nataliefay97

[nataliefay97]

Final Blog Post: Youth Creativity Hub

Our youth creative media project is finally up and running. Choosing TikTok as our platform was a game-changer, and we've already garnered a couple of hundred views, a comment, and a follower! The engagement so far seems to be from young people as well, which is promising.

Initially, our idea was to create a website for a digital art gallery where youth could submit their artworks to be published. As child and youth care practitioners who are advocates for mental health are wellbeing, our overarching goal of this project was to encourage creative expression among youth which (we hope) would lead to the promotion well-being in our participants and audience. Additionally, we wanted the youth who engaged with our project to feel like they were part of something, and to connect with their peers through art. Community is so important when it comes to mental well-being.

However, unlike a website, TikTok provides us real-time insights into audience engagement, allowing us to connect with our viewers more dynamically. We also expanded our reach by creating a Linktree page featuring mental health resources and a curated playlist, ensuring our project serves as both a creative outlet and a supportive space for youth. We want to encourage not just creative expression, but youth media creation, as the only other way to engage with our content other than liking/commenting would be to film themselves and their creative works and upload them using our suggested hashtags. Our readings from week 10 discussed the importance of youth media creation and the roles it serves for youth (Fisherkeller, 2021). Additionally, this project places youth as not just consumer but creators of media and media culture, as we encourage youth to creatively “respond” to our challenges and art activities with their own trials and creations (Aarsand, 2021). This project can perhaps also contribute to new media literacies as we thoroughly discussed in this class, encouraging skill development and engagement with physical artistic media and digital media on TikTok (Jenkins, 2006).

The transition to TikTok, however, presented its own set of challenges. What seemed like a straightforward process of filming a couple of art tutorials turned into a meticulous undertaking for me, personally. I was forced to creatively problem-solve as a result of my lack of equipment and recent experience with filming and video editing. I was able to make a makeshift tripod using stacks of books and dishes, and balancing my poor phone on the edges of shelves to give the viewer a “birds-eye view” of what my hands were doing. Each TikTok required 45 minutes of filming at least! I faced technical challenges such as my lighting being too yellow and too harsh, realizing unwanted elements in the frame only after I had finished filming, and realizing that what I was drawing on paper wasn’t even showing up on camera and having to re-do everything all over again. Also, I had to plan out scripts for the TikToks and jot down which camera angle I would use for each line of script I wrote. The planning was extensive but I enjoyed the challenge!

Decisions about whether to include my voice or film myself added another layer of complexity. Struggling with camera shyness and apprehensions about potential criticism about my appearance (not that there I'm anything particularly notable about how I look…it’s just that TikTok can make you feel insecure about things you never thought about before!), I opted to keep the focus solely on the art for now.

In terms of my role in this project, I believe I took on several key responsibilities that laid the foundation for Youth Creativity Hub. I was responsible in conceiving the initial idea that led to the creation of this project. I feel my partner and I were able to collaborate seamlessly as she was enthusiastic and on-board with the ideas I put forward. I also named our project. I believe “Youth Creativity Hub” is fitting because it represents the demographic we wish to reach and also encompasses our commitment to serving as a central hub for art tutorials and a safe space for creative exploration. I also created 3 engaging TikTok videos which entailed two art activities and one mindfulness activity. Further, I created and set up our TikTok account and made sure to draft meaningful and engaging captions for the videos I uploaded with appropriate hashtags. Finally, I used Canva to design our logo which unifies our brand.

Through this project, I was able to re-discover the joy of creating videos again, a hobby I had set aside for about 10 years (I initially wanted to pursue a career in digital media before I chose child and youth care). I used to “mess around” and film and edit videos when I was a teen, and eventually started “geeking out” once I started my (now deleted) YouTube channel and built a following (Herr Stephenson, 2021). ****I initially set out to only create 2 TikToks, and I ended up creating 3. Perhaps post-semester I will explore TikTok some more and continue making videos, not just for my own enjoyment but to also to foster a community of young creators. My aspiration is that our videos will not only spark individual creativity but also nurture a supportive creative space for the youth on TikTok.

Citations

Aarsand, P. (2021). Children's Digital Gaming Cultures. In D. Lemish (Ed.) The Routledge International Handbook of Children, Adolescents, and Media (pp. 119-126), Routledge.

