{"id":3057,"date":"2014-01-01T19:18:28","date_gmt":"2014-01-01T19:18:28","guid":{"rendered":"https:\/\/vjic.org\/vjic2\/?page_id=3057"},"modified":"2014-01-21T18:42:03","modified_gmt":"2014-01-21T18:42:03","slug":"6-gibbons","status":"publish","type":"page","link":"https:\/\/vjic.org\/vjic2\/?page_id=3057","title":{"rendered":"Damiana Gibbons: Rural Places Meet Media Literacy: Representing Truth and Self in Rural Social Space"},"content":{"rendered":"<p><a href=\"https:\/\/vjic.org\/?page_id=957\"><em><span style=\"font-size: 12px;\">Return to the Table of Contents<\/span><\/em><\/a><\/p>\n<p><code style=\"display: none;\"> <\/code><code style=\"display: none;\"> <\/code><span style=\"font-size: 12px;\">Damiana Gibbons is an Assistant Professor at Appalachian State University in Media Studies in Curriculum and Instruction.\u00a0 She holds a Ph.d in Literacy Studies from the University of Wisconsin-Madison where she was a member of the Games and Learning Society research group. Her research focuses on ethics in youth media production, identity, and media literacy practices with young people. Also, she has created and published on an analytic methodology called multimodal microanalysis to understand the media products young people create.<\/span> <\/p>\n<p>&nbsp;<\/p>\n<p>As a person who grew up in a small, rural town in Wyoming, I have always <iframe loading=\"lazy\" width=\"320\" height=\"240\" style=\"margin-left: 20px; margin-bottom: 5px; float: right; width: 320px; height: 240px; border: none;\" src=\"https:\/\/www.youtube.com\/embed\/Wbi3cUqAqgA?rel=0\"><\/iframe><code style=\"display: none;\"> <\/code><code style=\"display: none;\"> <\/code>been interested in how rural places shape the people who live in them. Whether rural people spend all of their energies attempting to flee to larger cities or they spend their time planting their roots to stay in their local communities, rural people are tied to the land and people in their communities that is distinct from those in urban centers. <sup class='footnote'><a href='#fn-3057-1' id='fnref-3057-1' onclick='return fdfootnote_show(3057)'>1<\/a><\/sup>. Place matters because rural people often face being stereotyped as being backward or as lacking the social capital to move ahead in life, often seen as moving toward urban centers. <sup class='footnote'><a href='#fn-3057-2' id='fnref-3057-2' onclick='return fdfootnote_show(3057)'>2<\/a><\/sup>. Also, there are relationships to the land itself that rest on the idea of sustainability <sup class='footnote'><a href='#fn-3057-3' id='fnref-3057-3' onclick='return fdfootnote_show(3057)'>3<\/a><\/sup><sup class='footnote'><a href='#fn-3057-4' id='fnref-3057-4' onclick='return fdfootnote_show(3057)'>4<\/a><\/sup> that are fraught with conflict at times, such as the push to save one\u2019s land from coal mining or other resource extraction industries <sup class='footnote'><a href='#fn-3057-5' id='fnref-3057-5' onclick='return fdfootnote_show(3057)'>5<\/a><\/sup>, or at other times, are built upon strong desires to remain in one\u2019s place, such as the desire keep family farms in rural areas <sup class='footnote'><a href='#fn-3057-6' id='fnref-3057-6' onclick='return fdfootnote_show(3057)'>6<\/a><\/sup> or to stay in one\u2019s hometown. <sup class='footnote'><a href='#fn-3057-3' id='fnref-3057-3' onclick='return fdfootnote_show(3057)'>3<\/a><\/sup><\/p>\n<p>Therefore, in rural places there exists the idea of <i>rural social space,<\/i> which is an understanding that acknowledges that defining oneself as rural is cultural as well as geographic and that reflects the interplay of production, people, and place. <sup class='footnote'><a href='#fn-3057-8' id='fnref-3057-8' onclick='return fdfootnote_show(3057)'>8<\/a><\/sup> Within rural social space, a rural person must acknowledge both one\u2019s physical place as well as one\u2019s social place in his or her community. Rural people come to \u201cknow one\u2019s place\u201d in their community. <sup class='footnote'><a href='#fn-3057-9' id='fnref-3057-9' onclick='return fdfootnote_show(3057)'>9<\/a><\/sup> In this article, I will expand on this idea of rural social space to discuss how rural people must also \u201cshow one\u2019s place\u201d in their media in complex and interesting ways.