atll he
and story
things from
white are tpheir
ure point of view.
Deconstruc<ng a media message can expose the • values
Black waomen
nd biases
are part of otf he media
natural maker, and uncover
landscapes
!
powerful ideological messages. • Black women are consumable like the water
!_

!
!

Introduction
IntroductiontotoMedia
MediaLiteracy
Literacy––p.p.!97
!
!!
Text & Subtext
Deconstruc)on ques)ons
You can use the following ques<ons to quickly deconstruct any media message. Use the basic deconstruc<on
Text
ques<ons with beginners, younger learners, or when you only have a short amount of <me. Use the
intermediate
We o]en use otr he
advanced deconstruc<on
word text ques<ons
to mean wriBen words. wIn
ith
mo ther literacy,
edia groups toext
r whhen
as ay ou have
very more m
different <me.
eaning. The
graphics,
Basic moving images,
deconstruc)on sounds, and the arrangement or sequence of all of these elements. For most of us,
ques)ons
!
1. Whose message is this? Who created or paid for it? Why?
2. Who is the target audience? What are the clues (words, images, sounds, etc.)?
Subtext
3. What techniques from the language of persuasion are used? (See Media Literacy Project’s Language of
Persuasion handout)
4. What opr art
heard of tIt
seen. he
is sttory
he mis not being
eaning we ctreate
old? from the text in our own minds. While media makers (especially
Intermediate
subtext of a pdiece
econstruc)on
of media wqill ues)ons
!
vary depending on the individual seeing/hearing it.
2. When was
Example: the m
Evian essage
Purity made? How was it shared?
!

3. Who is the target audience? What is their age, race, class,
• An image profession,
of a naked binterests, etc.?
lack woman lying W
in hat woords,
a pile images,
f snow making a
or sounds suggest this? snow angel
4. What is the text of the message? (What we actually see and/or hear including wriBen or spoken words,
photos, drawings, logos, design, music, sounds, etc.) out against the background
• think
5. What is the subtext of the message? (What do you The largest
is the font reads o“Return
hidden to Purity”
r unstated meaning? What does this
•
piece of media tell us about the product, policy, or idea that is being discussed? ) Evian label in the boBom right corner
We s ee a water b oBle w ith t he
6. What techniques of persuasion are used? (See Media Literacy
French Alps P roject’s
that’s been Lnanguage of Persuasion
aturally filtered for over 15 hyandout)
ears”
7. What part of the story is not being told? • The website www.eviandetox.com appears beside the water boBle
! !
on the boBle
! Some subtexts include:
! •
•
Drinking Evian is like rolling through the snowy French Alps
!
Evian is the purest water there is
! •
•
Drinking Evian will make you pure
This black, female model needed to become pure by drinking Evian
_
!
!

Introduction
Introduction to to Media
Media Literacy
Literacy – p.
– p. !10!7
!!
Text & dSeconstruc)on

Advanced ubtext ques)ons
Text
2. Can I trust the source to tell me the truth about this topic? Why or why not?
We
3. Wohen
]en wuas
se the
the mwessage
ord text
mtade?
o mean
How wriBen
was it words. In media literacy, text has a very different meaning. The
shared?
4. Who is tm
graphics, he target
oving audience?
images, sounds, What is tthe
and heir age, race, class,
arrangement profession,
or sequence of ainterests, etc.?
ll of these What w
elements. Fords, images
or most or
of us,
sounds s uggest t his?
!
5. What is the text of the message? (What we actually see and/or hear: wriBen or spoken words, photos,
Subtext logos, design, music, sounds, etc.)
drawings,
6. What
The is the
subtext is syubtext of the message?
our interpreta<on of a p(Subtext
iece of mis edia,
the hoidden
r the ionterpreta<on
r unstated meaning)
that the W
mhat does
edia this wpants
maker iece uos f to
media tell u s a bout t he p roduct, p olicy, o r i dea t hat i s b eing d iscussed?
heard
7. or techniques
What seen. It is tohe f pm eaning wae re
ersuasion create
used? from
(See tMhe edia
text Liiteracy
n our oPwn minds.
roject’s While moedia
Language makers (especially
f Persuasion handout)
8. What kind of lifestyle
(interpreta<on) based oin s tpheir
resented?
previous experiences, knowledge, opinions, adtudes, and values. Thus, the
!
subtext
9. What voalues
f a piece
are oef xpressed?
media will vary depending on the individual seeing/hearing it.
Example:
11. Who is Edvian Purity
enied or agency? Who is granted
power power
!
10. What is my interpreta<on and what do I learn about myself based on my reac<on to this media message?
The text of otr agency?
his media m essage includes:
12. What part of the story is not being told?
snow angel
13. How and where could you get more informa<on •about the untold
Snow-‐covered stories?
mountains Wsky
and hat could
are you
shown do bw
in the ith the
ackground
informa<on you obtain from further research on this m edia example?
! out against the background
! • The largest font reads “Return to Purity”

!
on the boBle

•
_ \
•

Naked women can be used to sell anything
!
There is nothing pure about using plas<c boBles all the <me
• The Alps may not look like this someday if people con<nue to use
! !
!

!
! Introduction to Media Literacy – p. !11
Text & Subtext

Crea)ng Counter Ads
You can talk back to decep<ve or harmful media messages by crea<ng counter ads. These are parodies of
Text
adver<sements, delivering more truthful or construc<ve messages using the same persuasion techniques as
We aods.
real ]en Buy se the word
crea<ng counter text tao ds,
mean you wcan
riBen words.
apply media In lm edia literacy,
iteracy skills to tcext has a very pdosi<ve
ommunicate ifferent mm eaning. i n
essages, The
a
text o f a ny p iece
fun and engaging exercise. o f m edia i s a ll t hat y ou s ee a nd/or h ear. I t can i nclude w riBen o r s poken w ords, p ictures,
!
The
the stimplest
ext of a w ay to ocf reate
piece media a ics ounter
always atd he is stame.
o alter
a real ad (magazine or color-‐printed ad you find online) by
changing the text or adding graphic elements. You can write or draw over the original ad or paste new
Subtext onto it. Collage techniques work well, too. A second counter ad method is done by drawing a new
materials
image, copying the design and layout of a real ad. A third counter ad method for print ads is to use a digital ad
or scan att,
arrive he
wihether
mage into or naot program
we actually such dao.
s P Ihotoshop
t is some<mes and aclter
alled the image
the latent with your
text. The own messages.
subtext is not aFctually
inally, you
can a lso w rite s cripts f or radio o r T V c ounter a ds, a nd read a nd p erform
heard or seen. It is the meaning we create from the text in our own minds. While media makers (especially t hem w ith o thers o r take i t a step
further
adver<sers) and record
o]en ycreate
our counter texts that ad. s uggest certain subtexts, each person creates their own subtext
!

!
snow angel
!
on the boBle

_ _

Created by 2013 Counter Ad Contest winner Marshal S<ch • Drinking
Original AEvian
d will make you pure
12th grader, Arrowhead Union High School in Hartland, WI
!
! • Black women are part of natural landscapes

!_
!
!

Introduction to to
Introduction Media Literacy
Media – p.
Literacy !12!7
– p.
!!
Text &A Sd ubtext
Counter Tips
• Analyze. Look at several real ads and try to figure out why they’re effec<ve. The best counter ads use the
Text
same techniques to deliver a different message.
We o]en use the word text to mean wriBen words. In media literacy, text has a very different meaning. The
• Power. Your message has to break through the cluBer of all the real ads that people see or hear. Think
about w
graphics, mhat makes
oving an asd ounds,
images, memorable to ayrrangement
and the ou. What techniques does
or sequence of iat ll
use of tto grab
hese your aBen<on?
elements. Use
For most of us,
!
them.
• Persuade. Use the same persuasion techniques found in real ads, such as humor, repe<<on, or flaBery, to
Subtext
deliver your alterna<ve message.
•The subtext iFs or
Pictures. your interpreta<on
most of iamages
people, visual piece aore f mincredibly
edia, or the interpreta<on
powerful. People tohat
]en the media
forget maker
what they wrants
ead our
s to
arrive at, w hether o r n ot we a ctually d o. I t i s s ome<mes c alled t he l atent text.
hear, but remember what they see. The best counter ads, like the best ads, tell their stories through T he s ubtext i s n ot a ctually
pictures.
Rebellion. Adver<sing
•(interpreta<on) based on ttheir previous
argeted experiences,
at young people o]en knowledge,
appeals oto
pinions,
a sense aodtudes,
f youthful and values. T Ehus,
rebellion. the
ffec<ve
!
subtext of aa p
counter iece
ds of mm
expose edia will vary
isleading depending
and manipula<ve on the individual
adver<sing msethods
eeing/hearing
and turn it.their rebellious spirit
toward the corporate sponsors who use them.
•Example:
“KISS” – E vian
Keep PIurity & Simple. Use only one idea
t Short
!
The tfext
or oyf our
this m ain m
media message. Focus everything on gedng
essage includes:
this one message across. • An image of a naked black woman lying in a pile of snow making a
snow angel
• Plan. Try to think of everything including words, images, and design before you begin produc<on. Make a
few sketches or rough dra]s before you start cra]ing
• The the final
color product
scheme (or
is blue play
and around
white. The miodel
n Photoshop osr tand
and red font a
similar program and save different versions). out against the background
• Prac)ce. If you’re going to perform a radio or TV
• script (and
We see especially
a water boBle wiith
f you’re making
the Evian atn he
label in audio recording
boBom right corner
• Very
or video) your cast and crew will need to rehearse. Then, rehearse
small it atgain.
text toward he boBom reads “Detox with water from the
• Teamwork. Working in a team can lighten your workload and spark crea<vity. Discuss ideas as a group.
Make sure all members share responsibility for t•he The
work.
only two items in red are the brand word “evian” and the label
• Revise. When you think you’re finished, show your on
!
the boBle
counter ad to uninvolved people for feedback. Do they
understand it? Do they think it’s funny? Use their responses
Some to revise your work for maximum impact.
subtexts include:
• Distribute. Your ideas are meant to be seen! M•ake Drinking
copies Eovian
f your counter
is like ads and
rolling through psost
the them
nowy around
French Alps your
school. Get them published in your school newspaper. Create memes with them and post them on social
media. Show your video to other youth and adults. Your counter
• Drinking ad
Evian will mcake
an ysou
<mulate
pure needed discussion and
debate around media issues. You can also submit your counter a d i n M LP’s
• This black, female model needed c ounter pure by drinking Evian
ad contest.
to become
• Have fun! Making a counter ad is a fun way to learn about media, to be crea<ve, and to express your
views. • Black women are part of natural landscapes
! • Black women are consumable like the water
•
! Black women need to be detoxified
!
_
! •
! The Alps may not look like this someday if people con<nue to use
! !
!

