Download Media, Education, and America’s Counter-Culture Revolution: by Robert L. Hilliard PDF

By Robert L. Hilliard

The Sixties and Nineteen Seventies was once a time of repression and a time of freedom, a time of ferment not often obvious earlier than during this nation. humans marched-in, sat-in, loved-in. the need of the folks persuaded one president to not run for reelection, compelled one other president to surrender, and ended an iniquitous struggle. Social and political revolutions happened: Civil rights, women's liberation, protests opposed to the irrelevancies of schooling and social norms, a counter-culture revolution at the a part of children. The keys to either protest and alter have been communications and education.

Dr. Robert L. Hilliard not just saw, yet participated in and affected America's counter-culture revolution of the Sixties and Seventies, from the vantage element of numerous key federal executive positions in Washington. in accordance with his papers and speeches from that interval, with present statement extra, this can be a revealing examine media and education's misplaced and located possibilities in the course of that interval, and what needs to be performed so they serve America's wishes appropriately within the new millennium.

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Extra info for Media, Education, and America’s Counter-Culture Revolution: Lost and Found Opportunities for Media Impact on Education, Gender, Race, and the Arts

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6. Similarly, television can provide each student with the opportunity to have his or her points of view made known. Student views are usually stifled or condescended to in the classroom, especially on the elementary and secondary levels. Many students believe that there is no way of getting their ideas and feelings across to the adult world, and therefore too frequently turn to an alternate, alienating world of alcohol and drugs. Others transform their frustrations into violence. Interactive television provides a way for the student to transcend the conformity imposed by insecure individual teachers, and permits the student to express himself or herself not only to a teacher in a distant television classroom, but to a larger number of adults and peers, to the extent that the television system reaches out to other classrooms and schools.

But television can do considerably more. It can motivate. Commercial TV has done that successfully. It has motivated children—and their parents—to buy dangerous toys, teeth-rotting candy, sugared cereals, and a plethora of other Madison Avenue inducements harmful to the user. Television has virtually ignored, however, another kind of motivation, that which relates to the ego, self-understanding, and pride—what psychologists call self-concept. There are many ways a child’s self-concept can be strengthened through careful and deliberate television programming.

The viewer has generally been passive, only rarely (and then incidentally and largely accidentally) physically participating in the television presentation-reception process. “Sesame Street” and “The Electric Company,” as exciting as their techniques have been in gaining and holding attention and in motivating memorization, have not involved the viewer in active participation. In 1959 I experimented with viewer participation in a creative dramatics demonstration developed by Grace Stanistreet, director of the Adelphi University Children’s Center for Creative Arts, for a commercial television children’s program—the Shari Lewis program.

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