Fisherkeller, J. (2021). Young People Producing Media. In D. Lemish (Ed.) The Routledge International Handbook of Children, Adolescents, and Media (pp. 344-350), Routledge.

Herr Stephenson, R. (2021). New Media and Informal Learning. In D. Lemish (Ed.) The Routledge International Handbook of Children, Adolescents, and Media (pp. 467-474), Routledge.

Jenkins, H. (2006). Confronting the Challenges of Participatory Culture: Media Education for the 21st Century. An Occasional Paper on Digital Media and Learning

#final post

[nataliefay97]

Identity and Representation

The theme of this week’s class and reading material was about identity and representation in media for children and youth. Readings for this week included an insightful report by Lemish and Johnson (2019) on the current landscape of representation in children’s media, as well as a journal article by Leon-Boys et al. (2021) focusing on minority children’s experiences within the children’s media landscape specifically. Our class for this week consisted of our usual weekly mini-screening presentations, a brief class discussion on the readings and weekly topic, and guest speaker Kara Harun’s presentation on short-form series Aunty B’s House. 

Mini Screenings

The mini-screenings for this week provided a perfect segue into our weekly topic of identity and representation. We watched a clip from Marvel’s Black Widow and Full House. As a class, we could agree that the representation of women in superhero films can be unrealistic and not very relatable for teenagers and even adults. These portrayals tend to depict women as virtually flawless, conforming to an idealized standard, and these characters often exist in a one-dimensional space, crafted under the male gaze's influence, idealizing a narrow concept of femininity. We then briefly discussed more recent superhero films such as Disney's Ms. Marvel. The characters in these films represent a more diverse population, steering away from the stereotypical portrayal of female heroes. 

Moreover, the sitcom Full House stands out for its relatable and casual portrayal of characters, capturing everyday moments in a manner that resonates with many households. We discussed the differences between sitcoms of the 90s and earlier versus sitcoms of the 2010s. We found that nowadays, sitcoms seem to strive for inclusivity by “checking the boxes” for diversity and representation, sometimes leading to these representations feeling forced or not well-written into the storyline.

Readings Reflection

Lemish and Jonson’s (2019) report as well as the Leon-Boys et al. (2021) article both address the gap in scholarly research on identity and representation in children’s media. Typically, data is gender-based and/or race-based and excludes other relevant criterion that can give readers a broader idea of the current landscape of children’s media. We can perhaps observe these gaps in research if we look at popular children’s programming and media and the trends in the ethnicity and gender of feature and supporting characters. As Leon-Boys et al. (2021) pointed out, media often over-represents dominant-cultured children, particularly white children. A few examples of shows I grew up with that features primarily white characters are Kim Possible, The Powerpuff Girls, the Sailor Moon TV series from the 1990s…and pretty much every Marvel film I watched. 

Fortunately, Lemish and Johnson’s 2019 report offers ‘actionable insights’, or recommendations that are tangible and can be implemented. As a class, we critiqued the tendency in research articles to concentrate on critiquing and analysing issues without exploring implications and solutions. The 2019 suggests actions such as urging media creators to create content for diverse audiences traditionally neglected in children’s programming, such as elderly populations and children with disabilities. We had an interesting discussion in class about the portrayal of children with disabilities and chronic illness onscreen, debating whether this content is appropriate for children’s media, given that these stories of illness can be upsetting for young viewers. We collectively agreed that portrayals of these diverse populations are crucial for all ages, especially for children who can personally identify with these stories. 

It's crucial for media organizations and creators to not only be mindful of their youth audience but also consider research findings that shed light on the demographics of that audience. According to Rideout's (2022) report, it was revealed that racialized and minoritized groups engage with media more frequently compared to their white counterparts. Furthermore, Lemish and Johnson's (2019) report highlighted that minoritized children are more prone to multitasking with media, such as completing homework while watching television. If a substantial portion of children's programming audiences are racialized, the shows they watch should authentically reflect their experiences.

Children's media has seen a positive shift in recent years toward better diversity on screen. However, a notable trend is that the creators behind many of these shows, such as Molly of Denali, Motown Magic, or Doc McStuffins, are presumably predominantly white. This emphasizes the ongoing need for diversity not only in on-screen representation but also behind the scenes; a topic of discussion in earlier weeks of this course (representation not only on screen but in the writing room).