Introduction to Media
Introduction Literacy
to Media – p.– !13
Literacy p. 7
!
! !
!
Text & Subtext !
!
Text
!
We o]en use the word text to mean wriBen words. In m! edia literacy, text has a very different meaning. The
!
Subtext
!

!
snow angel
_ _

!
on
Otriginal
Counter ad created by a student in 2012 he boBle
ad
! Some subtexts include:
! •
•
Drinking Evian is like rolling through the snowy French Alps
Evian is the purest water there is
! •
•
You can detoxify your body by drinking this boBled water
Drinking Evian will make you pure
! •
•
This black, female model needed to become pure by drinking Evian
When you drink Evian you can’t feel the elements
! •
•
Evian, snow, and all things white are pure
Black women are part of natural landscapes
! •
•
Black women are consumable like the water
Black women need to be detoxified
_
!
!

Introductionmedialiteracyproject.org
to Media Literacy – p. !7
!!
Text &M
About Subtext
edia Literacy Project
Media
Text Literacy Project was founded in 1993. Through educa<on, programs, and grassroots campaigns, our
mission is to transform people into cri<cal media consumers and engaged media jus<ce advocates who
deconstruct
We o]en use mtedia,
he wiord
nform mtedia
text policy,
o mean and w
wriBen create
ords. m
In edia that
media reflect ttext
literacy, heir lived
has experience.
a very different Omur vision iTs he
eaning. a
socially
text of ajust
ny pwiece
orld owf here
media miedia ruly ycou
s all that onnect
see aand/or
nd sustain
hear. oIt ur communi<es.
can include wriBen or spoken words, pictures,
graphics,
As moving
a na<onally images, sleader
recognized ounds, in
and the laiteracy
media rrangement or sequence
resources, of aand
trainings, ll oef duca<on,
these elements. For most
MLP delivers of us,
engaging
!
the itnforma<ve
and ext of a piece of media pis resenta<ons
mul<media always the saame.
t conferences, workshops, and classrooms across the country and
interna<onally. Our media literacy curricula and ac<on guides are used in countless classrooms and
Subtext
communi<es and our training programs have empowered thousands of people to be advocates and ac<vists
for media jus<ce.
Our organizing
arrive at, whether campaigns,
or not wse
uch as Siembra
actually do. It lia
s spome<mes
alabra digna, fight
called for
the responsible
latent speech
text. The in ios ur
subtext not maedia, and our
ctually
work for digital inclusion centers communi<es of color, poor communi<es, rural communi<es, and immigrant
communi<es
adver<sers) oin the create
]en crea<on of tlhat
texts ocal sauggest
nd na<onal
certain msedia policy.
ubtexts, person creates their own subtext
each
(interpreta<on)
Please consider dbona<ng ased on tto
heir previous
Media experiences,
Literacy Project so ktnowledge,
hat we can opinions,
con<nue apdtudes,
roviding atnd values.
ools and r esources
Thus, the that
!
subtext o f a p iece o f m edia w ill v ary d epending
allow communi<es to access, analyze, and create media! o n t he i ndividual s eeing/hearing i t.

! !
snow angel
!
on the boBle

_ • Naked women can be used to sell anything
_
!
!

Language of Persuasion

! medialiteracyproject.org
!
The Language of Persuasion
The Language of Persuasion
Many media messages that we interact with every day are trying to persuade audiences to think, feel, believe,
and/or
Many mdedia
o something.
messages Tthe hat mwedia messages
e interact with meost
very reliant
day are on trying
persuasion are found
to persuade in adver=sing,
audiences pfublic
to think, eel, believe,
rela=ons,
and/or do asnd advocacy.
omething. Commercial
The media messages adver=sing most trries to opn
eliant ersuade us to abre
persuasion uy a product
found or service.
in adver=sing, Public
public
rela=ons (aPR)
rela=ons, nd saells us a pCosi=ve
dvocacy. ommercial image of a corpora=on,
adver=sing tries to gpovernment,
ersuade us too r bouy
rganiza=on.
a product Pooli=cians
r service. aPnd advocacy
ublic
groups (groups
rela=ons that
(PR) sells us support
a posi=ve a piar=cular
mage of baelief, point of gvovernment,
corpora=on, iew, policy, oor r aoc=on) try to pPersuade
rganiza=on. oli=cians us to vaote
and for or
dvocacy
support
groups them, uthat
(groups sing saupport
ds, speeches, websites,
a par=cular social
belief, point moedia, and
f view, other
policy, or maeans.
c=on) Tthese
ry to m edia messages
persuade and for or
us to vote
messengers
support them, use a variety
using ads, sopeeches,
f techniques to grab
websites, our amEen=on,
social edia, and to oether
stablish credibility
means. These m and
edia trust, to s=mulate
messages and
desire for t he p roduct o r p olicy, a nd to m o=vate u s to a ct ( buy, vote, g ive
messengers use a variety of techniques to grab our aEen=on, to establish credibility and trust, to s=mulate m oney, e tc.)
desire
Most off or
us the product
have persuaded or policy,
someone and to mdo=vate
to us to act
o something, (buy, vote,
too—asked a gcive
hild mto
oney, etc.)
clean room, begged a parent
their
to let ouf s uss
Most tay out plersuaded
have ate, or convinced
someone a ftounda=on to financially
o do something, too—asked support a program
a child to clean in our rnoom,
their on-‐profit
begged a parent
organiza=on. T here i s n othing i nherently b ad o r w rong a bout p ersuasion.
to let us stay out late, or convinced a founda=on to financially support a program in our non-‐profit S ome=mes w e m ay n ot know that
organiza=on. There is nothing inherently bad or wrong about persuasion. Some=mes we may not kanow
this a rt o f p ersuasion i s m ade u p o f i den=fied t echniques, o r even realize w e a re u sing t hese t ried nd tested
that
tools.
this art Oonce we can understand
f persuasion is made up aond recognize ttechniques,
f iden=fied hese techniques we
or even can beEer
realize deconstruct
we are using these them.
tried Jaust
nd atested
s
importantly,
tools. Once wwe e ccan
an uanderstand
lso become more
and adept att
recognize using
hese these tools
techniques in coan
we ur boeEer
wn lives and in our
deconstruct own Jm
them. edia
ust as
crea=ons, too.
importantly, we can also become more adept at using these tools in our own lives and in our own media
crea=ons,
These techniques too. are called the "language of persuasion” and learning to iden=fy and u=lize these techniques
is an important
These techniques media
are clalled
iteracy skill.
the Media Loiteracy
"language Project adnd
f persuasion” efines persuasion
learning as gePng
to iden=fy and u=lize people to dto
these echniques
something
is in their
an important best
media interest,
literacy and
skill. Mm anipula=on
edia Literacy Paroject
s gePng someone
defines to do saomething
persuasion s gePng pthat eople goes
to adgainst
o their
best i nterest. W e u nderstand t hat p ersuasion techniques a re u sed to p ersuade a
something in their best interest, and manipula=on as gePng someone to do something that goes against their s w ell a s to m anipulate. W ith
media
best examples
interest. We euverywhere
nderstand athat
nd tphis resource
ersuasion you can decide
techniques whether
are used a message
to persuade as wis simply
ell as to m persuading
anipulate. oW r ith
manipula=ng.
media examples Once you know
everywhere how
and media
this messages
resource try dtecide
you can o persuade you at m
whether o essage
believe ios r simply
do something,
persuading you’ll
or be
beEer able to O
manipula=ng. mnce
ake yyou
our know
own h dow
ecisions,
media and beEer atble
messages to pm
ry to ake your
ersuade own
you to bmelieve
edia. or do something, you’ll be
beEer a ble to
Note to educators: m ake your own d ecisions, a nd b eEer a ble to m ake y our o wn m edia.
Note
We’ve to
deivided
ducators:
our list of persuasion techniques into three levels: Basic, Intermediate, and Advanced. Basic techniques are
easily idden=fied
We’ve ivided our in lm
ist any
of pmersuasion
edia examples, and tihey
techniques nto athree
re a glevels:
ood star=ng
Basic, Ipntermediate,
oint for all learners. Iden=fying
and Advanced. many
Basic techniques are
intermediate
easily iden=fied techniques
in many m media
ay require more
examples, cri=cal
and they daistance, and
re a good they should
star=ng point ufor
sually be inves=gated
all learners. Iden=fying aBer mlany
earners have
mastered the tbechniques
intermediate asics. More abstrac=on
may require maore
nd cjudgment
ri=cal distance, may be required
and to iden=fy
they should usually the bae dvanced
inves=gated techniques, and some
aBer learners have
learners mthe
mastered ay fi nd them
basics. More difficult to understand.
abstrac=on and judgment However, may even media literacy
be required beginners
to iden=fy may be taechniques,
the advanced ble to spot asnd
ome of the
some
intermediate
learners may fiond
r advanced
them difficult techniques, so feel free
to understand. to examine
However, even am ny of tlhe
edia persuasion
iteracy beginners techniques
may be w ith yto
able our group.
spot some of the
intermediate o r a dvanced t echniques, s o feel f ree to examine a ny o f t he p ersuasion
Adver=sing is the easiest star=ng point to begin teaching these techniques. Most ads are rela=vely simple in structure, t echniques w ith y our g roup.
easily available,
Adver=sing is the aend their star=ng
asiest techniques can
point to bbe very
egin obvious tahese
teaching t =mes. Media literacy
techniques. Most abds
eginners are encouraged
are rela=vely simple in sttructure,
o learn the
easily available, and their techniques can be very obvious at =mes. Media literacy beginners are encouraged to learn uthe
language o f p ersuasion b y examining a ds. Keep i n m ind t hat m any m edia m essages, s uch a s television commercials, se
several techniques
language of persuasion simultaneously.
by examining Others
ads. Kselec=vely employ
eep in mind that m one
any om
r tedia
wo. messages, such as television commercials, use
several
Poli=cal techniques
rhetoric, wshether
imultaneously.
used by pOoli=cians,
thers selec=vely employ
government one or ltobbyists,
officials, wo. or ac=vists, is more difficult to analyze, not
only because
Poli=cal it involves
rhetoric, whether more emo=onal
used issues,
by poli=cians, but also because
government it ils
officials, more likely
obbyists, or atc=vists,
o be seen in ore
is m bits daifficult
nd fragments, oBen
to analyze, not
filtered o r edited by o thers. D epending o n t he l evel o f y our l earners, y ou m ay w ant to i ntroduce
only because it involves more emo=onal issues, but also because it is more likely to be seen in bits and fragments, oBen b asic concepts u sing ads
before g eNng i nto n ews, b logs, a nd campaign s peeches.
filtered or edited by others. Depending on the level of your learners, you may want to introduce basic concepts using ads
!
before geNng into news, blogs, and campaign speeches.
!
Copyright Media Literacy Project 2014


