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Photography, understood as an act of inquiry, has the potential to open up new ways of seeing and thinking about the familiar.

Appropriation, transformation and remix are increasingly recognized as significant aspects of digital literacy. This article considers how one form of digital remix--the video remix--might be used in classrooms to introduce critical conversations about representation, appropriation, creativity and copyright. The first half of the article explores the opportunities that remix presents to reflect on mainstream media ideologies, emerging modes of collaborative creativity, and the complexities of intellectual property. The second half illustrates this potential by examining the use of one popular video remix, Buffy vs. Edward, in a secondary school English class and an undergraduate popular culture course. Throughout, the article argues that critical discussion of digital texts and practices opens up the possibilities for students to analyze their everyday lived media experience. This is an important undertaking in a context in which young people's identities and world views are increasingly shaped through digital texts and interactions.

This article explores three ways English educators might use Let's Play videos in the classroom: as texts for analyzing video games, as models for media production, and as starting places for critical conversations about the gaming industry.

Appropriation, transformation and remix are increasingly recognized as significant aspects of digital literacy. This article considers how one form of digital remix – the video remix – might be used in classrooms to introduce critical conversations about representation, appropriation, creativity and copyright. The first half of the article explores the opportunities that remix presents to reflect on mainstream media ideologies, emerging modes of collaborative creativity, and the complexities of intellectual property. The second half illustrates this potential by examining the use of one popular video remix, Buffy vs. Edward, in a secondary school English class and an undergraduate popular culture course. Throughout, the article argues that critical discussion of digital texts and practices opens up the possibilities for students to analyze their everyday lived media experience. This is an important undertaking in a context in which young people's identities and world views are increasingly shaped through digital texts and interactions. FREE author podcast

In this thesis I survey the terrain of digital interactions between youth, corporations and pop culture texts in order to complicate current visions of participatory culture. I argue that popular images of the empowered young users of a new digital democracy need to be complicated by asking questions about the politics of digital participation: about whose voices are heard, about where attention is centred, about how interactivity is defined, about who is rewarded for creative labour. The opening chapter introduces key issues within a critical examination of digital participation, including commodification, user agency and intellectual property. It also outlines my methodologies and my choice of research site – namely internet television, and the proliferation of corporate and youth practices around digitized television texts. The next two chapters provide case studies that identify and evaluate not only the interactions between corporate producers and young users, but also the power relations between the two. First, I analyze young women's video remixes of the program Gossip Girl. I consider the remixes as gendered texts that contribute new aesthetics and concerns, even as they reproduce dominant interpretations of contemporary girlhood. I also consider the distribution of the videos on YouTube , noting how their circulation simultaneously challenges corporate ownership and creates profit and promotion for those same corporate owners. Next, I examine interactions around the The Colbert Report. Focusing on the program's official discussion boards, I demonstrate how young fans have taken up Stephen Colbert's invitation to join in the parody by creating a vibrant, dialogic and rowdy community that has frequently come into conflict with Comedy Central producers. In their attempts to address these conflicts and create alternative spaces of their own, these young people gesture towards larger tensions over the control of public digital dialogue. The final chapter draws on my research and experience as a teacher to consider how these case studies might help us to frame our own educational projects. I call for a digital literacy curriculum that provides both a place for students to reflect on their daily activities within mediated environments and the opportunity to experiment with digital production.

Today, DIY -- do-it-yourself -- describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways (as in Egypt's \"Twitter revolution\" of 2011) and to repurpose corporate content (or create new user-generated content) in order to offer political counternarratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and \"critical making\" that have emerged in recent years. The authors and artists in this collection describe DIY citizens whose activities range from activist fan blogging and video production to knitting and the creation of community gardens. Contributors examine DIY activism, describing new modes of civic engagement that include Harry Potter fan activism and the activities of the Yes Men. They consider DIY making in learning, culture, hacking, and the arts, including do-it-yourself media production and collaborative documentary making. They discuss DIY and design and how citizens can unlock the black box of technological infrastructures to engage and innovate open and participatory critical making. And they explore DIY and media, describing activists' efforts to remake and reimagine media and the public sphere. As these chapters make clear, DIY is characterized by its emphasis on \"doing\" and making rather than passive consumption. DIY citizens assume active roles as interventionists, makers, hackers, modders, and tinkerers, in pursuit of new forms of engaged and participatory democracy.ContributorsMike Ananny, Chris Atton, Alexandra Bal, Megan Boler, Catherine Burwell, Red Chidgey, Andrew Clement, Negin Dahya, Suzanne de Castell, Carl DiSalvo, Kevin Driscoll, Christina Dunbar-Hester, Joseph Ferenbok, Stephanie Fisher, Miki Foster, Stephen Gilbert, Henry Jenkins, Jennifer Jenson, Yasmin B. Kafai, Ann Light, Steve Mann, Joel McKim, Brenda McPhail, Owen McSwiney, Joshua McVeigh-Schultz, Graham Meikle, Emily Rose Michaud, Kate Milberry, Michael Murphy, Jason Nolan, Kate Orton-Johnson, Kylie A. Peppler, David J. Phillips, Karen Pollock, Matt Ratto, Ian Reilly, Rosa Reitsamer, Mandy Rose, Daniela K. Rosner, Yukari Seko, Karen Louise Smith, Lana Swartz, Alex Tichine, Jennette Weber, Elke Zobl