Guest Speaker Presentation

Our guest speaker this week, Kara Harun, currently serves as the showrunner for the new CBC Gem short-form series, Aunty B’s House. The series, based on the real-life experiences of director Khalilah Brooks, who spent 20 years in the Canadian child welfare system, holds significant importance, particularly for someone like me working in child and youth welfare. I’ve found that children in the care system often go unnoticed, hidden in plain sight. In any given classroom, it is highly probable that at least one or two students have had contact with the child welfare system. These children are living among us, yet their experiences remain unknown. This show presents a positive portrayal of kids in care – a representation I haven’t seen yet in mainstream media. This is a show I will keep in my “back pocket” as a valuable resource if I happen to find myself working with young kids in care. In fact, this show can also serve as an educational tool for both practitioners and young people who are not in care. 

Harun discussed her role as a showrunner for the series and the unique challenges and victories she experienced working with child actors. Harun’s advice also resonated strongly with me, particularly her encouragement to explore niche ideas, emphasizing the strength found in unique perspectives when working in media. This is advice I can apply to my own field of study and research. 

This concludes my blog post. Thanks for reading!

Citations

Headspinner Productions. (2023 May 19). [Online image]. CBC. https://www.cbc.ca/news/entertainment/aunty-b-s-house-sitcom-for-preschoolers-all-about-life-in-foster-care-1.6848348

Lemish, D., & Russo Johnson, C. (2019). The Landscape of Children's Media in the US and Canada. Centre for Scholars and Storytellers. Please review pages 14-18

Leon-Boys, D., Rivera, M., & Valdivia, G. (2021). Media and Minority Children. In D. Lemish (Ed.) The Routledge International Handbook of Children, Adolescents, and Media (pp. 355-362), Routledge.

Marvel Studios. (15 July 2022). [Online image]. Entertainment Weekly. https://ew.com/tv/ms-marvel-head-writer-bisha-k-ali-season-finale-interview/

[Untitled image of Scarlett Johansson as Black Widow]. (04 April, 2012). Darkmatters. http://darkmatt.blogspot.com/2012/04/avengers-assemble-black-widow-action.html

[Untitled image of Full House cast]. Bustle. https://www.bustle.com/articles/69405-11-times-full-house-made-you-wish-you-had-a-sister-because-being-a-tanner-seemed

[Untitled image]. (2022 January 20). Al Dia. https://aldianews.com/en/culture/heritage-and-history/feeling-seen-encanto

Personal Notes on Week 6 Lecture and Readings

#class reflection 2

[nataliefay97]

Week 4: Behind the Scenes of Media Production 🎬

This week, we delved into the inner workings of production processes and key stakeholders within the children and teenage media industry. Exploring this topic is new territory for me, as my educational background is in child and youth care (CYC) and my understanding of media production is limited. However, I gained a lot of valuable insight from this week’s content that I can connect to my area of study.

This week’s readings focused on the ecology of children’s media (Steemers, 2021) and the current landscape of children's media viewership (Steemers & Potter, 2021). My key takeaways from the readings are:

a) children’s media cannot be analysed without considering all the working parts that play a role in media production, and

b) the landscape of children’s media consumption is changing rapidly

Mini Screenings Presentations: Avatar & Wong Fu Productions Short

Today’s class began with two mini screenings featuring a clip from Avatar and a short film by Wong Fu Productions were shown. Although I haven’t watched either of these clips before, the underlying themes and class discussions left an impact on me. Interestingly, it wasn’t until one of my peers mentioned it that I realized Youtuber Ryan Higa’s affiliation with Wong Fu Productions. As a teenager, I was a huge fan of Higa’s YouTube videos.

Although I am not a huge fan of anime-style content, I can appreciate the significant impact anime culture has on young people’s lives. I had an interesting conversation with a couple of peers where we explored the potential of anime shows bridging the gap between children and teenage television content. We discussed how anime’s cartoon style caters to young audiences, however, the storylines grapple with mature themes that are written in a way that is digestible for the tween age. Common themes portrayed in anime include grief, friendships, romantic relationships, and self-discovery.

