Teacher Education: Critical Media Literacy for STEM Teacher Candidates

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Most information we receive compels us to determine whether it is propaganda, mis/disinformation, satire, conspiracy theories or click bait. Having much of our communication transitioned to the digital platforms, reading and writing mediated messages as an extension of traditional literacy becomes more vital to nurture new visions for the digital future.  Media literacy education aims to expand the traditional understandings of literacy (reading and writing) to be inclusive of digital literacy; incorporating visual media and audio technology into all subject area instruction and grade levels (Eshet, 2004; Guzmán & Craig, 2019, Leu, Kinzer, Coiro, & Castek,  2017; Park, Kim & Park, 2021).

Digital technologies have become an integral part of human existence. Our day to day life takes place in the cyberspace, from ordering food, banking, employment to finding a partner. We live in a cyberspace that is laden with constant surveillance and deception alongside social movements and public spheres. This contested digital environment impacts peoples’ health, shapes local and global elections/governance, creates division, polarization and also unity and alliance. This cyberspace is also where our youth’s socialization takes place, a digital space where they are both sending and consuming messages about what to think, feel, aspire towards, fear, get pleasure from and reject. They adopt attitudes, beliefs, values and behaviors based on mediated experiences (Barber, 2013; Ferguson, Faulkner, Whitelock & Sheehy, 2015; Staples, 2004; Louge, 2006; Smith, Hewitt & Skrbis, 2015; Nelissen, Kuczynski, Coenen, & Van den Bulck, 2019; Daoud, Starkey, Eppel, Vo, & Sylvester, 2020).

Accounting for the fact that our youth’s social environment is largely mediated,  academic learning will be more meaningful and connected if digital media is part of their learning process. Learning with media and about media will give students the power to become creators of media rather than simply consumers of media (Kellner & Share, 2019). Media literacy is an indispensable part of modern day schooling. Media literacy (consumerism, globalization, media monopoly, the digital divide,  news and politics, violence, exploitation, health safety, advertising  and mis/disinformation) is vital in navigating today’s social life (Ampuja, 2004, Hobbs, 2021; Fuchs 2010; Hodgetts  & Chamberlain, 2006; Kellner; 2003; Kahn & Kahn 2010;  Luke &Luke, 1995; Pierson, 2022; Masterman, 1997).

In this article, I advance the argument that media literacy education must also entail a critical lens. Thus, critical media literacy is a more broad-ranging and comprehensive approach  to media literacy. Critical media literacy (CML) is a multidisciplinary field drawing its influences from cultural studies and critical pedagogy (Kellner & Share, 2019). Critical media literacy as a method of inquiry reveals the density of media’s constructed-ness, its successive ways of appearing neutral,  the economic infrastructure of media and technology operations,  the relationship between power and knowledge that govern society and the promise for actualizing social change through digital environments. The pressing call for the inclusion of critical media literacy education is to support teachers in distinguishing  between information regarded as news, entertainment, education, empowerment or cooptation, discovery or pseudoscience,  and profitmaking. As educators and teacher educators we need to embrace the challenge of guiding our students and teachers to navigate these digital platforms of information and communication technologies (ICT’s) carefully and critically. 

Critical media literacy(CML) extends the works of media literacy by centering the relationship between power and information. CML focuses on interrogating hegemonic ideologies and promotes cultivating resistance through mediated counter narratives. The power of re-interpreting, re-creating, re-mixing, re-claiming and re-producing media shoulders an act of defiance against prevailing dominant ideologies and structures of power. Digital public spheres offer marginalized groups who have long been excluded from traditional media platforms a place to advance counternarratives. CML practitioners describe critical media analysis as using “the tools and methods of sociology, psychology, political theory, gender and race studies, as well as cultural studies, art, and aesthetics” (Kotlay, 2011, p. 212). Critical media literacy is a transdisciplinary approach to understanding and fostering our digital future. 