<\/p>\n<p>Using multimodal microanalysis <sup class='footnote'><a href='#fn-3057-10' id='fnref-3057-10' onclick='return fdfootnote_show(3057)'>10<\/a><\/sup> <sup class='footnote'><a href='#fn-3057-11' id='fnref-3057-11' onclick='return fdfootnote_show(3057)'>11<\/a><\/sup>, I will explore how people represent particular truths and selves in films depending on where they are situated in place, in particular in rural places. By looking at how rural people engage with complex representations of truth, self, and community in media, such as films, I\u2019m attempting to develop a conceptual understanding about place that sheds light on how one\u2019s position in the world can impact the parameters of what one can consume and produce in terms of media literacy practices in rural areas.<\/p>\n<p>Though there is a belief that representations of oneself is up to an individual alone or that we can display any identity that we\u2019d like both in person and in online spaces, what I have found in past work is that people tell particular kinds of stories of who they are to particular people in particular places <sup class='footnote'><a href='#fn-3057-12' id='fnref-3057-12' onclick='return fdfootnote_show(3057)'>12<\/a><\/sup> <sup class='footnote'><a href='#fn-3057-10' id='fnref-3057-10' onclick='return fdfootnote_show(3057)'>10<\/a><\/sup> <sup class='footnote'><a href='#fn-3057-14' id='fnref-3057-14' onclick='return fdfootnote_show(3057)'>14<\/a><\/sup>, an idea that holds true whether people are posting their media online or whether they are watching it together in film screenings. When it comes to producing media texts, how we make media speaks to who we are as people, the identities we try out and take on and off. Burn (2009) discusses how this is occurring in digital representations when he states that \u201cmedia genres and technologies allow dramatic reworking of aspects of the world closely related to identity\u2014cultural passions, fashions, play, narratives, of self, family and friends.\u201d <sup class='footnote'><a href='#fn-3057-15' id='fnref-3057-15' onclick='return fdfootnote_show(3057)'>15<\/a><\/sup> What choices people make when creating media can tell us a lot about how they are representing themselves and what they are representing about their world from their own place and time. Therefore, it not only matters who a person is or what media they are consuming or producing, it also matters what is seen as \u201ctruth\u201d with those people in that space or place.<\/p>\n<p>This rests on the idea that people cannot create whatever they want, however they want. They must follow the social rules of the place that they are creating from. It matters <i>where <\/i>a person is when it comes to understanding how truth is determined by a group of people in media production. When it comes to \u201cshowing one\u2019s place\u201d in rural filmmaking, this becomes even more of a factor. Rural social space governs the subjectivities available to rural people as they become more (media) literate. Therefore, \u00a0I will discuss part of a multimodal microanalysis <sup class='footnote'><a href='#fn-3057-10' id='fnref-3057-10' onclick='return fdfootnote_show(3057)'>10<\/a><\/sup> of a film created in a rural area for a rural arts organization, Elizabeth Barret\u2019s (2000) <i>Stranger with a Camera,<\/i> to illustrate how rural places set up particular ways of being and knowing that set them apart as particular discursive spaces that people navigate when they create and consume in their different literacy practices.<\/p>\n<div id=\"attachment_3099\" style=\"width: 310px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-3099\" src=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Kineikonic-300x225.jpg\" alt=\"Gibbons_Kineikonic\" class=\"size-medium wp-image-3099\" height=\"225\" width=\"300\" srcset=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Kineikonic-300x225.jpg 300w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Kineikonic-150x112.jpg 150w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Kineikonic.jpg 1024w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-3099\" class=\"wp-caption-text\">Image \u00a9 Damiana Gibbons 2013<\/p><\/div>\n<p>Multimodal microanalysis is a way to analyze films that is based, in large part, on the idea of the <i>kineikonic mode<\/i>.