Class Discussion: Fred Roger’s Clip

During our class, we viewed a short clip featuring Mr. Fred Rogers testifying in a court hearing in the late 1960s. Much of what Mr. Rogers expressed deeply resonated with me as a student in the field of child and youth care (CYC). A peer pointed out the significance of Mr. Rogers advocating for not only mental health but also the mental well-being of children during a time when discussions about mental health were not common. I also appreciated Mr. Rogers' description of television for children as “a form of care”. This statement prompted me to reflect on whether the children’s media production process is coming from a place of love and care for its young audience.

Mr. Rogers also emphasized that children’s media does not necessarily require dramatic storylines and flashy graphics to convey a moral lesson. Instead, it can be simple yet educational, comforting, and involve everyday scenarios.

Guest Speaker Presentation: Erica Shallow on 'Geek Girl'

This week, we had the privilege of hosting Erica Shallow from Nelvana who provided us with the inside scoop of the upcoming series Geek Girl, licensed by Netflix. While I must admit that I did not understand much of the technical lingo beyond how media licensing works, I found Erica’s insights about steps in the production process such what Netflix is looking for in a series pitch in today’s media landscape very interesting. 

I couldn’t help but feel a tinge of disappointment when I learned that Geek Girl would not feature a neurodivergent individual in its title role. Nonetheless, I commend Netflix’s commitment to featuring neurodivergent storylines on its platform in recent years. What I wonder though is how the autism community will receive this series. I am further led to reflect on whether this series’ target audience is young people with autism or young people in general. This brings to mind a hot topic that was circulating online autism forums a couple of years ago – the release of Australian musician Sia’s short film, “Music”. The reception of Sia’s work was disastrous, to say the least. The neurodivergent community’s biggest contention with the film was that a non-autistic actress was hired to portray a non-verbal autistic girl. Additionally, a scene depicting the title character being physically restrained drew severe criticism as it was perceived as inappropriate and harmful to the autism community, as these restraints can be unhelpful, violent, and even fatal in some cases. 

Returning to Erica’s presentation, it was interesting to hear the concepts we explored in our reading this week regarding the key players in media production being brought to life behind the scenes of Geek Girl. Erica mentioned the many participants and steps involved in producing a television series, even highlighting the necessary role of lawyers in the process. Additionally, Netflix’s strategic move to license this series aligns with what we’ve learned about children’s recent media consumption habits – children nowadays are more likely to consume media SVODs rather than linear television (Steemers, 2021), (Potter & Steemers, 2021).

References

Avatar: The Last Airbender. (2023, February 4). Appa Escapes the Circus 🎪 | Full Scene | Avatar: The Last Airbender [Video]. YouTube. https://www.youtube.com/watch?v=y0y4qnjnioc

Bugbee, T. (2021, February 11). 'Music' Review: A Woefully Misguided View of Disability. The New York Times. https://www.nytimes.com/2021/02/11/movies/music-review.html

danieldeibler. (2015, February 8). May 1, 1969: Fred Rogers testifies before the Senate Subcommittee on Communications [Video]. YouTube. https://www.youtube.com/watch?v=fKy7ljRr0AA

Potter, A. & Steemers, J. (2021). Children and the media industries: An overlooked but very special “television” audience. In P. McDonald (Ed.) The Routledge Companion to Media Industries (pp. 246-256), Routledge.

Steemers, J. (2021). Children’s Television Culture. In D. Lemish (Ed.) The Routledge International Handbook of Children, Adolescents, and Media (pp. 101-108), Routledge.

[Untitled Image of Geek Girl Book Cover by HarperCollins side by side with Netflix logo on black background]. (2023). What's on Netflix. https://www.whats-on-netflix.com/news/geek-girl-netflix-sets-new-teen-series-adaptation-06-2023/

#blog post 1

[nataliefay97]

Week 4 Summary of Readings & Guest Speaker Presentation

#blog post 1

[nataliefay97]

What are 2-3 examples of media that were meaningful to you in your tween/teen years?

Media example 1: Spider-Man (2002)

Summary: This film is the first in director Sam Raimi’s Spider-Man trilogy. It tells the origin story of the Marvel comic book hero Spider-Man. I watched this film when it first came out in theatres — I was only 4 when my dad first took me to see it! 