In a broader theoretical scope, critical media literacy is recognized as culturally relevant/responsive pedagogy by practitioners who use media to increase academic engagement and achievement (Currie & Kelly, 2022; Morrell and Duncan-Andrade, 2005, Robbins 2001, Stovall 2006). Culturally relevant pedagogy is a theoretical model proposed by Gloria Ladson-Billings (1995) encircling three main components; student learning, cultural competence, and critical consciousness. Many scholars have expanded the framework of culturally relevant/responsive pedagogy (Gay, 2018; Hammond, 2014; Howard, 2011; Paris, 2021) to explore teacher attitudes, expectations, critical reflection, the role of love and care, the importance of creating a classroom culture that connects teachers and students to the community and developing a knowledge base about culture (ethnic/racial) from wide variety of disciplines. 

Traditionally, inclusions of pop culture or more recently media culture have been deemed academically less rigorous. Alvermann and Hagood (2000) explain that “the binary constructed between out-of-school literacies associated with everyday texts of low/popular culture and in-school literacies associated with the canon and deemed ‘high’ culture pushes students’ popular culture out of the instructional realm” (p. 200). Similarly, Barnett and Merchant (2011) note that “identifying popular culture as an area worthy of academic interest has a relatively short history” (p. 44)  dating back to the Centre for Contemporary Cultural Studies at Birmingham University. CML practitioners such as Ernest Morrell and Jeffrey Duncan-Andrade share insights about how they taught a summer research seminar to “at risk” urban teens who were engaged in different forms of critical media literacy; such as hip pop music, portrayals of urban youth of color, youth involvement in protests and on. They conclude that  “critical media pedagogy can simultaneously empower youth toward the media they confront while also imparting academic literacy skills” (Morrell & Duncan-Andrade, 2005, p. 4). Sufficient body of research exists to provide evidence that student engagement and critical thinking is enhanced when CML concepts are integrated (Aronson & Laughter, 2016; Gutstein, 2003; Milner 2011; Stovall, 2006;  Share, Mamikonyan, & Lopez, 2019).  To summarize academic content situated within the lived experiences, perspectives and frames of reference of our students will create a more meaningful learning experience, promoting engagement and interest in real world problem solving.

 In this article I provide a review of a graduate level course I teach called Critical Media Literacy to pre-service STEM cohort teacher candidates at a four year research university. In the next paragraphs, I offer an overview of the course topics and detail the associated projects that prepare pre-service STEM teacher candidates to integrate CML into their STEM teaching practices.

Course Overview: Critical Media Literacy

This upper division graduate level course prepares pre-service STEM and STEM +C3 (computer science) secondary single subject teacher candidates to explore their relationship with media culture and information and communication technologies (ICTs) by critically examining visual literacy, science ideology and politics of representations related to race, class, gender, sexuality and the environment. The learning objective is to engage with media texts by means of interrogating the dynamics of power and information with an emphasis on the role of media production and creating alternative media narratives. Contrary to the notion that critical media literacy isn’t a seemly fit in STEM classrooms, STEM teachers easily integrate class discussions and assignments into their learning segments. The course begins with the review of media literacy frameworks, exploring topics such as legal and ethical issues related to the use of technology, copyright, fair use, creative commons, privacy, surveillance, safety, and responsible use policies. Then the dimensions of critical media literacy such as ideology and  politics of representation get built in step by step.  

Critical Media Literacy Framework

The course is designed around the Critical Media Literacy Framework (Kellner & Share 2019). Each week pre-service teacher candidates engage with one conceptual understanding and key question and explore them individually and in connection with one another (see Table 1). This framework guides teachers to become critical and thoughtful observers rather than casual and leisurely observers of media.