<\/p>\n<p><code style=\"display: none;\"> <\/code><code style=\"display: none;\"> <\/code>With the kineikonic mode, one traces particular filmic elements\u2014music, action, shot level, written language, speech, movement over time, and the design of social space\u2014as well as how those elements work together. With the kineikonic mode, there is usually one mode that carries the most meaning in a scene, e.g., the image itself tells the story with the music only highlighting the image. This mode is called the \u201cfunctional load,\u201d and it holds the \u201cstronger weight, or determining function at any given moment.\u201d <sup class='footnote'><a href='#fn-3057-17' id='fnref-3057-17' onclick='return fdfootnote_show(3057)'>17<\/a><\/sup> I have expanded on Burn and Parker\u2019s kineikonic mode to develop <i>multimodal microanalysis<\/i>, a way to analyze films. <sup class='footnote'><a href='#fn-3057-18' id='fnref-3057-18' onclick='return fdfootnote_show(3057)'>18<\/a><\/sup><\/p>\n<p><code style=\"display: none;\"> <\/code><code style=\"display: none;\"> <\/code><iframe loading=\"lazy\" width=\"420\" height=\"315\" src=\"\/\/www.youtube.com\/embed\/9exwUcv9Cyw\" frameborder=\"0\" allowfullscreen=\"\"><\/iframe><\/p>\n<p><\/p>\n<div id=\"attachment_3100\" style=\"width: 310px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-3100\" src=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Multimodal_Microanalysis-300x237.jpg\" alt=\"Image of Multimodal Transcription \u00a9 Damiana Gibbons 2013\" class=\"size-medium wp-image-3100\" height=\"237\" width=\"300\" srcset=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Multimodal_Microanalysis-300x237.jpg 300w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Multimodal_Microanalysis-150x118.jpg 150w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Multimodal_Microanalysis.jpg 904w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-3100\" class=\"wp-caption-text\">Image of Multimodal Transcription \u00a9 Damiana Gibbons 2013<\/p><\/div>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><code style=\"display: none;\"> <\/code><code style=\"display: none;\"> <\/code><i>Stranger with a Camera<\/i> (2000) is a documentary film directed by Elizabeth Barrett, an Appalshop filmmaker. This documentary explores the context surrounding the murder of a Canadian filmmaker named Hugh O&#8217;Connor in the 1960s as he was making a film documentary about everyday Americans, in this case, the people in Appalachia. He was shot and killed by a local, Appalachian man named Hobart Ison. While this is the main topic, the documentary also explores complicated dynamics, especially around representation by community filmmakers and misrepresentation of the local Appalachian people by outsiders. Therefore, the arguments in this film are multiple and complicated. In the documentary, Barrett attempts to wrestle with issues of representation, identity, and truth all with explicit discussions of how being in rural Eastern Kentucky affects all of those themes. I will discuss two of these arguments and how they are constructed through Barrett\u2019s modal choices.<\/p>\n<p><div id=\"attachment_3098\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-3098\" src=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Film_Transcript-1024x400.jpg\" alt=\"Image of Multimodal Transcription \u00a9 Damiana Gibbons 2013 Images from Stranger with a Camera \u00a9 Elizabeth Barrett 2000\" class=\" wp-image-3098 \" height=\"250\" width=\"640\" srcset=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Film_Transcript-1024x400.jpg 1024w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Film_Transcript-150x58.jpg 150w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Film_Transcript-300x117.jpg 300w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2014\/01\/Gibbons_Film_Transcript.jpg 1222w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><p id=\"caption-attachment-3098\" class=\"wp-caption-text\">Images from Stranger with a Camera \u00a9 Elizabeth Barrett 2000<\/p><\/div><code style=\"display: none;\"> <\/code><code style=\"display: none;\"> <\/code><\/p>\n<p>One of Barrett\u2019s arguments is that truth is partial, and media is a double-edged sword in terms of both harming and enlightening in the name of truth. Through multimodal microanalysis, one can see that Barrett is creating a counter-history through the modal choices she is making in the film.