Multimedia Pedagogy and Multicultural Education for the New Millennium
By Rhonda Hammer and Douglas Kellner http://www.gseis.ucla.edu/faculty/kellner/kellner.html
Abstract
New
technologies provide tools to reconstruct education as we undergo dramatic
technological revolution and enter a new millennium. In particular, multimedia
technologies, like CD-ROMs and Internet websites produce new resources and
material for expanding education. In examining the Shoah Project -- which
documents the experiences of survivors of the Holocaust --, we demonstrate how
this project provides important tools for historical and religious education,
as well as making the reality of the Holocaust vivid and compelling in the
contemporary moment. It is in this context that we discuss how multimedia can
provide an important supplement to multicultural education, bringing the
experiences of marginal and oppressed groups to the mainstream. Yet we also
argue that effective multimedia education also requires historical contextualization,
the skills of media literacy, and engaging pedagogical presentation in the
classroom to make such new technologies effective as a supplement to
traditional classroom and print-based education. Hence, we show how educational
technologies, such as those produced by the Shoah Foundation and the UCLA Film
and Television Archives, can thus help reconstruct education for the next
century.
******
New
technologies are dramatically altering every aspect of life from work to
education. While television has been regularly denounced by educators for the
"dumbing down" of youth, new multimedia technologies are providing
innovative and exciting teaching tools. During the first week of February 1998,
we had an opportunity to view two sets of cutting-edge multimedia production at
the Shoah Institute just outside of Hollywood and at the UCLA film and
television archives in Los Angeles. In this article, we explore the potentials
of new multimedia technology for developing multicultural education and the
ways that new technologies can enhance the educational process.
Teachers
of twentieth century history and religious education confront the problem of
how to teach the Holocaust, one of the most disturbing events of our era.
Simply citing statistics and retelling the story of the concentration camps and
murder of over six million Jews and other ethnic nationalities and minorities
cannot adequately grasp or instill the enormity of this event. To supplement
existing accounts of the Holocaust and to dramatize its effects, we believe
that new multimedia technology can provide tools to recreate the experience and
to provide a better sense of its horror, inhumanity, and magnitude. The
multimedia dimension enables students to experience the sounds, sights, and
images of history as well as to learn basic facts. Testimonies of ordinary
citizens help demonstrate the human and personal dimension of history and to
dramatize the effects of historical events on ordinary people. The interactive
dimension of new multimedia technology can potentially involve students more
integrally into historical research and enhance moral understanding, thus
providing powerful pedagogical tools to teach tolerance and promote a
multicultural and an anti-racist curricula. Hence, we see the virtue of
multimedia technology in providing new tools of both historical documentation
and pedagogy that can help reconstruct education for the next century.
Teaching the Unthinkable: The Shoah Project
The
Shoah Visual History Foundation is tucked away within the dream factories of
the production studios in the Hollywood Hills, not far, in fact, from the
infamous "Hollywood" sign. The Shoah Foundation utilizes the most
advanced multimedia digital technology to document the impact of the Holocaust.
Founded by Steven Spielberg, the Shoah project combines technological
inventiveness with audio-video historical documentation to capture the
experiences of the survivors of one of the most horrific historical experiences
of the century. The result is a highly impressive set of multimedia materials
that show how new media can provide significant new teaching tools for the
Information Age.
Shoah,
the Hebrew word for "destruction" or "annihilation," has
become a metaphor for one of the most heinous programs of genocide in twentieth
century history. And although there have been a number of films and television
productions that attempted to tell or depict some of the stories of more than
sixteen to eighteen million victims and survivors of the Nazi Holocaust, until
this project there had been a serious lacunae of audiovisual material that
attempted to capture the actual testimonies of those who had managed to
survive. However, rather than simply documenting the rapidly disappearing
agents of the stories and memories of survivors still living in stock footage
and traditional linear, static, talking-head video or film style, this project
uses advanced new digital technology. The project utilizes top quality video
documentary footage archived and distributed by computerized, fiber optic
interactive multimedia, produced by the collaboration of some of the most
creative minds in the fields of technology, education, and media production.
