Video & DVD

<body topmargin=0 leftmargin=0 marginheight=0 marginwidth=0> <table cellpadding=0 cellspacing=0 border=0><tr> <td valign="top" colspan=2 height=85 BGCOLOR="#000066" TEXT="#F7F7FF"> <div> <FONT SIZE="7" COLOR="#FF0000" FACE="Calisto MT" ><I><B>Social Studies Educator</B></I></FONT><FONT SIZE="6" COLOR="#C0C0C0" FACE="Calisto MT" ><B>  </B></FONT><FONT SIZE="2" COLOR="#C0C0C0" FACE="Calibri" ><B>   |    </B></FONT><B> </B><A HREF="index.htm" TARGET="_top" TITLE="Social Studies Educator"><U><B>home</B></U></A><B>  |  </B><A HREF="id20.htm" TARGET="_top" TITLE="Previews"><U><B>previews</B></U></A></div> </td> </tr><tr> <td valign="top" width=180 BGCOLOR="#000066" TEXT="#F7F7FF"> <div> <IMG SRC="6f990550.jpg" border=0 width="144" height="85" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> <div> <A HREF="http://cagle.msnbc.com/politicalcartoons/" TARGET="_top" TITLE="http://cagle.msnbc.com/politicalcartoons"><U>Daily Political</U></A></div> <div> <A HREF="http://cagle.msnbc.com/politicalcartoons/" TARGET="_top" TITLE="http://cagle.msnbc.com/politicalcartoons"><U>Cartoons</U></A></div> <bR> <div> <A HREF="http://asterix.ednet.lsu.edu/~stockard/socialstudies" TARGET="_top" TITLE="http://asterix.ednet.lsu.edu/~stockard/s"><U><B><IMG SRC="06387590.png" border=0 width="135" height="89" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></U></A></div> <div> <A HREF="http://asterix.ednet.lsu.edu/~stockard/socialstudies" TARGET="_top" TITLE="http://asterix.ednet.lsu.edu/~stockard/s"><U>The Social Studies Educator</U></A></div> <bR> <div> <A HREF="http://asterix.ednet.lsu.edu/~stockard/louisiana" TARGET="_top" TITLE="http://asterix.ednet.lsu.edu/~stockard/l"><U><B><IMG SRC="17c5e3a0.png" border=0 width="94" height="58" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></U></A></div> <div> <A HREF="http://asterix.ednet.lsu.edu/~stockard/louisiana" TARGET="_top" TITLE="http://asterix.ednet.lsu.edu/~stockard/l"><U>Louisiana Social Studies</U></A></div> </td> <td valign="top" height=395 BGCOLOR="#000099" TEXT="#F7F7FF"> <div> <B>Video & DVD</B></div> <div> <B><IMG SRC="04faa4b0.png" border=0 width="426" height="75" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <div> <IMG SRC="742aa040.png" border=0 width="170" height="260" ALIGN="LEFT" HSPACE="1" VSPACE="0"><FONT SIZE="6" COLOR="#FFCC33" FACE="Book Antiqua" ><B>Many Ways to See the World</B></FONT></div> <div> <B>A Thirty-Minute Tour of World Map Images</B></div> <div> Based on the popular and provocative book, Seeing Through Maps, this new DVD provides a fascinating 30-minute exploration into the minds of twelve mapmakers and how their unique backgrounds, philosophies, values, and politics led each to select a particular mathematical formula to create their maps. Learn about the impact those world images have had on us, consciously and unconsciously. An invaluable resource for classes dealing with issues of cultural bias and ethnocentrism. Includes over 70 Powerpoint images and more.</div> <bR> <div> Producer Ruth Abrams from Brookline, MA retired from her job as Director of Amenities at New England Baptist Hospital in 1994. At 70 years old with a undergraduate degree in photography she decided to go back to school to study videography. Since that time she has won seven awards for her video work including the 1998 Massachusetts Cable Television Division; 2000 Hometown USA National Festival; and the 2003 Alliance for Community Media. Her collage and assemblage work has also been shown at many venues around Boston including Newbury College Gallery and the Boston Museum of Science.</div> <bR> <bR> <div> <IMG SRC="741aa300.png" border=0 width="170" height="304" ALIGN="LEFT" HSPACE="1" VSPACE="0"><FONT SIZE="6" COLOR="#FFCC33" FACE="Book Antiqua" ><B>Mickey Mouse Monopoly</B></FONT></div> <div> <B>Disney, Childhood and Corporate Power</B></div> <div> The Disney Company's massive success in the 20th century is based on creating an image of innocence, magic and fun. Its animated films in particular are almost universally lauded as wholesome family entertainment, enjoying massive popularity among children and endorsement from parents and teachers.