Basic Persuasion Techniques medialiteracyproject.org
Basic Persuasion Techniques
1. Associa6on. This persuasion technique tries to link a product, service, or idea with something already liked
or
1. dAesired
ssocia6on. by the Tthis arget audience,
persuasion such as fun,
technique tries pleasure,
to link a bpeauty,
roduct, security,
service, in=macy,
or idea wsith uccess,
something wealth, etc. The
already liked
media message
or desired by the doesn’t
target maake explicit
udience, such claims that
as fun, you’ll get
pleasure, these tshings,
beauty, ecurity, rather the asssocia=on
in=macy, uccess, wealth, is implied. etc. The
Associa=on
media message can bde oesn’t
a very m powerful
ake explicit technique.
claims t hat
A good
you’ll ad can
get create
these a strong
things, emo=onal
rather response
the associa=on is aimplied.
nd then
associate
Associa=on that feeling
can be a w ith ap owerful
very brand (happiness technique. = CAoke,
good patrio=c
ad can cpreate
ride =a A smerica). This process
trong emo=onal response is known and athen
s
emo=onal
associate transfer. hat feeling Several
with ao f btrand
he persuasion (happiness techniques
= Coke, patrio=c below, plike ride Beau=ful
= America). people,
This W arm & ifs uzzy,
process known Symbols,
as
and Nostalgia,
emo=onal are specific
transfer. Several types of Apssocia=on.
of the ersuasion techniques below, like Beau=ful people, Warm & fuzzy, Symbols,
and Nostalgia, are specific types of Associa=on.
2. Bandwagon. Many ads show lots of people using the product, implying that "everyone is doing it" (or at
least all the cool, M
2. Bandwagon. beau=ful,
any ads sshow uccessful,
lots of opr eople rich people
using tahe re pdroduct,
oing it). implying
No one likes that t"o be leY out
everyone is dooing
r leY it"
behind,
(or at
and
least these
all the ads cool,
urge bueau=ful, s to jump on the bandwagon.
successful, or rich people Ads amre ight say, it).
doing “All mooms
No ne ltikes
rust to
this
be vlacuum
eY out coleaner,”
r leY behind, or
“Everyone
and these is using
ads urge the us latest iPhone.”
to jump on the Nbews reports m
andwagon. ight
Ads say, “sPeople
might ay, “All m can't
oms stop
trust talking about tche
this vacuum most roecent
leaner,” r
social
“Everyone media is nuetwork.” sing the latest iPhone.” News reports might say, “People can't stop talking about the most recent
social media network.”
3. Beau6ful people. This technique uses models and actors who are considered aErac=ve according to media
industry
3. Beau6ful standards people. in oTrder to draw ouur
his technique aEen=on.
ses models aSnd ome=mes
actors wtho he abre
eau=ful
considered people are also acelebri=es.
aErac=ve ccording to This
media
technique
industry sitandards s extremely in ocrder
ommon in ads,
to draw our wahich may iSmply
Een=on. ome=mes that wte’ll
he blook
eau=ful like tphe models
eople are iaf lso
we cuelebri=es.
se the product. This
We also see is
technique this technique
extremely employed
common in ads, in nwewscasts
hich may wihere
mply jtournalists
hat we’ll laook re elike
xpected
the mtodels
o look if like
we m odels.
use the pThis
roduct.
technique
We also see is sto his
common
technique that ep oli=cians
mployed in annd public owfficials
ewscasts here jaournalists
re oYen cari=cized for not
re expected to filook
Png this
like m“odels.
beauty” This
look,
technique especially is so if ctommon
hey are tw omen.
hat poli=cians and public officials are oYen cri=cized for not fiPng this “beauty”
look, especially if they are women.
4. Bribery. This technique tries to persuade us to buy a product by promising to give us something else, like a
discount,
4. Bribery. a rTebate, a coupon,
his technique or ato
tries free
persuade giY. Sales,
us to special
buy a poroduct
ffers, contests,
by promising and stweepstakes
o give us something are all forms else, olf ike a
bribery.
discount, Unfortunately,
a rebate, a coupon, we don’t or raeally
free gget something
iY. Sales, special for free—part
offers, contests, of the asnd
ales price covers atre
sweepstakes he acll ost of the
forms of
bribe.
bribery. Some=mes Unfortunately, poli=cians we dm ake really
on’t promises get sd uring elec=on
omething season to ogf et
for free—part votes,
the sales wphich
rice cis another
overs the cform
ost oof f the
bribery.
bribe. S ome=mes
poli=cians make promises during elec=on season to get votes, which is another form of
bribery.
5. Celebri6es. Celebri=es are used to grab our aEen=on so that we will associate the product or idea with the
aEributes
5. Celebri6es. of that par=cular acre
Celebri=es elebrity.
used to By appearing
grab our aEen=on in an ad, so ctelebri=es
hat we will implicitly
associate endorse
the product a product
or idea and
with the
some=mes
aEributes othe endorsement
f that par=cular cielebrity. s explicit Bwy hen they directly
appearing in an asd,
tate they use implicitly
celebri=es the product. In this
endorse a pwroduct
ay, their and
par=cipa=on
some=mes tihe s also a Tes=monial.
endorsement Many w
is explicit people know
hen they that csompanies
directly tate they u pse
ay tche
elebri=es
product. a lIot
n tohis
f mwoney to appear
ay, their
in their ads yet is this
par=cipa=on also type of tes=monial
a Tes=monial. Many is epffec=ve.
eople know that companies pay celebri=es a lot of money to appear
in their ads yet this type of tes=monial is effec=ve.
6. Everyday people. This technique is oYen a type of Tes=monial. The use of Everyday people works because
we
6. m ay believe
Everyday people. or iden=ty This twechnique
ith an “ordinary” is oYen ap terson
ype of mTore than a hTighly-‐paid
es=monial. he use of cEelebrity.
veryday pTeople his technique
works because is oYen
used
we m to sell
ay everything
believe or iden=ty from w basic
ith acn onsumer “ordinary” products
person like more laundry
than ad etergent
highly-‐paid or cfrozen
elebrity. dinners o a poli=cal
This technique is oYen
candidate
used to sell and their values.
everything from Mb ost of ctonsumer
asic he Everyday people
products in laaundry
like ds are adctually
etergent paid
or afrozen
ctors w ho have
dinners to baeen
poli=cal
carefully
candidate selected
and their because values. they
Most look of ltike he oEne’s idea poeople
veryday f “ordinary”
in ads awre orking
actually class or amctors
paid iddle wcho lass people.
have been
carefully selected because they look like one’s idea of “ordinary” working class or middle class people.
7. Experts. We rely on experts to advise us about things that we don’t know ourselves. Scien=sts, doctors,
professors,
7. Experts. w W riters,
e rely and on oether
xperts professionals
to advise us oaYen bout appear
things itn hat ads wae nd advocacy
don’t know m essages, Slending
ourselves. cien=sts, their
doctors,
credibility to t he p roduct, s ervice, o r i dea b eing
professors, writers, and other professionals oYen appear in ads nd advocacy messages, lending their s old. T hey m ight a lso b e i nterviewed i n a n ews s tory, or quoted
by a poli=cian
credibility to tin
he a psroduct,
peech. Ssome=mes, ervice, or idea Everyday
being pseople
old. They can m also be
ight Experts,
also as when ai n
be interviewed maother
news esndorses
tory, or aq uoted
brand
by a pooli=cian
f baby piowder n a speech. or a cSonstruc=on
ome=mes, Ewveryday orker endorses
people caan treatment
also be Efxperts,
or sore am s uscles.
when aI n mtother
his way, Experts
endorses a can
also
brand be oa f tb
ype
aby opf owder
Tes=monial. or a construc=on worker endorses a treatment for sore muscles. In this way, Experts can
!also be a type of Tes=monial.
!