For in taking advantage of the capabilities of new computerized multimedia
technology, layers of additional material accompanies the testimonies in a
diversity of forms, including maps, archival historical footage, related music
and/or sound affects. These technological devices provide the interactive
capacity to experience multiple dimensions of the historical ordeals being
described, as well as to gain better contextual understanding.
The
Shoah project thus combines video documentary footage, historical texts and
commentary, and interactive computerized research archives to provide
educational material concerning the Holocaust. It is in this sense that the
educational potential of this project is highly significant, demonstrating how
new technologies can supplement traditional teaching materials. Indeed, the
video testimony of survivors in conjunction with interactive multimedia
material both humanizes the Holocaust and enables in-depth involvement in
research that makes the facts and horrors of the Holocaust all the more
striking and real.
It
is therefore ironic that this nonprofit and imaginative prototype of a new form
of politicized, contextual, humanistic multimedia pedagogy is due, in large
part, to the inspiration, commitment, and initial financial support of Steven
Spielberg, one of the most successful members of the Hollywood community. Indeed,
Hollywood is frequently demonized for its role in the production of the kinds
of commercial media "junk" that is often blamed and criticized for
underlying many of the problems plaguing and affecting contemporary youth. Yet
it was during Spielberg's filming of Schindler's List (1993), his movie
about the relationships between Holocaust survivors and a Catholic, German war
profiteer who was responsible for the salvation of many of his Polish, Jewish
employees, that he decided to initiate the Survivors of the Shoah Visual
History Foundation. Rather than just depicting representative victims and
survivors -- through actors -- Spielberg was provoked, largely through his
personal encounters with survivors throughout production of his acclaimed and
award-winning film, to pursue and practically apply this new video and
multimedia technology into developing new types of educational and historical
tools. The result is perhaps the most significant historical archive of an
oppressed people ever produced and a dramatic demonstration of the pedagogical
potential of new multimedia technology.
Incorporating
the expertise of numerous scholars, historians and specialists drawn from a
diversity of technological, artistic and educational fronts, the project was
initially directed by Michael Berenbaum, a respected Holocaust scholar.
Berenbaum was the director of the Research Institute of the United States
Holocaust Memorial Museum in Washington, D.C., before he accepted the position
of president and CEO of the foundation; he has been succeeded by Douglas
Greenberg.[1]
The project has, since 1994, archived over 51,000 eyewitness accounts in 32
languages from 57 countries. Freelance videographers and interviewers undergo
training sessions organized by the Foundation and base their interviews
primarily on a specially designed questionnaire. Within this context,
individuals who experienced life in the camps are asked to address three areas
of their lives, involving pre and post-war experiences, as well as the
substantive portion involving their firsthand wartime ordeal in concentration
camps and/or other World War Two experiences.
The
unedited videotapes are duplicated once they arrive at the Shoah Institute
headquarters. Copies are made not only for the participants, but also for
storage on both the east and west coasts of the United States for long-term
safety and posterity. Ultimately, one copy will be housed in California and the
other. which will eventually be permanently preserved in a safe storage area in
Israel, at the Holocaust Museum in Washington. D.C.. In addition, there is a
digitalized version for interactive computer accessibility, as well as a copy
which is coded for documentation purposes. The taped interviews are also
periodically checked by resource people at the Institute, for "quality
control," and/or to provide assistance and support to individual
interviewers. Indeed, the "cataloguing," or "customized
cataloguing interface" as it is called, is one of the most impressive aspects
of the project in both technical and pedagogical terms. Through a complex
computer documentation system, comprised of an ever-growing number of key
categories or terms, each testimony is personally analyzed and documented by
professionals. This process provides not only a computer record of the
participants' words, but the grouping of each testimony into three to four
minute vignettes. In addition, multiple aspects of the survivors' experiences
are organized and indexed under a diversity of key areas or topics that can be
called up for future use and/or projects.