Table 1. Critical Media Literacy Framework

Conceptual Understandings	Questions
1. Social Constructivism All information is co-constructed by individuals and/or groups of people who make choices within social contexts.	WHO are all the possible people who made choices that helped create this text?
2. Languages / Semiotics Each medium has its own language with specific grammar and semantics.	HOW was this text constructed and delivered/accessed?
3. Audience / Positionality Individuals and groups understand media messages similarly and/or differently depending on multiple contextual factors.	HOW could this text be understood differently? HOW does my positionality affect my understanding of the text?
4. Politics of Representation Media messages and the medium through which they travel always have a bias and support and/or challenge dominant hierarchies of power, privilege, and pleasure.	WHAT values, points of view, and ideologies are represented or missing from this text or influenced by the medium?
5. Production / Institutions All media texts have a purpose (often commercial or governmental) that is shaped by the creators and/or systems within which they operate.	WHY was this text created and/or shared?
6. Social & Environmental Justice Media culture is a terrain of struggle that perpetuates or challenges positive and/or negative ideas about people, groups, and issues; it is never neutral.	WHOM does this text advantage and/or disadvantage?

Critical Media Literacy Course

The course begins by introducing the theoretical arguments about how new technologies have restructured societies.  Kellner and Share (2019) lay out how technological restructuring has had its positive and negative influences and emphasize acknowledging its sheer power in schooling as they call on educators to grapple with these changes in a critical and equitable way.  The course readings include chapters from The Critical Media Literacy Guide by Kellner and Share (2019), required viewings such as The Social Dilemma, Coded Bias, In The Age of AI documentaries, TED talks, podcasts, Youtube videos and many other non print learning materials. 

The assignments and projects are designed to support pre-service teachers’ understandings and applications of critical media literacy across connections to STEM subjects. The course is divided into four focal areas beginning with media literacy and advancing to critical media literacy.

1. Visual literacy
2. Social/digital media
3. Science ideology
4. Politics of representation

Each of these four areas of study incorporate projects tied to science and math content with real world applications.  At the end of the course teachers put together a culminating Lesson Plan integrating critical media literacy to their teaching segments.

Visual Literacy

To engage with media critically necessitates competency in visual literacy; learning the visual language. Visual communication is powerful; we are able to grasp, connect, feel, and judge instantaneously without speaking or writing a single word. The course begins by engaging teachers to read visual language by isolating the use of background color, body language, facial expression, eye contact, wardrobe, camera angle, lighting, and composition of magazine cover pages. They analyze how these visual literacy techniques connote different ideas and how the placement and arrangement of images and symbols involve subjective choices. Moreover, visual literacy urges teachers to identify the context and its historical moment of a given visual representation. Through learning the mechanics of visual literacy coupled with textual analysis teacher candidates start to recognize that media texts are not objective and neutral representations but rather implicate deliberate choices that often parallel or defy representations that maintain power in society.

Examples of visual analysis include questioning the images of scientists in popular culture such as in movies, television programs, magazine covers, comics, animated cartoons, video games and a variety of other media sources. Research shows that imprinted stereotypical images of scientists have considerable sources of influence in shaping children’s views on who is a scientist (Steinke, Lapinski, Crocker, Zietsman-Thomas,  Williams,  Evergreen, & Kuchibhotla, 2007; Salzar 2015). As a class we deconstruct selected media portrayals of female scientists by recognizing the contradictions about spotlighting and celebrating women scientists’ achievements against the larger social and historical backdrop of women’s high underrepresentation in STEAM fields. This process of critique uncovers the layers of contradictory, incoherent and multiple knowledge claims without any attempt to replace deception with truth but rather recognizes that media messages are not neutral, positive or negative but they entail complex, multiple, clashing and intersecting readings.

We grapple with mass produced representations of our world; world maps. We deconstruct the most widely circulated world map, the Mercator map, which has major distortions in which countries are not presented in their true size, land mass and proportions. Europe and the North are disproportionately amplified. Greenland is shown to be four times bigger than China and Europe which is one third the size of South America is shown as having the same proportions as South America. We discuss how map graphics (centering, arrangements, color) project certain worldviews about size and power of countries, influencing our perceptions and beliefs. We discuss the deliberate choices about what to center on a map such as the Hobo-Dyer map which centers and highlights seventy percent of the water on earth, arrangements  such as flipping North and South shown on the McArthur map, color selection which includes one or two colors vs each country or continent represented with a different color. These discussions lead to unpacking how visual communication shapes our perceptions of reality.

