Then the article details a single-class activity for introducing and teaching media literacy through the use of music videos.
To achieve this objective, the article also proposes a set of original music video-specific discussion questions.
Many educators may be skeptical about or may have never thought about the benefits of using music videos in the classroom—thus the shortage of research on this approach.
Cayari wrote about students creating music videos in order to learn music and technology skills. “Does Exposure to Sexual Hip-Hop Music Videos Influence the Sexual Attitudes of College Students?
This exercise is intended to occur in class and requires the instructor’s use of an Internet-connected device that can play music videos viewable by the whole class at once (e.g., via projector or on a large monitor). Simon Frith, Andrew Goodwin, and Lawrence Grossberg.
Objectives include these: Preparation: Prior to class, carefully select a popular music video accessible online and useful as a teaching tool. Although the pedagogical value of music videos remains formally under-recognized, many have thoroughly established why music videos are an important and potent way to learn about life around the globe. “Music television deserves serious attention from students of popular culture” (Goodwin and Grossberg ix), proclaimed the introduction of Sound and Vision: The Music Video Reader, the influential collection edited by Frith, Goodwin, and Grossberg. I find it useful to informally survey how many students know the song or artist and how many like the song or artist. It is crucial to establish the significance of studying this artifact. With a focus on popular music videos, this essay discusses their importance, describes an activity using them to teach media literacy skills, offers some new music video-specific ideas for introductory media literacy exercises, and shares example results of the activity. This information may appeal to a wide range of educators, especially media and popular culture scholars teaching undergraduate college courses such as Media and Society, Media Literacy, or Introduction to Popular Culture. In summarizing the state of music video research and demonstrating why they are more than just entertainment, Straw wrote, “music videos are increasingly seen as elements within complex assemblages of image and sound that circulate the world and are recombined within a variety of diasporic media, from satellite television networks through DVD and Internet video clip sites” (3176). Consideration of certain music video research trends indicates their diverse potential. First, I explain media literacy and the following five key questions of media literacy, using visual aids like Power Point slides and the Center for Media Literacy’s website, medialit.org: As justified in the rationale above, we then briefly discuss why music videos are media content worthy of critical thought. Next, to successfully analyze popular music videos and expand on the preexisting five key questions of media literacy, I propose the following set of original follow-up questions that are music video-specific—four follow-ups for each of the main questions—to help prompt critical thought and advance media literacy about popular music videos: Part 2: Watch a Music Video After focusing on media literacy questions, introduce the music video by identifying the song and performer. “Primary School Children’s Imitation of Sexualised Music Videos and Artists.” Children Australia 38.3 (2013): 115-123.