Each
interview takes about eight hours to index, using digital technology. The final
version of the text includes multimedia and interactive documentary footage,
maps, and iconic aural and oral materials earlier mentioned, as well as the
option to access other associated interviews, sites, and arenas of learning.
Indeed, eventually there will be linkages between the Shoah institutional
holdings through networks to a variety of museums, educational institutions,
and nonprofit organizations within a global context. The Foundation is also
involved in the production of documentaries, books and educational CD-ROMs, to
further distribute its groundbreaking archival material. Cumulatively, these
products provide valuable educational material and documentation of human
nobility, spirit, and courage of survival and transcendence in the face of the
German Nazi system of brutal dehumanizing atrocities, with its almost
unimaginable abuses.
The
experiences of Holocaust survivors have thus generated documents of human
fortitude and heroism in the face of a monstrous social system. Hence, these
testimonial archives are not only a chronicle of individual experience and
perseverance, but also an innovative pedagogical approach to understanding,
studying and better contextualizing the horrors of the Holocaust in terms of
both particular instances of oppression and the more general features of German
fascism. Moreover, the tapes contest and put in question the pernicious
stereotype of Jews as sheep being led to the slaughter -- a myth that has been
perpetuated for far too long and has done significant damage and disservice to
the Jewish people. Such stereotypes of passivity, by covering over resistance
and struggle, also do injustice to many other victims of the myriad forms of
abuse and torture that remain prevalent in the contemporary world.
Consequently,
one of the most moving and ennobling portions of each video is a segment at the
end of each tape that allows the interviewee to introduce their families,
and/or show pictures and news clippings, read from letters or journals, and
include any material he or she feel is relevant. Often, this material is the
most accurate and credible way of commemorating the existence and quality of
families, friends, and/or loved ones of the millions victimized. Indeed, the
project is not confined to video documentation and data bases, but is
accessible to the production of other forms, such as documentary films which
incorporate its material and expand on its techniques. The Academy-award
winning documentary The Last Days (1998), for example, effectively
mobilized Shoah Foundation material to produce a poignant film about the
experiences of the Holocaust, as did five forthcoming foreign documentaries.
We
cannot attempt to begin to describe "the undescribable" in this text.
It would obviously be inappropriate and difficult to aspire to recount the
kinds of experiences captured in these records in a fashion that adequately
summon the plethora of emotions they evoke, as well as the wide expanse of
human frailties, talents, courage, love, altruism, fortitude and horrors they
display. Yet we should stress the historical documentary value of the archival
material and its pedagogical significance, as well as the potential of
empowerment realized by these testimonies in both form and content. The project
provides strength for both those who may have -- until exposure to the graphic
ordeals of other survivors' experiences -- felt alone, isolated and/or
marginalized by their personal victimization. It also helps those of us
inspired by their courage to survive and carry on in the face of horrific
suffering and evil.
Moreover,
such a multimedia and interactive archive's strongest applications may reside
in their potential for a salutary recontextualization of contemporary history
and the place of the Holocaust, combined with cultivation of a pedagogical
framework of a politics of hope that individuals and groups can overcome
horrible deprivation and oppression. For subordinated and disenfranchised
students who will have access to these gripping documents, the experiences
should be poignant and instructive, thus transcending the often abstract and
ineffectual modes of teaching which frequently fail to capture the personal and
human dimension of history, especially of suffering and struggle. The
multimedia presentation of the Holocaust also overcomes the tendency in some
educational circles to divide and hermetically seal one subject or dimension
from another. Such abstracted and decontextualized education often neutralizes
the kinds of associations between disparate dimensions, areas, and skills of
learning. By contrast, combining multimedia sights, sounds, and print material
provides a more multidimensional contextualization to events like the Holocaust
and the combination of historical documentation and personal testimony enhances
and the possibility of both historical and moral education.
New Educational Technology: Challenges and
Potential
Hence,
we believe that a mechanistic and all-too-common reductive abstraction of
teaching from human experience and multidisciplinary perspectives can be
overcome in part through the use of new multimedia as teaching devices. Narrow
print-based history pedagogy often misrepresents and reduces the eloquent
dialectic of real history into the kinds of dry and banal versions of
historical actuality which so often masquerades as "the real thing"
within far too many of our schools and universities. Multimedia education,
however, can help access to lived experience, as well as dramatize and
concretize basic historical facts and knowledge.