</div> <bR> <div> Mickey Mouse Monopoly takes a close and critical look at the world these films create and the stories they tell about race, gender and class and reaches disturbing conclusions about the values propagated under the guise of innocence and fun. This daring new video insightfully analyzes Disney's cultural pedagogy, examines its corporate power, and explores its vast influence on our global culture. Including interviews with cultural critics, media scholars, child psychologists, kindergarten teachers, multicultural educators, college students and children, Mickey Mouse Monopoly will provoke audiences to confront comfortable assumptions about an American institution that is virtually synonymous with childhood pleasure. </div> <bR> <bR> <div> <B><IMG SRC="744aa320.png" border=0 width="170" height="306" ALIGN="LEFT" HSPACE="1" VSPACE="0">Behind the Screens</B></div> <div> <B>Hollywood Goes Hypercommercial</B></div> <div> Hollywood movies are rapidly becoming vehicles for the ulterior marketing and advertising motives of studios and their owners, rather than entertainment in their own right.</div> <bR> <div> Behind the Screens explores this trend toward "hypercommercialism" through phenomena such as product placement, tie-ins, merchandising and cross-promotions. It combines multiple examples taken directly from the movies with incisive interviews provided by film scholars, cultural critics, political economists, and an Oscar-nominated screenwriter.</div> <bR> <div> Behind the Screens presents an accessible argument designed for school and college-age audiences-- precisely the demographic most prized by both Hollywood studios and advertisers alike. It features examples drawn from movies such as Wayne's World, Forrest Gump, The Lion King, Summer of Sam, and Toy Story. Interviewees include Jeremy Pikser, Oscar-nominated screenwriter of the Warren Beatty film Bulworth; Mark Crispin Miller, Professor of Communication at New York University; Susan Douglas, Professor of Communication at the University of Michigan; Professor Robert W. McChesney of the Univeristy of Illinois at Urbana-Champaign; and Professor Janet Wasko of the university of Oregon.</div> <bR> <bR> <div> <IMG SRC="740aa300.png" border=0 width="170" height="304" ALIGN="LEFT" HSPACE="1" VSPACE="0"><FONT SIZE="6" COLOR="#FFCC33" FACE="Book Antiqua" ><B>Captive Audience</B></FONT></div> <div> <B>Advertising Invades the Classroom</B></div> <div> For marketers who wish to reach the lucrative youth market, the relatively uncluttered medium of the school environment represents the final frontier ? access to a captive audience of millions of students. Meanwhile dwindling federal, state, and local funding for education has left many schools vulnerable to the advertiser?s pitch. As a result, commercialism has steadily increased in America?s public schools in recent years, often with little or no public awareness.</div> <bR> <div> Captive Audience examines this growing phenomenon through numerous examples of in-school advertising; interviews with teachers, students, parents, and activists; and a case study of community action to oppose an exclusive soda contract in the Pittsburgh school district. Media scholars and critics ? including Alex Molnar, Professor of Education Policy, Arizona State University; Henry Giroux, Professor in Secondary Education, Pennsylvania State University; No Logo author Naomi Klein; and Bill Hoynes, Professor and Chair of Sociology, Vassar College ? offer a broad look at the issues at stake. </div> <bR> <bR> <div> <B><IMG SRC="743aa300.png" border=0 width="170" height="304" ALIGN="LEFT" HSPACE="1" VSPACE="0">Money for Nothing</B></div> <div> <B>Behind the Business of Pop Music</B></div> <div> Of all mass cultural forms, popular music has historically been characterized by the greatest independence for artists and allowing access to a broader diversity of voices. However, in the contemporary period, this independence is being threatened by a shrinking number of record companies, the centralization of radio ownership and playlists, and the increasing integration of popular music into the broader advertising and commercial aspects of the market.