<\/p>\n<p><code style=\"display: none;\"> <\/code><code style=\"display: none;\"> <\/code><code style=\"display: none;\"> <\/code>The images show archival video footage. The speech, however, is what is telling the counter history as she combines her own commentary along with voices of others from her community through interviews and voiceovers overlaying the archival video footage. When Barrett does use the speech from the archival videos, it is of Charles Kurault\u2019s 1964 CBS report in which he walks along a dirt road, describing the houses as \u201cshacks of tar paper and pine\u201d and the people as \u201cpermanently poor.\u201d She counters his words with her own voiceover in which she questions what the children featured in that documentary must have thought about being portrayed negatively in this way and discusses her own personal history at that time. In the dialogue, the local voices in the commentary discuss how they participated in the media shown as the image and other forms of television footage like it. For instance, a widow of a local lawyer who had written what is considered by the local people to be a canonical book in Appalachia about the region and its people, spoke about how her husband had come to write that book and how she\u2019d helped him with it.<\/p>\n<p>Another key argument Barrett makes is that though her rural place and its people and culture are under attack from those outside, she has a strong connection to place, and through filmmaking, she can both protect her community as well as understand and represent it. In her film, Barrett shows this theme as well when she refers protecting her community as well as representing it throughout the documentary. For instance, in one scene, she describes her time as a youth participant at the rural arts organization. She chooses video footage and audio from another rural produced film, <i>In the Good Old Fashioned Way<\/i>, but she adds dialogue to the image and sound to show she gained sense of place and of identity:<\/p>\n<p>When I walked in the door, a film had just come back from the lab. As they screened the film, I felt like I was seeing part of my own place for the first time. And, hearing singing I\u2019d never really listened to before. This place I\u2019m from had more of a hold on me than I had realized. These films were showing our place back to me that was completely different than the television programs of CBS and Charles Kurault. Those earlier programs served a purpose, but they weren\u2019t the whole story. <sup class='footnote'><a href='#fn-3057-19' id='fnref-3057-19' onclick='return fdfootnote_show(3057)'>19<\/a><\/sup>. (Available from Appalshop, 91 Madison Ave., Whitesburg, KY, 41858).]<\/p>\n<p>She follows this voiceover with a series of images of the rural arts organization films. In speech, dialogue, and image, she is making a space for local filmmakers telling their own stories. Therefore, what we see from Barrett\u2019s use of modal choices, then, is making the argument that others from the outside can and do misrepresent people from her area, but a local filmmaker and local people can voice a counter-history to those depictions through how one creates films in that area.<\/p>\n<p>What sets rural films such as Barrett\u2019s apart from others online or in urban areas is the connection the filmmakers have to their local areas. For Barrett, she shows this by making a compelling argument about truth, representation, and identity at the end of the film. She states:<\/p>\n<p>This is my community. My life is here. As a filmmaker, I have the responsibility to see my community for what it is. To tell the story, no matter how difficult\u2026.It is the filmmaker\u2019s job, my job, to tell fairly what I see, to be true to the experiences of both Hugh O\u2019Connor and Hobart Ison, and in the end, to trust that this is enough. <sup class='footnote'><a href='#fn-3057-19' id='fnref-3057-19' onclick='return fdfootnote_show(3057)'>19<\/a><\/sup>. (Available from Appalshop, 91 Madison Ave., Whitesburg, KY, 41858).] \u00a0<\/p>\n<p>With this kind of perspective, <i>Stranger with a Camera<\/i> is empowering for this type of vision because rural filmmakers tell their stories as their community\u2019s story, and they exhibit that that their responsibility lies in creating their filmmaking in a way that respects both those inside and outside their community. If done in this way, the films are enough.