Many
current criticisms of the role of computer and multimedia technology in the
school stem from an inability to grasp the nature and importance of computer
literacy and to understand how new technologies can help revitalize education.
This failure to embrace new technologies as a teaching device has been preceded
by an uneven and never adequate use of film and television material in the
classroom. So-called "media" material was often used as a supplement,
or as an excuse for the teacher to take a break from the arduous activity of
interacting creatively with students -- and is still used in this way. Yet
rarely has media literacy been taught, and imaginative use of media materials
in the classroom remains all-to-seldom - although creative use of computer and
new multimedia material highlights how older media like photographic images,
video documentary, and film can also immensely enhance instruction. Within K-12
classrooms, as well as higher echelons of learning, and even in Education
schools where teachers are taught how to teach, media, computer, and
technological literacies are rarely discussed. However, it is to be hoped that
this situation may soon change under the pressures of the computerization of
education now underway (see Luke 1997; Kellner 1998 and 2000; and Burbules and
Callister 2000).
It
appears as if a form of elitist blindness has emanated from far too many of the
leading educational theorists and so-called experts regarding the significance
and importance of recognizing the enormous role of media in the everyday lives
of both teacher and student. There is also a pervasive failure to employ these
common and shared materials and media in a manner that intensifies and enhances
the experience of education through teaching about the semiotic codes and
ideological frames that organize and structure so much of media culture.
Further, there is a general failure in developing critical skills and analytic
abilities that empower both teacher and student, providing them with the skills
to analytically criticize and interpret media culture. Moreover, critical media
literacy in the computer era is necessary for understanding and navigating
within ever more complex technological/ideological forms that require computer
and multimedia literacy so as to enable students to utilize computers, CD-ROMs,
the World Wide Web, and the Internet.[2]
In
general, media and computer literacy will enable students to more actively seek
information and knowledge, but also provides the skills to actually produce and
develop their own cultural artifacts within both an educational setting and
within a much wider pedagogical, philosophical, and practical context. It is
indeed inspiring to see web sites and other artifacts that students have
already produced with computer and multimedia technologies, often
collaboratively. In view of the increased role of computers in business, higher
education, and everyday life, such skills will be necessary for full and
creative participation in the societies of the rapidly approaching future.
It
is therefore unfortunate that many influential educators and pedagogues have
underemphasized and discredited the significance of media and computer literacies
and productions, in lieu of outdated arguments which privilege the written word
over other forms of cultural expression.[3]
It may be that this is the bias of the university professor, immersed in the
publish or perish domain of the university, and is translated into hostility
toward alternative multimedia pedagogies. The prejudice against computers and
interactive multimedia may reflect technological incompetencies and phobia on
the part of teachers who themselves have not mastered these technologies and
cultural forms.
There
are, however, limitations to the use of media and computer technology for
education and we believe that print literacy and the fundamentals of education
are more necessary than ever in a new high-tech information society (Kellner
2000). In a world of information overload, it is increasingly important to
teach the skills of critical reading and analysis, and clear and concise
writing. Moreover, a good classroom teacher can provide context, appropriate
application of course material to the situation of the students, and a forum
for discussion and live interaction that computers cannot provide. Hence, far
from suggesting the obsolescence of the classroom and traditional models of
good teaching in the high-tech era, we are arguing that sound pedagogy and
constructive dialogue in the classroom is as important as ever. But we also
believe that it is the responsibility of educators to make use of the most
advanced technologies for educational purposes -- in addition to teaching the basic
skills of reading, writing, and mathematics. Obviously, teaching tools cannot
fully replace teachers. We believe that the relationship between print media
and multimedia technology, as well as between classroom teaching and
computerized teaching tools, is not a choice of either/or, but is one of
both/and. In this conception, multimedia is used to supplement print material
and computers are deployed to supplement classroom teaching exercises.