</div> <bR> <div> Narrated by Thurston Moore of Sonic Youth, Money for Nothing features interviews with hip-hop legend and pioneer Chuck D, respected independent artist Ani DiFranco, Michael Franti of Spearhead, and Riot Grrrl co-founder Kathleen Hanna (of Bikini Kill and Le Tigre). It also includes interviews with popular music historian Professor Reebee Garafolo, ex-Rolling Stone editor Dave Marsh, political economist Robert W. McChesney, and Shirley Halperin, editor of BOP magazine.</div> <bR> <div> Money for Nothing succinctly explains how popular music is produced and marketed, and offers an accessible critique of the current state of popular music. </div> <bR> <bR> <div> <IMG SRC="73faa300.png" border=0 width="170" height="304" ALIGN="LEFT" HSPACE="1" VSPACE="0"><FONT SIZE="6" COLOR="#FFCC33" FACE="Book Antiqua" ><B>Rich Media, Poor Democracy</B></FONT></div> <div> If a key indicator of the health of a democracy is the state of its journalism, the United States is in deep trouble. In Rich Media, Poor Democracy, Robert McChesney lays the blame for this state of affairs squarely at the doors of the corporate boardrooms of big media, which far from delivering on their promises of more choice and more diversity, have organized a system characterized by a lack of competition, homogenization of opinion and formulaic programming.</div> <bR> <div> Through numerous examples, McChesney, and media scholar, Mark Crispin Miller, demonstrate how journalism has been compromised by the corporate bosses of conglomerates such as Disney, Sony, Viacom, News Corp, and AOL Time Warner to produce a system of news that is high on sensationalism and low on information. They suggest that unless citizen activism can reclaim the commons, this new corporate system will be characterized by a rich media and an ever impoverished, poor democracy. </div> <bR> <bR> <div> <IMG SRC="73daa300.png" border=0 width="170" height="304" ALIGN="LEFT" HSPACE="1" VSPACE="0"><FONT SIZE="6" COLOR="#FFCC33" FACE="Book Antiqua" ><B>Constructing Public Opinion</B></FONT></div> <div> <B>How Politicians and the Media Misrepresent the Public</B></div> <div> The media regularly use public opinion polls in their reporting of important news stories. But how exactly do they report them and to what end? In this insightful and accessible interview, Professor Justin Lewis demonstrates the way in which polling data are themselves used by the media to not just reflect what Americans think but instead to construct public opinion itself. Addressing vital issues (e.g., the role the media play in "manufacturing consent" for political elites, what polls really tell us about public opinion, what Americans actually think about politics), Constructing Public Opinion provides a new way to think about the relationship between politics, media and the public.</div> <bR> <div> Exploding the myth that most Americans are moderate or conservative, Constructing Public Opinion demonstrates the way in which political elites help to promote the military industrial complex and how the media sustains belief in an electoral system with a built-in bias against the interests of ordinary people. Well illustrated with graphics and many examples of media coverage, it is the first film of its kind to present a critical analysis of media and public opinion. </div> <bR> <bR> <div> <IMG SRC="738aa040.png" border=0 width="170" height="260" ALIGN="LEFT" HSPACE="1" VSPACE="0"><FONT SIZE="6" COLOR="#FFCC33" FACE="Book Antiqua" ><B>Big Bucks, Big Pharma </B></FONT></div> <div> This video/dvd pulls back the curtain on the multi-billion dollar pharmaceutical industry to expose the insidious ways that illness is used, manipulated, and in some instances created, for capital gain. Focusing on the industry's marketing practices, media scholars and health professionals help viewers understand the ways in which direct-to-consumer (DTC) pharmaceutical advertising glamorizes and normalizes the use of prescription medication, and works in tandem with promotion to doctors. Combined, these industry practices shape how both patients and doctors understand and relate to disease and treatment.