!8. Explicit claims. Something is "explicit" if it is directly, fully, and/or clearly expressed or demonstrated. For medialiteracyproject.org
example, some ads state the price of a product, the main ingredients, where it was made, or the number of
The Ltanguage
items in of Pclaims
he package. Explicit ersuasion measurable promises about quality, effec=veness, or
are also specific,
reliability, like “Works in only five minutes!,” or, “When I was Senator I reduced spending by 10%.” Explicit
Many
claims mcedia
an be mpessages
roven true that ow
r fe interact
alse through with every
close day are trying
examina=on to persuade
or tes=ng, and if atudiences
hey’re false, to think, feel, believe,
the adver=ser may
and/or d o s
get in trouble. omething. T he m edia m essages m ost reliant o n p ersuasion a re found i n a dver=sing, p ublic
rela=ons, and advocacy. Commercial adver=sing tries to persuade us to buy a product or service. Public
9. Fear. F(ear
rela=ons PR) is the uos pposite
sells of tihe
a posi=ve Associa=on
mage technique.
of a corpora=on, It uses something
government, disliked oPr oli=cians
or organiza=on. feared by atnd he aintended
dvocacy
audience
groups (like btad
(groups hat bsreath,
upport failure, isola=on,
a par=cular loss pooint
belief, f security,
of view, or
psolicy,
afety)
or to promote
ac=on) try ato
"psolu=on.”
ersuade uAs ds to uvse fear
ote for to
or
sell us products
support them, using that acds,
laim to prevent
speeches, or fix the
websites, problem.
social media, Poli=cians
and other and advocacy
means. These groups
media use our fears
messages to get
and
elected or to
messengers ugse
ain
a vsariety
upport off or a cause. to grab our aEen=on, to establish credibility and trust, to s=mulate
techniques
desire for the product or policy, and to mo=vate us to act (buy, vote, give money, etc.)
10. FlaMery. Persuaders love to flaEer us. Poli=cians and adver=sers some=mes speak directly to us: "You know
Most of dueal
a good s have
when persuaded
you see osne."
omeone "You teo xpect
do something,
quality." "You too—asked
work hard a cfhild
or at o clean "tYou
living." heir droom,
eserve begged a parent
it." Some=mes
to let
ads us stay
flaEer us obut
y slhowing
ate, or cponvinced
eople doing a founda=on
unintelligent to fitnancially
hings, so stupport hat we’ll a p rogram
feel in oour
smarter r snuperior.
on-‐profit FlaEery
organiza=on.
works because There is ntothing
we like inherently
o be praised and w bad or wtrong
e tend about
o believe persuasion.
people we like. Some=mes
(We’re sure we that
may not know
someone that
as
this art oaf s pyersuasion
brilliant is muade
ou will easily up of iden=fied
nderstand techniques,
this technique!) or even realize we are using these tried and tested
tools. Once we can understand and recognize these techniques we can beEer deconstruct them. Just as
11. Humor. Hwumor
importantly, e can garabs
lso boecome
ur aEen=on
more and is a t puowerful
dept sing these persuasion
tools in otechnique.
ur own lives When and w in e olur
augh, wm
own e edia
feel good
and w e o
crea=ons, too. Yen remember t his feeling. A dver=sers m ake u s l augh a nd t hen s how u s t heir p roduct o r l ogo
because they’re trying to connect that good feeling to their product. They hope that when we see their
These techniques are called the "language of persuasion” and learning to iden=fy and u=lize these techniques
product in a store, we’ll subtly re-‐experience that good feeling and select their product over another brand..
is an important media literacy skill. Media Literacy Project defines persuasion as gePng people to do
something
12. Intensity. in tTheir best interest,
he language of ads and moanipula=on
and ther media aas re gePng
full of siomeone to do something
ntensifiers—words, images, that
or gmoes against
usic that mtake
heir
best i nterest. W e u nderstand t hat p ersuasion techniques a re
something seem more powerful or intense. Examples include superla=ves (greatest, best, most, fastest, lowest u sed to p ersuade a s w ell a s t o m anipulate. W ith
media e xamples e verywhere a nd t his resource y ou c an
prices), compara=ves (more, beEer than, improved, increased, fewer calories), exaggera=on (amazing, d ecide w hether a m essage i s s imply p ersuading o r
manipula=ng.
incredible, forever), Once yaou nd km now
any hoow mw
ther edia
ays mto essages
hype the try
ptroduct.
o persuade Music you
that to abccompanies
elieve or do nsews omething,
programs you’ll
and be
beEer a ble to m ake your o wn
commercials is oYen used to increase intensity. d ecisions, a nd b eEer a ble to m ake your o wn m edia.
Note to educators:
13. Maybe. Unproven, exaggerated, or outrageous claims are commonly preceded by words such as may,
We’ve
might, dcivided our list
an, could, of persuasion
some, many, otYen,
echniques into athree
virtually, s many levels:
as, Boasic,
r up Itntermediate,
o. (“This product and Advanced. Basic ytour
could change echniques
life.” “aIf re
easily i den=fied i n m any m edia examples, a nd t hey a re a g ood star=ng p oint for a ll l earners.
you vote for me you might pay less taxes.”) Watch for these words if an offer seems too good to be true. I den=fying m any
!
intermediate techniques may require more cri=cal distance, and they should usually be inves=gated aBer learners have
mastered the basics. More abstrac=on and judgment may be required to iden=fy the advanced techniques, and some
learners may find them difficult to understand. However, even media literacy beginners may be able to spot some of the
intermediate or advanced techniques, so feel free to examine any of the persuasion techniques with your group.
Adver=sing is the easiest star=ng point to begin teaching these techniques. Most ads are rela=vely simple in structure,
easily available, and their techniques can be very obvious at =mes. Media literacy beginners are encouraged to learn the
language of persuasion by examining ads. Keep in mind that many media messages, such as television commercials, use
several techniques simultaneously. Others selec=vely employ one or two.
Poli=cal rhetoric, whether used by poli=cians, government officials, lobbyists, or ac=vists, is more difficult to analyze, not
only because it involves more emo=onal issues, but also because it is more likely to be seen in bits and fragments, oBen
!


