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. 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.
Maskell discussed the use of music videos for teaching English, saying the content has “huge potential for use across the entire English curriculum” (54). ” Mass Communication and Society 13.1 (2009): 67-86.
There is still, however, much to uncover about the myriad possible uses of music videos as a pedagogical instrument.
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.
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.
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.
Supporting this call to study music videos, Austerlitz saw them as a “fascinating oddity” (1) and a “compelling marker of cultural history” (1).
He concluded that the music video’s “triumphs render it a subject worthy of deeper study and attention” (1).