</div> <bR> <div> Ultimately, Big Bucks, Big Pharma challenges us to ask important questions about the consequences of relying on a for-profit industry for our health and well-being. </div> <bR> <bR> <div> <B><IMG SRC="739aa300.png" border=0 width="170" height="304" ALIGN="LEFT" HSPACE="1" VSPACE="0">Slim Hopes</B></div> <div> Jean Kilbourne's award-winning video offers an in-depth analysis of how female bodies are depicted in advertising images and the devastating effects of those images on women's health. </div> <bR> <div> Addressing the relationship between these images and the obsession of girls and women with dieting and thinness, Slim Hopes offers a new way to think about life-threatening eating disorders such as anorexia and bulimia, and a well-documented critical perspective on the social impact of advertising.</div> <bR> <div> Slim Hopes is a lively and engaging program suitable for a wide range of audiences at high schools, colleges and universities. Using over 150 ads, it informs as it entertains, allowing viewers to build an analytic framework for considering the impact of advertising on women's health.</div> <bR> <bR> <bR> <div> <IMG SRC="73baa2e0.png" border=0 width="170" height="302" ALIGN="LEFT" HSPACE="1" VSPACE="0"><FONT SIZE="6" COLOR="#FFCC33" FACE="Book Antiqua" ><B>Advertising & the End of the World</B></FONT> </div> <div> This video/dvd features an illustrated presentation by Sut Jhally of the University of Massachusetts Amherst, the producer and writer of the award-winning Dreamworlds II.</div> <bR> <div> Focusing directly on the world of commercial images, he asks some basic questions about the cultural messages emanating from this market-based view of the world: Do our present arrangements deliver what they claim-- happiness and satisfaction? Can we think about our collective as well as our private interests? And, can we think long-term as well as short-term?</div> <bR> <div> Drawing from the broad arena of commercial imagery, and utilizing sophisticated graphics, Advertising & the End of the World addresses the issues these questions raise, encouraging viewers to reflect on their own participation in the culture of consumption.</div> <bR> <div> Making the connection between society's high-consumption lifestyle and the coming environmental crisis, Jhally forces us to evaluate the physical and material costs of the consumer society and how long we can maintain our present level of production.</div> <bR> <bR> <div> <B><IMG SRC="73eaa040.png" border=0 width="170" height="260" ALIGN="LEFT" HSPACE="1" VSPACE="0">Giroux: Culture, Politics and Pedagogy</B></div> <div> <B>A Conversation with Henry Giroux</B></div> <div> An active citizen, says the prolific and influential Henry Giroux, is "somebody who has the capacity not only to understand and engage the world but to transfom it when necessary, and to believe that he or she can do that." In this provocative new interview, Giroux speaks with passion about the inextricable links between education, civic engagement, and social justice. Strongly influenced by Paulo Freire, the Brazilian scholar of progressive education, Giroux advocates for a pedagogy that challenges inequality, oppression, and fundamentalism. Essential viewing for students of education, cultural studies, and communication.