Projects

To develop technical skills of visual literacy teachers use photography as a medium to explore visual communication. The Photo Trailproject requires combining technical competencies with subject matter expertise.Teachers use their smartphones to take a photograph of a math or science phenomena accessible in their homes, in their classrooms or in nature and provide a brief description of the formula or phenomena (see Figure 1). Examples include, measuring the radius of a sidewalk curb, calculating the slope of staircases in their school, observing patterns, shapes, geometric details on buildings to biological natural resources and raw materials.  Teachers take photographs by applying techniques of photography such as manipulating the lighting, types of lenses,  applying the rule of thirds composition, depth of field and camera angle positioning (Share, 2015).

In addition to experimenting with techniques of photography, teachers recognize  how visual representations are subjective constructions. As photographers they chose what, when, where, how and why to photograph, hence making photographs a decontextualized representation of reality (Share, 2015). They learn to make distinctions between presenting their photographs  and re-presenting them, substantiating the multiple choices that lead to the final product. Visual literacy as a skill and semiotic methodology is a key competency for critically engaging with multiple media texts and mediums. Next, I examine how we explore social and digital media and communication.

Social/Digital Communication 

Digitalization has fundamentally transformed the nature of human communication. Communication technologies are no longer tools but repositories marked by grave interdependence. This disjuncture has given rise to various digital modalities of dependence reconstituting ubiquitous connectivity.  Social media in particular has had enormous social influence and reach. Majority of news and information is concentrated in social media platforms. According to the Pew Research Center in 2021 “ (48%) of U.S. adults say they get news from social media “often” or “sometimes.” Critical media literacy is an academic pursuit critically studying how digital platforms influence society socially, politically and economically.

Class discussions about social/digital media communication begin with examining the terms social media. Generally, companies are classified as media companies if their primary function is serving content. For example, social networking sites are platforms that facilitate the exchange of user generated content. Historically, content creation was the job of professionals, but with the rise of the internet, media companies evolved to aggregate and distribute user generated content. As a result, social networking sites have become new forms of media publishers.  Most social media companies resist the label media and claim that they are technology companies. Tech companies, whose primary function is serving hardware or software, have loose and little regulatory guidelines compared to media companies that face much stricter advertising regulations governing TV, print, radio and other media types. Social media occupy the uncharted space between media communications and technology operations. Traditional understandings of media have been challenged and extended by the emergence of social and digital communication.

Projects

To explore the implications of our digital footprint, teachers complete a Digital FootPrint project. They trail the data or the size of their presence on the Internet. They are asked to search their name into a search engine like Google and look for information about themselves on the first page. Then they are encouraged to look into the ads that are targeted towards them on social media platforms. If teachers don’t have social media they are directed to look into their spam email folder and compare it with their inbox folder. Questions such as why are social media platforms suggesting these particular goods, services or people lead them to identify the ways in which the internet has profiled them. Teachers then take a digital footprint quiz and based on the self-investigation of their data they create a visual abstraction of their digital footprint. Their visual poster is then narrated by the following questions:

1. What parts of your identity are captured well by this data footprint?
2. What parts of your identity might be missing? 
3. What parts of your identity might corporations be trying to monetize or advertise to?
4. Is this digital footprint a fair abstraction of who you are? Why or why not?

Social/Digital media communication is further explored through a project called Multimodal Communication/Transmediation. The purpose of this task is to consider how digital devices and technology have impacted the ways in which we communicate (see Figure 2). Teachers are asked to consider what has been gained or lost from the different forms of communication. They write up a paragraph about an aspect of education and social justice that is important to them. Then they use at least four different methods of communication (Facebook post, Youtube video, Instagram post/reel, Twitter, Tik Tok, podcast and on)  to share this message. They also convert their written message into a visual and symbolic representation. Modifying and revising their message according to each medium of communication reveals how technology has impacted the way we communicate, collaborate, and enact change.