!
Basic Persuasion
14. New. Techniques
We love new things and new ideas, because we tend to believe they’re beEer than old things and old
ideas. That’s because the dominant culture in the United States (and many other countries) places great faith
1. and
Associa6on.
value in being This pyersuasion technique taries
oung, in technology, to plrogress.
nd in ink a product,
New pservice,
roducts oar nd idea with
new something
ideas are not aa lready
guarantee liked of
or d esired b y t he t arget a udience, s uch a s f un, p leasure, b
something beEer, and like any product or idea, they can lead to new and more difficult problems. eauty, s ecurity, i n=macy, s uccess, w ealth, e tc. T he
media message doesn’t make explicit claims that you’ll get these things, rather the associa=on is implied.
Associa=on
15. Repe66on. can bM e aedia
very
mpakers
owerful use trechnique.
epe==on i n A tgwo
ood waays.
d can create
Within a essage,
a m strong ew mo=onal response
ords, sounds, and then
or images may be
associate
repeated to reinforce the main point. Adver=sers, news broadcasters, filmmakers, poets, and others uase
t hat f eeling w ith a b rand ( happiness = C oke, p atrio=c p ride = A merica). T his p rocess i s k nown s this
emo=onal
technique transfer.
oYen. T he Several
other ouf se the
of prersuasion
epe==on tis echniques
repea=ng btelow, like Beau=ful
he message itself. Ap b
eople,
anner W arm
ad on & fuzzy,
your Symbols,
favorite
and Nostalgia,
website, are specific
a poli=cal slogan, types of Associa=on.
a commercial, a billboard, or a logo may be displayed or repeated again and again,
some=mes over a long period of =me.
2. Bandwagon. Many ads show lots of people using the product, implying that "everyone is doing it" (or at
least
16. Rall the cool,
hetorical qb eau=ful, Tshese
ues6ons. uccessful, are qo r rich people
ues=ons designed are dto
oing
get iut).
s Nto o aogree
ne likes
with to be slpeaker.
the eY out o Tr hey
leY abre
ehind,
set up so
and these
that the “acorrect”
ds urge uas to jump
nswer is oobvious.
n the b andwagon.
Examples include Ads might say, “All
ques=ons moms
such as, "tDo
rust this
you wvant
acuum cleaner,”
to get out of doebt?"
r
“Everyone
"Do you want quick relief from headache pain?" and "Should we leave our na=on vulnerable to terrorist ecent
i s u sing t he l atest i Phone.” N ews r eports m ight s ay, “ People c an't s top talking a bout t he m ost r
social
aEacks?" media network.”
Rhetorical ques=ons are used to build trust and alignment before the person tries to get us to buy a
product or idea.
3. Beau6ful people. This technique uses models and actors who are considered aErac=ve according to media
industry standards
17. Scien6fic evidence. in order to draw eovidence
Scien=fic ur aEen=on. oYen Saome=mes
ccompanies the beau=ful
the Expert tpechnique. eople are Iat lso celebri=es.
uses data and sTcien=fic
his
technique i s e xtremely common i n a ds, w hich m ay i mply t hat
imagery (charts, graphs, sta=s=cs, lab coats, etc.) to prove something. It oYen works because many people w e’ll l ook l ike t he m odels i f we u se t he p roduct.
We also
trust see this
science and technique
scien=sts. employed in newscasts
It is important to look wchere
losely journalists are expected
at the "evidence," to look
because it clan
ike bm e odels. This
misleading.
technique
Ques=ons is tso o acsk
ommon
about tthat
he epvidence
oli=cians maay nd public oW
include: fficials are oYen tche
ho conducted ri=cized
study? for not
How mfiany
Png this “beauty”
people were
look, especially
surveyed? Who if pthey are women.
ar=cipated in the survey? Is the person in a lab coat an actor?
4. 18.
Bribery.
Tes6monials. This technique
Media m tries to persuade
essages oYen show us to pbeople
uy a ptes=fying
roduct by promising
about to give
the value or quuality
s something else, like
of a product, or a
discount,
endorsing a raebate, a Tchey
n idea. oupon,
can obr e aE fxperts,
ree giY. Sales, special
Celebri=es, or Eoveryday
ffers, contests,
people. aW nd
e soweepstakes
Yen believe atre he apll erson
forms goiving
f the
bribery.
tes=mony Unfortunately,
because they we adre
on’t really
sharing get spomething
their ersonal opinion. for free—part
One example of the scales
ould pbrice covers
e a m usic otr he cost of ctelebrity
Internet he
bribe. S ome=mes p oli=cians m ake p romises d uring e lec=on s
who really wants us to know which skincare products she likes. She has used them and wants to share her eason to get votes, w hich i s a nother form o f
bribery.
experience. Another example is a community member telling us why he is vo=ng for someone. This person is
someone from our town (supposedly) instead of the poli=cian running for office herself. This technique works
5. best
Celebri6es.
when it s Ceems elebri=es are puerson
like the sed to grab our is
tes=fying aEen=on
doing so sbo ecause that we will gaenuinely
they ssociate tlike he pthe
roduct product or idea
or aw ith tw
gree he
ith
aEributes
the idea. o f t hat p ar=cular c elebrity. B y a ppearing i n a n a d, c elebri=es i mplicitly e ndorse a p roduct a nd
some=mes the endorsement is explicit when they directly state they use the product. In this way, their
par=cipa=on
19. Timing. iSs ome=mes also a Tes=monial.
a media m Message
any people know that
is persuasive companies
simply based opn ay
wchen
elebri=es a lot of mToney
it is delivered. his can to bae
ppear
as
in simple
their aads y et t his t ype o f tes=monial i s effec=ve.
s placing ads for flowers and candy just before Valen=ne’s Day, crea=ng a news segment based on a
recent trend in diet or fashion, or delivering a poli=cal speech right aYer a major news event. Sophis=cated ad
6. Everyday people. This technique is oYen a type of Tes=monial. The use of Everyday people works because
campaigns commonly roll out carefully-‐=med messages to grab our aEen=on and generate a response.
we may believe or iden=ty with an “ordinary” person more than a highly-‐paid celebrity. This technique is oYen
used
20. W to arm
sell e&verything
fuzzy. This from basic consumer
technique products images
uses sen=mental like laundry detergent
(especially or frozen
of happy people, dinners to a plandscapes,
beau=ful oli=cal
candidate a nd t heir v alues. M ost o f t he E veryday p eople i n
children, and animals) to s=mulate feelings of happiness or comfort. Warm & fuzzy messages may also include a ds a re a ctually p aid a ctors w ho h ave b een
carefully
the use soelected f soothing because
music, they look like
pleasant one’s
voices, idea
and of “ordinary”
sugges=ve words working class oor r "comfor=ng.”
like "cozy" middle class pTeople. he Warm &
fuzzy technique is a form of Associa=on.
7. Experts. We rely on experts to advise us about things that we don’t know ourselves. Scien=sts, doctors,
!
professors, writers, and other professionals oYen appear in ads and advocacy messages, lending their
credibility to the product, service, or idea being sold. They might also be interviewed in a news story, or quoted
by a poli=cian in a speech. Some=mes, Everyday people can also be Experts, as when a mother endorses a
brand of baby powder or a construc=on worker endorses a treatment for sore muscles. In this way, Experts can
also be a type of Tes=monial.
!

!
!
Intermediate Persuasion Techniques
The Language
21. Analogy. of Persuasion
Analogy compares another. A good analogy, where the situa=ons are
one situa=on with
reasonably similar, can aid decision-‐making. People figh=ng for Internet access might compare broadband to
Many media
electricity. messages
This that w
comparison e interact
states that tw ith
he every diay
Internet s aa bre trying
asic to plike
u=lity, ersuade
electricity audiences to think,
or water, and is feel, believe,
necessary in
and/or d o s omething. T he m edia m essages m ost r eliant o n p ersuasion
a 21st Century world that relies on this technology for educa=on, health informa=on, staying connected with a re f ound i n a dver=sing, p ublic
rela=ons,
loved ones, and advocacy. Commercial
entertainment, and other adver=sing
purposes. t ries to persuade us to buy a product or service. Public
rela=ons (PR) sells us a posi=ve image of a corpora=on, government, or organiza=on. Poli=cians and advocacy
groups
22. The (groups
Big Lie. that support
According to aA pdolf
ar=cular
Hitler, belief,
one opf oint
the 2o0th
f view, policy, m
century’s or ost
ac=on)
dangerous try to propagandists,
ersuade us to pveople
ote for are
or
support t hem, u sing a ds, s peeches, w ebsites, s ocial m edia, a nd o ther m eans.
more suspicious of a small lie than a big one. The Big Lie is more than exaggera=on or hype; it is telling a T hese m edia m essages a nd
messengers
complete falsehood use a variety
with osuch
f techniques
confidence to gthat
rab poeople
ur aEen=on,
believe tio t. eWstablish credibility
e can recognize and
Big trust,
Lies in ntews
o s=mulate
reports, on
desire
social fm or the paroduct
edia, or pplaces
nd other olicy, bay nd to mpo=vate
either ossessing us tpo rior
act k(buy, vote, gthat
nowledge ive m it oney,
is not ettc.)
rue or upon conduc=ng a bit
of research
Most of us haave
nd paersuaded
sking ques=ons
someone about to tdhe
o sm essage. Examples
omething, too—asked of Baig Lies tio
child nclude:
clean t“heir
Poor room,
people are not
begged a paarent
s
smart o r h ard w orking a s p eople w ith m oney” o r “ Insert M ajor S oda
to let us stay out late, or convinced a founda=on to financially support a program in our non-‐profit C ompany N ame c ares a bout your h ealth
and the environment.”
organiza=on. There is nothing inherently bad or wrong about persuasion. Some=mes we may not know that
this
23. aCrt of persuasion
harisma. Some=mes, is made up om
media f iessengers
den=fied tcechniques,
an be effec=ve or even realize
simply by aw e are using
ppearing firm, these tried
bold, and atnd
strong, ested
tools. O nce we can u nderstand a nd r ecognize t hese techniques w e can b
confident. This is par=cularly true in poli=cal and advocacy messages. People oYen follow charisma=c leaders eEer d econstruct t hem. J ust a s
importantly,
even when tw e cdan
hey also bw
isagree ecome more
ith their adept aot n uising
posi=ons ssues these
that atools
ffect in our o wn lives and in our own media
them.
crea=ons, too.
24. Euphemism.
These techniques Eauphemism
re called the tries to pacify oaf udiences
"language persuasion” in oarder to make tao n iden=fy
nd learning unpleasant and ureality
=lize tm ore tpechniques
hese alatable.
Vague
is or abstract
an important terms
media are used
literacy instead
skill. Media oLf iteracy
clearer, more gdraphic
Project efines w ords. Thus,
persuasion as wge hear paeople
ePng bout ctorporate
o do
"downsizing" i nstead o f " layoffs," o r " intensive i nterroga=on techniques" i
something in their best interest, and manipula=on as gePng someone to do something that goes against their nstead o f " torture.”
best interest. We understand that persuasion techniques are used to persuade as well as to manipulate. With
25. GliMering generali6es. GliEering generali=es are words such as civiliza=on, democracy, freedom,
media examples everywhere and this resource you can decide whether a message is simply persuading or
patrio=sm, motherhood, fatherhood, science, health, beauty, and love. A truck ad, a poli=cian, or a news
manipula=ng. Once you know how media messages try to persuade you to believe or do something, you’ll be
commentator may repeat the word “freedom” for example without explaining what they mean by using that
beEer able to make your own decisions, and beEer able to make your own media.
term. Media messages use these words in the hope that we will approve and accept the statements made
Note
without to educators:
examining the evidence or asking what they really mean.
We’ve divided our list of persuasion techniques into three levels: Basic, Intermediate, and Advanced. Basic techniques are
26. Giroup
easily den=fied dynamics.
in many Wme are egxamples,
edia reatly influenced
and they are by aw
ghat
ood osther
tar=ng people
point ftor
hink
all alearners.
nd do. GIden=fying
roup dynamics many is a
system o f b ehaviors a nd p sychological p rocesses o ccurring w ithin a
intermediate techniques may require more cri=cal distance, and they should usually be inves=gated aBer learners s ocial g roup o r b etween s ocial groups.
have We
can g et c arried a way b y t he forceful a tmosphere o f l ive a udiences, r allies,
mastered the basics. More abstrac=on and judgment may be required to iden=fy the advanced techniques, and some o r o ther g atherings. For example,
fans in am fay
learners ootball stadium
find them might
difficult to ud ecide to rHush
nderstand. owever, the fieeld, ven umsers
edia oliteracy
f Mac pbroducts
eginners omYen ay bw e ait
able in to
line for
spot hours
some of tohe
r
days to buy otheir
intermediate latest gtechniques,
r advanced adget, or hsundreds
o feel free otf o thousands
examine any of opf eople might give
the persuasion a standing
techniques ova=on
with when they
your group.
are moved by a speech at a poli=cal rally.
Adver=sing is the easiest star=ng point to begin teaching these techniques. Most ads are rela=vely simple in structure,
27. Majority belief. This technique is similar to the Bandwagon technique. It works on the assump=on that if
most people believe something, it must be true. That’s why polls and survey results in news reports and
ar=cles are so oYen used to back up an argument. It is important to remember that responses vary widely
Poli=cal
depending rhetoric,
on hw hether
ow one uased
sks bthe
y poli=cians,
ques=on gaovernment
nd who is aosked
fficials,
the lobbyists,
ques=on. or a Pc=vists,
oli=cians is muore
se tdhe
ifficult
same to taechnique
nalyze, not
only b ecause i t i nvolves m ore emo=onal i ssues, b ut a lso b ecause i t i s m ore
when they say, "The American people want..." How do they know what all Americans want? l ikely t o b e s een i n b its a nd f ragments, oBen
!