</div> <bR> <bR> <div> <B><IMG SRC="737aa040.png" border=0 width="170" height="260" ALIGN="LEFT" HSPACE="1" VSPACE="0"></B><FONT SIZE="6" COLOR="#FFCC33" FACE="Book Antiqua" ><B>Dreamworlds 3</B></FONT></div> <div> This is the update of Sut Jhally's groundbreaking Dreamworlds 2 (1995), and examines the stories contemporary music videos tell about girls and women, and encourages viewers to consider how these narratives shape individual and cultural attitudes about sexuality. Illustrated with hundreds of up-to-date images, Dreamworlds 3 offers a unique and powerful tool for understanding both the continuing influence of music videos and how pop culture more generally filters the identities of young men and women through a dangerously narrow set of myths about sexuality and gender. In doing so, it inspires viewers to reflect critically on images that they might otherwise take for granted.</div> <bR> <div> NOTE: This 35-minute abridged version has been edited for nudity, profanity, and length. Please be aware that both full and abridged versions contain violence & sexual imagery. Viewer discretion advised.</div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <A HREF="http://www.windowsmedia.com" TARGET="_top" TITLE="http://www.windowsmedia.com"><U><B>www.windowsmedia.com</B></U></A></div> <bR> <div> <B><IMG SRC="745bc3f0.png" border=0 width="700" height="63" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <div> <A HREF="id24_m.htm" TITLE="Video DVD"><U>Back to Top</U></A></div> <bR> <div> <IMG SRC="0550b120.png" border=0 width="11" height="18" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> <bR> <bR> <div> <IMG SRC="315b8ab0.jpg" border=0 width="184" height="171" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> <bR> <div> <FONT SIZE="2" COLOR="#000000" FACE="Arial" ><IMG SRC="07ec2160.jpg" border=0 width="194" height="278" ALIGN="LEFT" HSPACE="1" VSPACE="1"></FONT><A HREF="http://www.pbs.org/riverofsong" TARGET="_top" TITLE="http://www.pbs.org/riverofsong"><U><B>The Mississippi: River of Song</B></U></A><B> </B></div> <div> A wonderful 4 video package that gives you a real feel for the nation's heartland.  From the River's beginning at Lake Itasca in Minnesota to its Louisiana and New Orleans destination, the Mississippi <FONT SIZE="5" COLOR="#000000" FACE="Calibri" ><IMG SRC="085fc7d0.jpg" border=0 width="252" height="125" ALIGN="LEFT" HSPACE="0" VSPACE="0"></FONT>presents an exciting set of opportunities for teachers, parents, and students. An opportunity to experience the wide variety of types of music and of musical contexts that run through the heartland of our nation. An opportunity to explore the basic ideas, attitudes, and emotions that are expressed through our music. And an opportunity to investigate the musical and social principles that live in the music we make and enjoy. The videos present a cultural gumbo as rich and spicy as the famous Cajun dish! The projects and activities that could initiate from this 4 video series are endless. And like most outstanding videos, these will be watched over and over again.</div> <div> <IMG SRC="080f7b30.jpg" border=0 width="247" height="179" ALIGN="LEFT" HSPACE="1" VSPACE="1"><FONT SIZE="5" COLOR="#66CC00" FACE="Calibri" >Their richness beckons the viewer back, time and again, to relive a moment or visit a scene or hear a sound. This is, to use a cliche, almost as good as being there!</FONT></div> <bR> <div> The River of Song is a coproduction of the Smithsonian Institution, the Filmmaker's Collaborative, and KajimaVision Production. A teacher's guide is available and the video set can be obtained from Acorn Media at Toll Free: <FONT SIZE="5" COLOR="#FF0000" FACE="Calibri" ><B>1-800-999-0212</B></FONT>. E-Mail: <A HREF="mailto:rivsong2@aol.com" TARGET="_top" TITLE="mailto:rivsong2@aol.com"><U>rivsong2@aol.com</U></A></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <A HREF="id24_m.htm" TITLE="Video DVD"><U>Back to Top</U></A></div> <bR> <div> <IMG SRC="0550b120.png" border=0 width="11" height="18" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> <bR> <div> <A HREF="mailto:stockard@lsu.edu" TARGET="_top" TITLE="mailto:stockard@lsu.edu"><U>Webmaster</U></A></div> <bR> </td> </tr></table></body>