We
owe it to our students to provide the skills and tools to understand the vast
changes of the economy, society, and culture currently going and to help orient
them toward opportunities, challenges, and problems. This involves educating
students to become citizens in a rapidly mutating democracy, as well as to prepare
them for new labor markets, forms of information and entertainment, and a new
technologically-mediated cultural and social field. Yet rather than deploying
new multimedia technologies, traditional educators persist in blaming media and
technology for declining test scores and an alleged dumbing-down of youth --
not unlike blaming the victim. These educators often propose or defend
problematic tools like "V-Chips" in televisions to censor so-called
sexually explicit or violent programming (which is all too often misidentified
and/or misdefined by the so-called experts) rather than teaching students to
critically analyze and dissect representations of violence or other
objectionable media material. Likewise, it is now fashionable to defend
programs that will block home or school computers from objectionable content as
the solution to allegedly debased and dangerous forms of computer culture.
It
seems more productive, however, to teach students how to access and appreciate
worthwhile educational media and cultural material rather than to censor and
condemn -- although learning skills of critique is certainly an essential part
of media pedagogy and education in general. Often censoring material makes it
even more appealing and seductive, so we recommend critical engagement with
media materials rather than simple prohibition. Moreover, the incorporation of
media literacy programs within the public and university systems hardly
requires anything more than a television set, VCR monitor, pretaped programs,
and a teacher and/or professor who is trained, committed, and knowledgeable in
basic critical media literacy theory and practices. Indeed, as Carmen Luke
argues:
TV
is today's mass social educator with powerful influence on social life,
people's worldviews, consumer behavior and the shaping of public sentiment. The
network of commodity and visual symbolic sign systems within which we live is
already so dense and pervasive that we fail to make much note of it....
Television takes up more of children's time than any other activity except
sleeping, and school aged children watch on average between 18-30 hours a
week.... By age 18, the average viewer has watched some 14,000 hours of TV, and
yet during that same time has spent only 12,000 hours in classrooms in front of
teachers and texts. These figures do not include time spent reading comic books
and magazines, playing video games, or playing with media spin-off toys (Luke
1996, 1).[4]
Luke
goes on to emphasize the every-day life situations of the typical contemporary
student by perceptively claiming that: ³In my estimation, the everyday
televisual and popular cultural texts that students encounter are at least
as, if not more, significant sources of learning than the print texts educators
deem as culturally relevant literacy texts² (1; emphasis ours). Luke's
appraisal of the state of contemporary student consciousness regarding the
dominance and significance of media is a common-sense and shared assumption.
Yet such recognition of the saliency of media culture in the life of today¹s
students is at odds with the manner in which the educational establishment and
the majority of workers within it actually address education and the issue of
media and computers within every-day teaching practice.[5]
For
example, even with the widespread availability of inexpensive video equipment
within both the schools and universities, teachers rarely teach students how to
critically analyze media materials in their classrooms or promote media
literacy, let alone cultivate media literacy skills in order to teach students
how to use the equipment to produce their own contemporary media forms. We have
found that the production of alternative or parodic forms of commercial media,
in the mode of anti-commercials or anti-rock videos, for instance, could break
through the barriers and extend the critical educational process in many
exciting pedagogical directions (see Hammer 1995: 226ff.). Yet this inexpensive
and accessible option is rarely employed by university and/or K-12 classroom
teachers. Unfortunately, it seems far more common for teachers to supplement
oral and written teachings with a one-dimensional employment of a film, video,
or media form as a supplementary and far less valued corollary text.
Moreover,
if actual practical applications of media production are taught and
incorporated within the university or educational setting, they are often
addressed with condescension and allocated to the role of a far less socially
credible school employee, usually technical support staff. Such employees are
often not interested in or qualified to teach the necessary semiotic skills and
analytical concepts of media literacy which must accompany all practical
applications of any media form. Furthermore, the main authority figure, the
classroom teacher or professor, often diminishes the importance of this kind of
work and/or literacy by the very lack of demonstrated skill and/or interest in
learning this form of practical literacy. The teacher thus abdicates to
"techies" the pedagogical responsibilities in these arenas.