!
! 28. Name-‐calling. This technique links a person or idea to a nega=ve symbol (liar, creep, gossip, criminal,
illegal, etc.). Name-‐calling is used to make us reject the person or the idea based on our reac=on to the
The Language
nega=ve name (“My oof Persuasion
pponent of looking at the available evidence. A subtler version of this
is a liar.”), instead
technique is to use adjec=ves with nega=ve connota=ons (extreme, passive, lazy, pushy, conserva=ve, liberal,
etc.)
Many mAedia
sk yourself:
messages If that
he nwame-‐calling
e interact wwith as eremoved,
very day adre
oes the idea
trying to psersuade
=ll have am erit? to think, feel, believe,
udiences
and/or do something. The media messages most reliant on persuasion are found in adver=sing, public
29. Nostalgia.
rela=ons, Upon the
and advocacy. use of certain
Commercial images, tsries
adver=sing ounds, or smells,
to persuade Ntostalgia
us o buy a cpan be very
roduct or spervice.
owerful as it triggers
Public
rela=ons (PR) sells us a posi=ve image of a corpora=on, government, or organiza=on. Poli=cians and life
emo=ons a nd p osi=ve m emories. M any m edia m akers i nvoke N ostalgia a nd refer t o a = me w hen and
advocacy
quality w ere s upposedly b eEer ( "like M om u sed to m ake"). Poli=cians s ome=mes
groups (groups that support a par=cular belief, point of view, policy, or ac=on) try to persuade us to vote for p romise t o b ring b ack the
or
"good o ld d ays" o r r estore " tradi=on" a nd “ values.” B ut w hose t radi=ons
support them, using ads, speeches, websites, social media, and other means. These media messages and a re b eing restored? W ho d id t hey
benefit, and
messengers use waho did they
variety of thechniques
arm? This tto echnique
grab our w orks because
aEen=on, some=mes
to establish people atnd
credibility end to forget
trust, the bad parts
to s=mulate
of t he p ast, a nd remember t he g ood.
desire for the product or policy, and to mo=vate us to act (buy, vote, give money, etc.)
Most
30. oSf ex
us ohbject.
ave persuaded
This technique someone uses too bjec=fica=on
do something, to tsoo—asked
ell a product. a child to clean their
Objec=fica=on room, w
happens begged
hen a paerson
parent is
to reduced
let us stay to oaut
nd late,
made or tco
onvinced
seem like a afounda=on
n object, oYen to financially
with their support a program
face removed from in tohe
ur image,
non-‐profit rather than a
organiza=on.
whole human There is nw
being othing
ith an inherently
iden=ty. Obne ad common
or wrong about po
example ersuasion.
f this technique Some=mes is when we am way not know
oman’s body that
is made
this
to arrt of persuasion
esemble or mimic is ma ade up oof f biden=fied
boEle techniques,
eer or some type of food, or even realize
sending the wm e essage
are using these
that her b tried
ody ais nd tested
desirable
tools.
and O nce we can fuor
consumable nderstand
the audience. and rW ecognize
e oYen tshese
ee mten’s echniques
bodies w e can beEer
objec=fied in adds
econstruct
for cologne them.
or pJrotein
ust as shakes,
importantly, w e can a lso b
reducing them to muscular body parts. ecome m ore a dept a t u sing t hese t ools i n o ur o wn l ives a nd i n o ur own m edia
crea=ons, too.
31. Simple solu6on. Life and people are complicated. Problems oYen have many causes, and are not easy to
These techniques
solve. Media messages are called the "language
some=mes offer o f persuasion”
Simple solu=ons and
to laearning
ll sorts oto
f piden=fy
roblems. and u=lize these
Poli=cians claim techniques
one policy
is achange
n important m edia l iteracy s kill. M edia L iteracy P roject d efines p
(lower taxes, a new law, spending cuts, or a government program) will solve big social problems. ersuasion a s gePng p eople to d o
something
Adver=sers in tmheir
ay bsuggest
est interest,
that aa dnd manipula=on
eodorant, a car, aos r gaePng
brand soomeone
f beer wtill
o dmo ake
something
you smart, that goes
rich, or asgainst
uccessful. their
media
32. Selippery
xamples everywhere
slope. and this wresource
This technique arns against you acan decide owutcome.
nega=ve hether aIt m essage
argues is simply
against an pidea
ersuading or it’s
by claiming
manipula=ng. O nce y ou k now h ow m edia m essages t ry to p ersuade
just the first step down a “slippery slope” toward something the target audience pposes. The Slippery slope you t o b elieve o r d o s omething, y ou’ll be
beEer a ble to m ake your o wn d ecisions, a nd b eEer a ble to m ake y our o
technique is commonly used in poli=cal debate, because it’s easy to claim that a small step will lead to a result wn m edia.
most
Note to epducators:
eople won’t like, even though small steps can lead in many direc=ons. An example is, “If we let young
people use the Internet they will not know how to think for themselves and then the next thing we know we’ll
have to use robots in the work place. Robots in the work place are bad.”
easily iden=fied in many media examples, and they are a good star=ng point for all learners. Iden=fying many
intermediate techniques
33. Symbols. Symbols may require
are words moore cri=cal tdhat
r images istance,
bring and
to mthey
ind should
some ularger
sually cboncept,
e inves=gated aBer
usually learners
one have with
associated
strong emo=ons, such as home, family, na=on, religion, gender, or lifestyle. Media makers use the power and
learners may find them difficult to understand. However, even media literacy beginners may be able to spot some of the
intensity of symbols to make their case. (US flag = America, Swas=ka = fascism) Symbols can have different
intermediate or advanced techniques, so feel free to examine any of the persuasion techniques with your group.
meanings for different people. For example, Hummer SUVs are status symbols for some people, while to
Adver=sing is the
others they easiest
are star=ng
symbols of epnvironmental
oint to begin teaching these techniques.
irresponsibility. Most ads are rela=vely simple in structure,
!
! rhetoric, whether used by poli=cians, government officials, lobbyists, or ac=vists, is more difficult to analyze, not
Poli=cal
! or edited by others. Depending on the level of your learners, you may want to introduce basic concepts using ads
only because it involves more emo=onal issues, but also because it is more likely to be seen in bits and fragments, oBen
filtered
!