<\/p>\n<p>What makes films, such as <i>Stranger with a Camera<\/i>, so compelling as examples of rural media literacy is how the rural filmmakers \u201cshow their place\u201d in the rural social space depicted in the films. They create complex, rich representations of their places and of their place, both socially and physically. These arguments defy the stereotyping so prevalent about rural areas and provide powerful counter-narratives to mainstream ideas about rural people. In this way, rural filmmaking is a media literacy practice worth fostering as a way to give voice to those often underrepresented or mischaracterized by filmmakers outside those rural areas, e.g., in films such as <i>Deliverance<\/i>. While it would be interesting to see how place matters to urban filmmakers, this article is a start at making a case for place as a factor in media literacy production, and in this way, this article is making space for analyses of these films in the future.<\/p>\n<p><code style=\"display: none;\"> <\/code><code style=\"display: none;\"> <\/code><\/p>\n<p><iframe loading=\"lazy\" width=\"420\" height=\"315\" src=\"\/\/www.youtube.com\/embed\/fXFs6zH9kmI\" frameborder=\"0\" allowfullscreen=\"\"><\/iframe><code style=\"display: none;\"> <\/code><code style=\"display: none;\"> <\/code><\/p>\n<p><span style=\"font-size: 12px;\"><a href=\"https:\/\/vjic.org\/?page_id=957\"><em>Return to the Table of Contents<\/em><\/a><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<div class='footnotes' id='footnotes-3057'>\n<div class='footnotedivider'><\/div>\n<ol>\n<li id='fn-3057-1'> Donehower, K. (2013). Why not at school? Rural literacies and the continual choice to stay. In B. Green &amp; M. Corbett (Eds.), Rethinking Rural Literacies: Transnational Perspectives (pp. 35\u201351). New York, NY: Palgrave Macmillan <span class='footnotereverse'><a href='#fnref-3057-1'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-2'> Green, B. (2013). Literacy, rurality, education: A partial mapping. In B. Green &amp; M. Corbett (Eds.), Rethinking Rural Literacies: Transnational Perspectives (pp. 17\u201334). New York, NY: Palgrave-Macmillan <span class='footnotereverse'><a href='#fnref-3057-2'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-3'> Donehower, K. (2013). Why not at school? Rural literacies and the continual choice to stay. In B. Green &amp; M. Corbett (Eds.), Rethinking Rural Literacies: Transnational Perspectives (pp. 35\u201351). New York, NY: Palgrave Macmillan. <span class='footnotereverse'><a href='#fnref-3057-3'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-4'> Donehower, K., Hogg, C., &amp; Schell, E.E. (2012). Reclaiming the rural: Essays on literacy, rhetoric, and pedagogy. Carbondale, IL: Southern Illinois University Press. <span class='footnotereverse'><a href='#fnref-3057-4'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-5'> Howley, C. B., &amp; Howley, A. (2010). Poverty and School Achievement in Rural Communities: A Social-Class Interpretation. In K. A. Schafft &amp; A. Youngblood Jackson (Eds.), Rural Education for the Twenty-First Century: Identity, Place, and Community in a Globalizing World (pp. 34\u201350). University Place, PA: The Pennsylvania State University Press. <span class='footnotereverse'><a href='#fnref-3057-5'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-6'> Edmondson, J. (2003). <i>Prairie Town: Redefining rural life in the age of globalization<\/i>. Lanham, MD: Rowman &amp; Littlefield Publishers, Inc <span class='footnotereverse'><a href='#fnref-3057-6'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-7'> Donehower, K. (2013). Why not at school? Rural literacies and the continual choice to stay. In B. Green &amp; M. Corbett (Eds.), Rethinking Rural Literacies: Transnational Perspectives (pp. 35\u201351). New York, NY: Palgrave Macmillan. <span class='footnotereverse'><a href='#fnref-3057-7'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-8'> Reid, J.A., Cooper, M., Hastings, W., Lock, G., &amp; White, S. (2010). Regenerating rural social space: Teacher education for regional-rural sustainability. Australian Journal of Education, 54(3): 262-276. <span class='footnotereverse'><a