Media example 2: Centre Stage (2000)

Summary: This fictional teen drama film follows a group of young dancers auditioning for the prestigious American Ballet Company. I came across Centre Stage on YouTube years after it was released (some time in 2007, when I first started using YouTube). 

Media example 3: Ryan Higa (NigaHiga) on YouTube

Summary: Ryan Higa (known as his alias nigahiga) has been creating videos on YouTube since 2006. His videos generally consist of short comedic parodies and skits which include reoccurring characters either played by Higa himself or one of his friends. I first came across Higa’s YouTube channel on my own, and soon shared the videos with my friends. We would watch them together during sleepovers splitting our sides laughing until 2 in the morning.

#Spider-Man #Centre Stage #Entry 1 #RyanHiga

[nataliefay97]

Why was this media particularly meaningful to ‘younger you’?

The two films I selected share a common plot theme - young characters face adversity and ultimately achieve success or fulfillment in their own unique ways. The plotlines in these films deviate from conventional happy endings, as neither character attains what the audience initially expected. These realistic stories resonated with me as a young person who was experiencing adversity in her own life. I also favored media depicting teenage protagonists experiencing their lives real-world settings, rather than fantasy or sci-fi genres. I appreciated stories and settings that directly related to my own life experiences, such as Centre Stage. Watching these stories unfold on screen felt like watching my own life, and I frequently rewatched these movies, possibly using them as a way to better understand my own life.

"Spider-Man" was the first feature-length film I ever watched. I was first introduced through the 1967 animated Spider-Man television series by my father. The live-action film became one of my favorites, leading to a Blu-Ray purchase! I cherished this film from childhood through to my adulthood, deeply connecting with the character and the story.Spider-Man undergoes various challenges and life lessons in the film, including grappling with his dual identity, grief, relationship issues, bullying, and the transition from high school to university. I can relate to these struggles, having experienced similar issues during my tween to teen years to varying degrees.

In my childhood, I yearned for superpowers like Spider-Man, expecting to acquire my powers eventually. However, I began experiencing early signs of an anxiety disorder instead. To cope, my father suggested viewing my anxiety as  "spidey-sense," providing yet another comforting link to my favorite superhero film (while also seeking professional help).

"Centre Stage" holds a special place in my heart and was a significant piece of media for my tween self. This film delves into themes like rejection in ballet, navigating relationships, eating disorders, and the struggles faced by dedicated artists. Its portrayal of ballet feels exceptionally authentic compared to many other dance-focused movies. Unlike many dance films that often follow a predictable plot of a ballet dancer longing to break free from ballet, "Centre Stage" stands out because its main character, Jodi, actually aspires for a career in classical ballet and heartbreakingly realizes she needs to transition away from it at the end of the film. Her journey involves struggling with her technical abilities and confidence, a storyline that resonates with me as a dancer who had her own insecurities. Unlike other ballet-focused movies such Darren Aronofsky’s Black Swan or Netflix’s Pretty Little Things, "Centre Stage" focuses on ballet without the need for extreme drama or psychological thrills, making it suitable for teenagers.

This film served as a precursor to my eventual decision to step away from my own aspirations of a professional ballet career. In the final scene, Jodi is shown confronting the School of American Ballet's program director, bravely asking him to not tell her if she was accepted into the company or not, realizing that her unique talents wouldn't be fully recognized in a classical ballet setting. She reclaims her agency by choosing a smaller contemporary dance company where she can thrive as a top-ranking dancer. This powerful moment resonated with me, helping me appreciate my own unique strengths as a dancer and come to terms with my shift away from pursuing ballet professionally.

Ryan Higa was one of the first YouTubers I ever watched. Following the linear-television-to-online-videos pipeline (Steemers, 2021), I became less interested in my usual TV programs and borderline obsessed with YouTube videos around the years 2007 and on. As a teenager, I found traditional TV less engaging and was drawn to the relatable content created by young YouTubers like Higa, who was about 17 at the time he first started posting videos.  Unlike typical television content made by adults portraying their childhood and adolescence fantasies, Higa's videos were refreshing and relatable for young viewers like me (Steemers, 2021). His fast-paced, absurd, and occasionally inappropriate parodies provided a level of humor and relatability that traditional TV lacked. Higa's content became a significant part of my conversations with friends, leaving us with memorable quotes and catchphrases like "Sham-woo-hoo!"