Science Ideology

What is science for? In teaching this course I have come to learn that STEM teachers have had very little academic engagement and robust discussions about science and ideology. It is hard to dismiss technological innovation in events or processes  such as militarism, environmental destruction and free-market competitiveness. Ideology guides what scientific problems, methods, hypotheses, and sets of interpretations need attention and investigation. Science has served different needs under different ideological regimes.  Jurgen Habermas  has named this phenomena  “purposive rationality”.  Habermas explains that present-day science is primarily  connected to research and technology which aims towards solving technical problems. Technical progress in science has depoliticized the value laden and partisan nature of science (Overend, 1978).  Even social problems have  been articulated as technical problems within the sphere of technocratic consciousness and innovation.  In class discussions we cross-examine notions such as scientific globalism, scientific innovation and international collaboration as they relate to transnational corporations’ economic competitiveness, violations of environmental laws, fair working conditions and exploitations of natural resources in developing countries (Schmidt, 2005; Ullah, Adams, Adams, & Attah-Boakye, 2021). Class discussions engage in critical discourse analysis to understand the role of science and  scientific inquiry situated in social and civic life addressing local needs.  We discuss how the absence of women and people of color in scientific research has influenced the selection of scientific problems, the methods, the interpretations of data and has historically denied women and people of color scientific authority and legitimacy (Adams, 2022, Bang, Warren, Rosebery, & Medin, 2012; Barton, Tan & Rivet, 2008; Harding, 2015;  Madkins & Nasir, 2019; Thompson, Mawyer, Johnson, Scipio, & Luehmann, 2021; Rosebery, Warren, Tucker-Raymond, 2016).

Projects

Teachers create alternative media/ counternarratives  to confront prevailing ideologies in science, scientific progress and technological innovation. They challenge aspects of scientific ideology such as

• Science and technology are not value free and objective
• Women and marginalized groups have not been the authors of knowledge
• Science and technology are funded by the Department of Defense giving rise to tech remilitarization and  international economic competition
• Scientific and scholarly interchange is in a single language: English Only
• There is a conflict of interest between private sector and public education (i.e. biomedical, engineering, earth sciences) collaboration
• We need to evaluate cultural authority of scientists
• Why isn’t scientific inquiry serving local needs? Can it be culturally relevant and strive towards transforming social injustice?

Teachers create multimodal digital visual representations to challenge science ideologies. Developing counter narratives is an essential part of engaging with media critically (Clark, 2013; Fortuna, 2001; Gainer, 2010; Morrell & Duncan-Andrade, 2005).

Environmental Justice

A surrogate study of science ideology is environmental justice. Class discussions begin with identifying the dominant “ego logical”(Martusewicz, Edmundson, & Lupinacci; 2014) anthropocentric ideologies that guide our deep connections to nature.  Ego logical ideology naturalizes human’s entitled sense of superiority which has abandoned the needs of other species on our planet and has depleted biodiversity. Class discussions engage critically about how everyone on Earth is affected by the environmental crisis; but we are all affected unequally. Developed countries bear more historical responsibility for emissions yet suffer the least from climate change devastation. On the other hand, most developing countries who have been less responsible for carbon emissions are  more vulnerable and ill equipped to deal with the impact of climate change. Environmental injustice manifests itself globally and locally, such as neglecting the self-governing authority of indigenous people’s lands and resources and disproportionate pollution and toxic waste in urban, Black communities in the U.S. (Martinez-Alier et al., 2016). Further discussions include reviewing climate change denial campaigns, greenwashing, media and broadcast coverage of climate change and environmental activism. 

Projects

Working in groups  teachers  create counter-narrative digital stories about environmental justice.  Storytelling is a powerful tool of expression. Walter Fischer (1978) has advanced the narrative paradigm contending that humans are storytellers and human communication is a storytelling process. Fisher explains that stories are more persuasive than arguments and that we understand complex information better through stories; citing examples such as cave paintings, pyramid constructions, jokes, news reports, rumors, religion, dance and performing arts to be forms of influential storytelling.

Digital storytelling combines the oral tradition of storytelling with visual, aural and mass production capabilities. Teachers bind their subject expertise to associated areas of environmental justice and create digital stories. Many math teachers emphasize calculating averages and making diagrams of measurements such as, rainfall, sea level rise, carbon in the air to show how climate is changing. They use NASA data to write linear equations for emissions going to zero by a given deadline. Then they build the narrative around the data, add digital media with narration and publish it on social media.