href='#fnref-3057-8'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-9'> Gibbons, D. (Under review). Rural media literacy: Rural youth filmmaking as a media literacy practice. Manuscript prepared for The Journal of Research in Rural Education. <span class='footnotereverse'><a href='#fnref-3057-9'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-10'> Gibbons, D. (2010). Tracing the paths of moving artifacts in youth media production. English Teaching: Practice and Critique, 9(1): 8-21. <span class='footnotereverse'><a href='#fnref-3057-10'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-11'> Curwood, J.S. &amp; Gibbons, D. (2010). \u201cJust like I have felt\u201d: Multimodal counternarratives in youth-produced digital media.\u00a0 International Journal of Learning and Media, 2(1), 59-77. <span class='footnotereverse'><a href='#fnref-3057-11'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-12'> Gibbons, D. (2012). Developing an ethics of youth media production using media literacy, identity, &amp; modality. Journal of Media Literacy Education, 4(3): 256-265 <span class='footnotereverse'><a href='#fnref-3057-12'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-13'> Gibbons, D. (2010). Tracing the paths of moving artifacts in youth media production. English Teaching: Practice and Critique, 9(1): 8-21. <span class='footnotereverse'><a href='#fnref-3057-13'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-14'> Gibbons, D., Drift, T., &amp; Drift, D. (2011). Whose story is it? Being Native and American: Crossing borders, hyphenated selves.&#8221; International Perspectives on Youth Media: Cultures of Production &amp; Education. Ed. Fisherkeller, JoEllen. New York: Peter Lang Publishers, Inc. 172-191. <span class='footnotereverse'><a href='#fnref-3057-14'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-15'> Burn, A. (2009). Making new media: Creative production and digital literacies. New York, NY: Peter Lang Publishing. <span class='footnotereverse'><a href='#fnref-3057-15'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-16'> Gibbons, D. (2010). Tracing the paths of moving artifacts in youth media production. English Teaching: Practice and Critique, 9(1): 8-21. <span class='footnotereverse'><a href='#fnref-3057-16'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-17'> Burn, A., &amp; Parker, D. (2003). Analysing Media Texts. Continuum International Publishing Group. <span class='footnotereverse'><a href='#fnref-3057-17'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-18'> Curwood, J.S. &amp; Gibbons, D. (2010). \u201cJust like I have felt\u201d: Multimodal counternarratives in youth-produced digital media.\u00a0 <i>International Journal of Learning and Media, 2<\/i>(1), 59-77. <span class='footnotereverse'><a href='#fnref-3057-18'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-19'> Barrett, E. (Director\/Producer). (2000). Stranger with a Camera. [Motion Picture <span class='footnotereverse'><a href='#fnref-3057-19'>&#8617;<\/a><\/span><\/li>\n<li id='fn-3057-20'> Barrett, E. (Director\/Producer). (2000). Stranger with a Camera. [Motion Picture <span class='footnotereverse'><a href='#fnref-3057-20'>&#8617;<\/a><\/span><\/li>\n<\/ol>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Return to the Table of Contents Damiana Gibbons is an Assistant Professor at Appalachian State University in Media Studies in Curriculum and Instruction.\u00a0 She holds a Ph.d in Literacy Studies from the University of Wisconsin-Madison where she was a member &hellip; <a href=\"https:\/\/vjic.org\/vjic2\/?page_id=3057\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":88893,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-3057","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P2KsSU-Nj","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/pages\/3057","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/users\/88893"}],"replies":[{"embeddable":true,"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3057"}],"version-history":[{"count":19,"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/pages\/3057\/revisions"}],"predecessor-version":[{"id":3209,"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/pages\/3057\/revisions\/3209"}],"wp:attachment":[{"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3057"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}