!
!
Advanced Persuasion Techniques
The
34. Ad L anguage
hominem. La=n fo
or f Persuasion
"against Ad hominem technique responds to an argument by
the man," the
aEacking the opponent instead of addressing the argument itself. It’s also called "aEacking the messenger.” It
Many
works moedia
n the mbessages
elief that that we interact
if there’s something with ewvery
rong day are
or o trying to persuade
bjec=onable about the audiences
messenger, to tthink, feel, believe,
he message must
and/or d o s omething. T he m edia m essages m ost
also be wrong. “She was a known par=er so her allega=ons must be false.” reliant o n p ersuasion a re found i n a dver=sing, p ublic
rela=ons, and advocacy. Commercial adver=sing tries to persuade us to buy a product or service. Public
rela=ons
35. Card (sPR) sells uCs
tacking. a psosi=ve
ard tacking image
goes boeyond
f a corpora=on,
just telling government, or aond
part of a story rganiza=on.
deliberately Poli=cians
provides and advocacy
a false
groups
context (groups
and leaves that osut
upport a par=cular tbo elief,
key informa=on give ap oint of view, impression.
misleading policy, or ac=on) try to persuade
This technique "stacks uts to dveck,"
he ote for or
support t hem, u sing a ds, s peeches, w ebsites, s ocial m edia, a nd
selec=ng only favorable evidence to lead the audience to the desired conclusion. News commentators o ther m eans. T hese m edia m essages and
do this
messengers
oYen so that use
we as vide
ariety
with of their
techniques
argument, to garab
nd oaur aEen=on,
dver=sers do tto establish
his credibility
when they present and rust,
all the to s=mulate
great things about
desire for the wpithout
the product roduct revealing
or policy, that
and it to
mm o=vate
ay not be ues ffec=ve,
to act (buy,
could vote, give
cause money,
health etc.) or is really expensive.
problems,
Censorship i s a form o f card stacking.
Most of us have persuaded someone to do something, too—asked a child to clean their room, begged a parent
to let
36. us stay
Cause vs. oCut late, or convinced
orrela6on. Media maessages founda=on
can ttrick
o financially support a cponfusing
us by inten=onally rogram in our non-‐profit
correla=on (two things being
organiza=on. T here i s n othing i nherently b ad o r w rong a bout
connected or related in some way) with cause (one thing causes another thing to happen). p ersuasion. S ome=mes we may not
For know that
example:
this a rt o f p ersuasion i s m ade u p o f i den=fied t echniques,
“Babies drink milk. Babies cry. Therefore, drinking milk makes babies cry.” o r even realize w e a re u sing t hese t ried and tested
tools. Once we can understand and recognize these techniques we can beEer deconstruct them. Just as
importantly,
37. Denial. Tw e ctan
his also become
echnique is used mto
ore adept responsibility
escape at using these tools
for in our otwn
something hat lives and in our
is unpopular or ocwn media It
ontroversial.
crea=ons,
can be either too. direct or indirect. “I did not have sexual rela=ons with that woman.” “I did not inhale.” “I am not
a c rook.”
These techniques are called the "language of persuasion” and learning to iden=fy and u=lize these techniques
is an important media literacy skill. Media Literacy Project defines persuasion as gePng people to do
38. Diversion. This technique diverts our aEen=on from a problem or issue by raising a separate issue or
something in their best interest, and manipula=on as gePng someone to do something that goes against their
sharing only posi=ve informa=on. Diversion is oYen used to hide the part of the story not being told. For
example, rather than focusing on a recent oil spill, an oil company may share a commercial showing us that
media examples everywhere and this resource you can decide whether a message is simply persuading or
they are inves=ng in renewable energy and helping the environment.
manipula=ng. Once you know how media messages try to persuade you to believe or do something, you’ll be
beEer able to make Myour
39. Extrapola6on. edia om wn decisions,
essages and amnd beEer able
essengers to make dyraw
some=mes our houge
wn m edia.
conclusions on the basis of a few
small
Note facts.
to Extrapola=on works by ignoring complexity. An example could be a news story on someone in a
educators:
hospital in your town that has been reported to be carrying a deadly virus, and the new story states that now
everyone
easily in your
iden=fied in msany
tate mis edia
at reisk.
xamples, and they are a good star=ng point for all learners. Iden=fying many
intermediate techniques may require more cri=cal distance, and they should usually be inves=gated aBer learners have
40. Scapegoa6ng. Scapegoa=ng blames a problem on one person or one group. Some people, for example,
claim that
learners undocumented
may find them difficult immigrants are tHhe
to understand. main ceause
owever, ven moedia
f unemployment in tm
literacy beginners he Ubnited
ay States,
e able to spot esven
ome though
of the
intermediate or advanced techniques, so feel free to examine any of the persuasion techniques with your group. on the
unemployment i s a complex p roblem w ith m any causes a nd o ur e conomy a nd l ocal communi=es r ely
work of those who are undocumented. Scapegoa=ng is a par=cularly dangerous form of the Simple solu=on
Adver=sing
technique. is the easiest star=ng point to begin teaching these techniques. Most ads are rela=vely simple in structure,
language of m
41. Straw persuasion by examining
an. This technique ads. uKp
builds eep
an iin llogical
mind that
or dmeliberately
any media m essages, isdea
damaged uch aas
nd television
presents commercials, use
it as something
several techniques s imultaneously. O thers s elec=vely e mploy o ne o r t wo.
that one’s opponent supports or represents. Knocking down the "straw man" is easier than confron=ng the
opponent
Poli=cal directly.
rhetoric, whether Infomercials
used by pooli=cians,
Yen use gSovernment
traw man. oOfficials,
ne example would
lobbyists, be an infomercial
or ac=vists, is more difficult that too pens by not
analyze,
only because
telling it involves
us that blankets md ore emo=onal
on’t issues,
work and we nbeed
ut also because
footed it is miore
pajamas likely Ato
nstead. n bee xample
seen in obf
its and fragments,
Straw man in a pooli=cal
Ben
filtered
debate oir s ew
dited
hen bay coandidate
thers. Depending on o
says, “My the level of ryegularly
pponent our learners, you mday
releases want to cintroduce
angerous riminals baasic nd scends
oncepts using
them ads
back
before
to the gseNng
treets. into
No noews, blogs,
ne w ants ato
nd campaign
vote speeches.
for someone puts families in danger.”
that
!


Thinking About Media & Social Attitudes
Put a mark in the column that most lines up with your opinions, thoughts, or views.
Strongly Strongly
Agree Disagree
Agree Disagree
I trust most of what I see on TV.
I get information from people I know, rather than from
the media.
People — in general — are influenced by advertisements
or other media that tell them how to act or behave.
My peers are influenced by advertisements or other
media that tell them how to act or behave.
I am influenced by advertisements or other media that
tell me how to act or behave.
I don’t realize how much I want something until I see it
advertised.
It bothers me when a man does something that I
consider feminine.
It is okay with me if boys play with dolls.
Women are just as smart as men.
It is alright for a woman to ask a man out on a date.
Men are better leaders than women.
If both husband and wife have jobs, the husband should
do a share of the housework such as washing dishes,
doing the laundry, and caring for any children.
Families should offer more encouragement to sons,
rather than to daughters, to find a career.
It is a bit embarrassing for a man to have a job that is
usually filled by a woman.
Stereotypes about gender influence the way people
behave.
Traditional gender roles can encourage men and boys to
be aggressive.
Gender roles and stereotypes can support inequality.
Women should be protected by men.
I am bothered by how men are portrayed in the media.
I am bothered by how women are portrayed in the media.
I am bothered by violence against women as portrayed in
the media.

Media Justice Scavenger Hunt
Know that abusive

partners will often
Have a family Can sing a song
use a woman’s Can explain
Have Internet member who or retell a story
immigrant or what media
access at home does not know taught to you by
citizenship status literacy means
how to email your grandparents
to keep her
from leaving
Can name the Can name three Can name at least Know the meaning
number of hours stereotypes about three magazines of, and how to
Use social media
the average kid your community that are popular dance, at least one
at least twice a day
watches TV in or neighborhood with teen girls and dance unique to
one week you see on TV young women a faith or culture
Know females
Know how to are more likely
Have taken a
prepare and serve Have a Twitter Have a computer than males to
photo or video
a meal unique to name where you live be shown in
of your family
a faith or culture minimal clothing in
Hollywood movies
Had
Participate in
Get the newspaper comprehensive Know the ratio of
religious, faith, Have an iPod or
delivered to sex education males to females
or spiritual MP3 player
where you live taught in your in Hollywood films
ceremonies
school
Can name the

doll that has an Pay attention
Knows what the
unrealistic shape to what is going Read a book Can name a story
singular form
including tiny on in the news/ this month from childhood
of “media” is
waist, long legs current events
and large breasts

Media Justice Scavenger Hunt
ANSWER KEY
Media literacy means having the skills and abilities to analyze, interpret, and create media using different
tools and modes.
The average kid watches 35 hours of TV in one week.21