Politics of Representation

As discussed thus far, visual literacy, social implications of digital communication, science ideology and environmental justice implicate the politics of representation. The politics of representation is the struggle for the power to represent, to frame and to connote a meaning. There are two sets of representations; prevailing representations and competing representations. Representations are characterizations framed among a wide range of choices in language, images, audio, people and events that render socio-cultural textual analysis. Identifying which representations are given prominence, justified and reinforced through media become categorical to being challenged and changed.  In this course, the purpose of politics of representation is to understand the reproduction of social inequality through media texts and to intervene by re-producing and reinscribing representations to challenge the prevailing representations. For example, interrogating normative constructions of race and gender traditionally involve interdisciplinary socio-cultural textual analysis.  In addition to these traditional examinations we also explore the digital infrastructure that reveal how representations are produced and negotiated through new forms of information and communication technologies and mediated through digitally discursive practices.

Projects

Working in groups teachers explore representations of racism in facial recognition software as well as through bias algorithms used by law enforcement, corporate money lending companies and corporate resume screening practices.  Class discussions explore how the ‘algorithmic design’ (the data set, who wrote it or how it works) operates in a black box. For this reason, teachers experiment with building an algorithm using training data to understand the importance of who designed it, who determined the accuracy, bias and level of representativeness of the data, who decided its application; to realize that decisions are made at every intersection of algorithmic design which are guarded and hidden from the public. 

In addition to experimenting with creating algorithms through Scratch or Teachable Machine, teachers produce creative memes (images with captions), Tik Tok videos or podcasts to debunk racial or gender myths related to scientists and mathematicians from underrepresented backgrounds.  The process of remixing and indexing race or gender from the multiple ways it is circulated in digital spaces is a practice of critical decoding and encoding meaning in socially informed practices of popular culture, humor, identity, and digital communication. Authoring social media posts in a given medium engages teachers in the process of constructing a message, applying semiotics, charting audience analysis, revealing identity politics and participating in social tagging (folksonomy) and reproduction.

Culminating Project 

Critical media literacy broadens science and math education by intersecting social justice and the digital ecosystem. Examining the nature of science and math in our digital world by questioning  who does science/math, who advantages, for what purposes, how does it impact society at large are inquiries that meet between the nexus of critical media literacy and STEM disciplines. At the end ofthe course teachers work in groups to put together a Critical Media Literacy Lesson Plan.  The lesson plans include subject specific content but integrate a transdisciplinary approach of interrogating, decoding, re-appropriating and reproducing digitally. Teachers investigate and vet digital infographics based on real world data to unpack, analyze, interpret, and recirculate information.  Digital media as the base for culturally relevant scientific investigations has yielded research interests by teachers in areas such as identifying geo tagged tweets for health communication, learning to develop algorithms for justice, fighting alternative facts and scientific truths on social media, investigating environmental racism and genetic discrimination, exposing predatory high cost loan advertising in low income communities and price disparities between men’s and women’s deodorants(who have identical sweat glands). Among the various interest areas, all lesson plans integrate subject specific content, critical media analysis and alternative media production.   

Conclusion

We can no longer separate our digital lives from our non-digital lives. Our increasingly technologically connected world is challenging and complicated to navigate. Trusting information is more difficult in an era coined the information age because of the relentless co-optation, advanced digital fabrication of information and the new economic models of digital advertising. Our digital ecosystem has exploitive mechanisms and inner workings alongside empowering and transformative projections. As paradoxical developments, the digital era has reshaped governance, finance, health, human communication and education.

Regrettably, the rhetoric of media literacy in education is too often reduced to tool oriented and skill-based competencies rather than critical information literacy, media economy, ideological critique, and alternative media production. The Critical Media Literacy course emboldens STEM teachers to grapple with ethical awareness and activism centering science and social justice in our digital culture and society. Critical media literacy as an academic discipline fuses the study of the humanities to the sciences and raises consciousness about the vectors of power intersecting between digital media, the sciences and social life.

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