#nigahiga #Spider-Man #Centre Stage #ballet #with great power #Sham Woo Hoo! #Entry 1

[nataliefay97]

How did the time period and place play a role in how you experienced media more broadly and the media you have selected to discuss more specifically?

During our first initial classes together, a peer of mine reflected on their changing relationship with media from childhood to adolescence, noting that media usage was more of a designated activity rather than the 24/7 immersive experience that it is today. I have a similar experience. When I was a child, my media usage was limited – I only spent about 45 minutes on the family computer each day. In my teen years however, I accessed the internet for various purposes like blogging, social networking, and media consumption. Despite my increased online activity and constant involvement in “multiple realities”, I was able to make a clear distinction between the online world and my reality despite my increased online activity (Lemish, 2022). 

The term “chronically online”, characterized as excessive internet use blurring the line between reality and the virtual world, is an issue more prevalent than ever today. Online users seem to have a harder time discerning truth from misinformation, given the abundance of staged content and unverified "expertise" some users proclaim they have. We need to continue emphasizing the importance of media literacy and encourage critical thinking among our peers in order to navigate the evolving landscape of digital media (Lemish, 2022).

#2000s kid #playing outside #iPad Kid #connection #Entry 1

[nataliefay97]

References

Course readings are highlighted in pink.

Lemish, D. (2022). Introduction to the Second Edition: Children, Adolescents, and Media. In D. Lemish (Ed.) The Routledge International Handbook of Children, Adolescents, and Media, 2nd edition, (pp. 1-12), Routledge.

[Image of Tobey Maguire as Spider-Man]. (n.d.). https://sm.ign.com/t/ign_in/screenshot/default/mg-6_gpu6.2560.png

Movieclips. (2016, December 8). Spider-Man Movie (2002) - Peter vs. Flash Scene (1/10). [Video]. YouTube. https://www.youtube.com/watch?v=guRoWTYfxMs

Movieclips. (2020, July 2829. Center Stage (2000) - She Heard You! Scene (2/10). [Video]. YouTube. https://www.youtube.com/watch?v=guRoWTYfxMs

nigahiga. (2009, April 10). The ShamWOOHOO! [Video]. YouTube. https://www.youtube.com/watch?v=guRoWTYfxMs

nigahiga. (2007, November 10). The iPod Human. [Video]. YouTube. https://www.youtube.com/watch?v=guRoWTYfxMs

[Screen capture from Centre Stage 2000 film]. (2023). https://imgix.bustle.com/uploads/image/2020/5/12/8620eee1-771e-4e67-bfbc-95b085fd6c30-screen-shot-2020-05-12-at-12333-pm.png?w=800&fit=crop&crop=faces&auto=format%2Ccompress&q=50&dpr=2

spiderman-withgreatpower. (2021). [Graphic Interchange Format]. Tumblr. https://64.media.tumblr.com/d866fbd5a9471ee5bc5ff40139f1ee1b/b6ff3b4e61b491b7-eb/s500x750/fdd86647d2d47f177141ddfd5ada0806c0f8dab0.gif

Steemers, J. (2021). Children’s Television Culture. In D. Lemish (Ed.). The Routledge International Handbook of Children, Adolescents, and Media (pp. 101-108), Routledge.

thegamesdb. (n.d.). Video Game The Sims 3 Wallpaper [Photograph]. Wallpaper Abyss. https://wall.alphacoders.com/big.php?i=666820

(2000). [Photograph]. Columbia Pictures, Inc. https://static.wixstatic.com/media/b1d4c2_a7a

f59f080c1438a992fa059548e701a~mv2.png/v1/fill/w_688,h_458,al_c,lg_1,q_85,enc_auto/b1d4c2_a7af59f080c1438a992fa059548e701a~mv2.png

(2009). [Image]. Steam. https://cdn.akamai.steamstatic.com/steam/apps/47890/ss_c26eaefcabf86b4d537dcab529739df0f6968e74.1920x1080.jpg?t=1615894474

#Entry 1 #Citations #APA