Children born after 2005 have a different relationship with media than previous generations, including
watching (on average) a full 35 hours of television a week. That number represents a 2.2 hour increase since
2009 survey results and a 12% increase over nine years.
The ratio of males to females in Hollywood films is 2.51 males for every one woman on screen.22
A study looking at 500 top-grossing films from 2012, 2010, 2009, 2008, and 2007 found that out of 4,475
speaking characters on screen, only 28.4% are female.
Barbie is the name of the doll that has an unrealistic shape including tiny waist, long legs and large breasts.
“Medium” is the singular form of “media.”
21 Time. (2013, November). FYI, Parents: Your Kids Watch A Full-Time Job’s Worth of TV Each Week [article]. Retrieved
January 28, 2015 from http://entertainment.time.com/2013/11/20/fyi-parents-your-kids-watch-a-full-time-jobs-
worth-of-tv-each-week/
22 Stacy L. Smith, Marc Choueiti, Elizabeth Scofield, & Katherine Pieper. (2013). Gender Inequality in 500 Popular Films:
Examining On-Screen Portrayals and Behind-the-Scenes Employment Patterns in Motion Pictures Released between
2007-2012. Retrieved January 28, 2015 from
http://annenberg.usc.edu/pages/~/media/MDSCI/Gender_Inequality_in_500_Popular_Films_-_Smith_2013.ashx

Session Four Activity-Based Assessment:
Attitudes Toward Violence in Media
Learning objective: Participants will be able to define the difference between fantasy and reality.
Learning activity: Participants will discuss real-life examples of violence in the media.
Scoring tool directions
Use one of the tables below to track a certain desired reactions, terms, and attitudes while discussing a
media depiction of violence.
Discussion Questions: (ask with each example)
■■ What is the subtext or hidden message in this game?
■■ Who is this message empowering? Who is having power taken away?
■■ What is the untold story?
■■ Looking back at our Persuasion Techniques, which ones are being used in this video?
●● What about in the advertisements for this game?
You can either use the Yes/No tracking table or the one below to count the number of participants that
expressed the desired responses.
Did a majority (75%) of participants respond in the following ways during deconstruction and
discussion?
Yes No
Accurately define fantasy (e.g. using words or phrases such as “not real life,”
“made up,” “created by someone else” etc.)?
Describe the impact of violence in reality (e.g. using words or phrases
such as “makes people feel bad about themselves,” “disconnects people,”
“damages trust” etc.)?
Connect media depictions of violence with earlier conversations around creators
of media?
Use words or phrases that identify with the oppressed or disempowered group
(e.g. empathic responses, “It would make me…,” “It might make people feel…”)?

How many participants responded in the following ways during deconstruction
and discussion?
Yes No
Accurately defined fantasy (e.g. using words or phrases such as “not real life,”
“made up,” “created by someone else” etc.)?
Described the impact of violence in reality (e.g. using words or phrases such as
“makes people feel bad about themselves,” “disconnects people,” “damages
trust” etc.)?
Connected media depictions of violence with earlier conversations around
creators of media?
Used words or phrases that identify with the oppressed or disempowered group
(e.g. empathic responses, “It would make me…,” “It might make people feel…”)?

Session Five Activity-Based Assessment:
Attitudes Toward Real-Life Violence in Media
Learning objective: Participants will be able to identify instances of real-world violence overlapping with
media violence.
Learning activity: Participants will deconstruct music videos and/or video games.
Scoring tool directions
Use one of the tables below to track a certain desired reactions, terms, and attitudes while discussing a
media depiction of violence. .
Discussion Questions: (ask with each example)
■■ How are these images/videos different from the ones we looked at last time?
■■ What do you think makes the two types of media different? News coverage and videos captured of real-
life violence “versus” often share similar aspects or actions. But how do each make us feel?
■■ How/Do the images and videos we looked at last time make us feel about these real-life examples? Do
you think there is any connection between being exposed to media violence and real-life depictions
of violence?
You can either use the Yes/No tracking table or the one below to count the number of participants that
expressed the desired responses.
Did a majority (75%) of participants respond in the following ways during deconstruction and discussion?
Yes No
Identify similarities in media depictions of violence and real-life examples.

Offer examples of how media depictions of violence could influence attitudes
about real-life violence (e.g. using words or phrases such as “desensitize,” “make
it not a big deal,” “you don’t see it as that bad because of movies,” etc.)?
Connect concepts and discussion points from previous session with this session.
How many participants responded in the following ways during deconstruction and discussion?
Yes No
Identify similarities in media depictions of violence and real-life examples.

Offer examples of how media depictions of violence could influence attitudes
about real-life violence (e.g. using words or phrases such as “desensitize,” “make
it not a big deal,” “you don’t see it as that bad because of movies,” etc.)?
Connect concepts and discussion points from previous session with this session.

Creating Counter-Ads
Plan. Try to think of everything — words, images, design — before you begin production. Make a few
sketches or rough drafts before you start crafting the final product.
Analyze. Look at several real ads and try to figure out why they’re effective. The best counter-ads use the
same techniques to deliver a different message.
Power. Your message has to break through the clutter of all the real ads that people see or hear. Think about
what makes an ad memorable to you. What techniques does it use to grab your attention? Use them.
Persuade. Use the same persuasion techniques found in real ads — like humor, repetition, or flattery — to
deliver your alternative message.
Pictures. Visual images are incredibly powerful. People often forget what they read or hear, but remember
what they see. The best counter-ads, like the best ads, tell their stories through pictures.
Rebellion. Advertising targeted at young people often appeals to a sense of youthful rebellion. Effective
counter-ads expose misleading and manipulative advertising methods and turn their rebellious spirit
toward the corporate sponsors who use them.
“KISS.” Keep It Short & Simple. Use only one idea for your main message. Focus everything on getting this
message across.
Practice. If you’re going to perform a radio or TV script (and especially if you’re making an audio recording
or video) your cast and crew will need to rehearse. Then, rehearse it again.
Teamwork. Working in a team can lighten your workload and spark creativity. Brainstorm ideas as a group.
Make sure all members share responsibility for the work.
Revise. When you think you’re finished, show your counter-ad to uninvolved people for feedback. Do they
understand it? Do they think it’s funny? Use their responses to revise your work for maximum impact.
Distribute. Your ideas are meant to be seen! Make copies of your counter-ads and post them around your
school. Get them published in your school newspaper. Show your videotape to other kids and adults. Your
counter-ad can stimulate needed discussion and debate around media and health issues.
Have fun! Making a counter-ad is a fun way to learn about media and health, to be creative, and to express
your views. Enjoy it!

njcasa.org
609-631-4450 • info@njcasa.org
Crossroads Corporate Center
3150 Brunswick Pike, Suite 230
Lawrenceville, NJ 08648-2420
The New Jersey Coalition Against Sexual Assault (NJCASA) is an organization

that joins people together in action for the common cause of ending
sexual violence and supporting all those whose lives have been affected by it

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GENDER AND VIOLENCE

How Media Shape Our Culture

A media literacy education curriculum to address

ii New Jersey Coalition Against Sexual Assault

THE LESBIAN, GAY, BISEXUAL & TRANSGENDER COMMUNITY CENTER

Note About Copyright and Fair Use

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE iii

SESSION ONE: Introduction to Media Literacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

SESSION TWO: Gender. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

SESSION THREE: Media Creating Gender. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

SESSION FOUR: Media Creating Fantasy: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE v

SESSION SIX: Taking Action! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

SESSION SEVEN: Reconstruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

vi New Jersey Coalition Against Sexual Assault

Background & Overview

Critical media literacy was selected to assist in achieving the Gender

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE 1

The public health approach to violence prevention

Critical media literacy as a social change strategy

2 New Jersey Coalition Against Sexual Assault

Achieving mutual goals: How does media literacy work to prevent

Risk factors for perpetration

4 American Psychological Association, Task Force on the Sexualization of Girls, “Report of

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE 3

Protective and resilience factors

4 New Jersey Coalition Against Sexual Assault

Using this manual

INTRODUCTION TO MEDIA LITERACY

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE 5

MEDIA CREATING FANTASY: MEDIA CREATING GENDER

MEDIA CREATING FANTASY: ATTITUDES TOWARDS VIOLENCE IN MEDIA

MEDIA CREATING FANTASY:

6 New Jersey Coalition Against Sexual Assault

TAKING ACTION! BECOMING PROACTIVE MEDIA CONSUMERS

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE 7

Tips for facilitators

Prepared media examples

DVDs and video clips

8 New Jersey Coalition Against Sexual Assault

Process evaluation: Facilitator Reflection

Considerations for implementing evaluation

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE 9

Introduction to Media Literacy

Laptop A. Describe common types of media.

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE 11

■■ Activity (optional and depending on age/maturity of group):

12 New Jersey Coalition Against Sexual Assault

Discussion: What is Media? (10 MINUTES)

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE 13

14 New Jersey Coalition Against Sexual Assault

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE 15

●● Ad hominem ●● Explicit claims ●● Plain folks

■■ Comprehensive: Present two media examples and connect them to the 40

●● Ad hominem ●● Extrapolation ●● Plain folks

16 New Jersey Coalition Against Sexual Assault

Media Justice Scavenger Hunt (15 MINUTES)

GENDER AND VIOLENCE: HOW MEDIA SHAPE OUR CULTURE 17

Language of Persuasion Skit Activity

Optional “Homework” Assignment:

18 New Jersey Coalition Against Sexual Assault

Yes No I’m not sure…

Describe common types of media?