Hence
arises the illogical but common practice of blaming the victim, or student in
this case, and the technology itself in a fashion that distracts and obscures
its potential pedagogical significance. Focusing on the alleged pedagogical
harm from media and computer culture diminishes the positive potential of media
and technology in society and education, as well as the necessity to become
literate in reading and using media and cyberculture. The computer, as well as
the TV set, has now often become a common object of disdain and disrespect
within the educational context. Like the television and Hollywood films that
have been blamed by so many educators for educational and human failings among
contemporary students, the computer is now also being demonized. Common
complaints, used to characterizing negative the computer revolution and its
associated forums, like the Internet and Web, appear to blame the new
technologies, and the student who uses them for playing games like blackjack,
or computerized video games. Others complain that students spend too much time
on e-mail, in chatrooms, or in web-surfing. Many educators and critics thus
denounce out-of-hand new computer technologies rather than embarking on serious
studies of how such tools can be used to enhance education. In a similar vein,
criticisms are also proliferating concerning student propensities toward
employing the computer, Internet, and the World Wide Web to plagiarize and
cheat on term paper assignments, rather than seriously investigating the ways
that computers and multimedia could be productively used to advance research
and education. Such criticism obscures the real kinds of epistemological and
behavioral shifts that an expanding computer and media culture are producing
and the need to develop literacies and pedagogies to make use of these
technologies for educational purposes.
The
criticisms often call attention to the challenge and ubiquity of the new
technologies and dramatize the need for those who educate and develop
educational curricula to become literate in these domains. Such emergent
pedagogical forums deserve the respect with which the written, published word
is afforded within the academic and educational realm (often, we might add,
uncritically). All too often, a news story or artifact of media culture depicts
youth as taking advantage of the computers in an immoral fashion to access
pornography, to cheat, or to play trivial games. It is as if we are being
revisited by 50s morality and cruising the Web and the discovery of particular
web sites (as well as other controversial activities like chat rooms or
participation in other forms of virtual interaction like MOO's and MUDs) is
generally considered as corrupting, like early involvement in rock and roll.
Moreover,
some educators and so-called experts have adopted a defeatist and
counterproductive attitude toward these new technologies and their
incorporation into both the classroom and everyday lives, and hence shirk their
responsibilities as practical and critical pedagogues to make use of the most
advanced technologies for educational purposes. All-too-many educators and
critics employ the (admittedly compelling) argument that the new technologies
are far more accessible to the privileged and are therefore reinforcing class
hierarchies which will eventually enable those children of the predominantly
white middle and upper classes to become far more computer literate. Critics
often use this argument to imply that computers will generate an even more rigid
future of class-based divisions in employment opportunities and social position
to denounce computers, rather than devising strategies to make sure that
disadvantaged and subordinate groups have access to computer education and
technologies.
Merely
dismissing computers and new technologies manifests a refusal to confront the
need to restructure education and to cultivate multimedia and computer
literacies among all social groups. In fact, the admittedly growing disparity
between the haves and have-nots must become part of a media and computer
literacy educational epistemology and politics. This cause needs the active
participation of educators in political coalitions that seek to make these new
technologies more accessible to the underprivileged student populations. Such
coalitions require networking teachers and educational professionals with
grass-roots organizations, official and unofficial lobby groups, and research
and grant organizations. It also requires teachers to become public
intellectuals to strive to make schooling responsive to the need to cultivate
democratic citizens (see Giroux 2000), as well as relevant to the challenges of
a new economy and culture. Overcoming the ³digital divide² thus requires
participation in social and educational change to benefit those subordinate
groups along the axes of class, gender, and race who have traditionally not
received the benefits of ruling social groups.
What
is needed therefore is a philosophical and pedagogical shift toward positively
deploying new technologies for educational purposes and democratic social
transformation. This reconstructive process should seek to empower and
enlighten both teachers and students and to assist them in recognizing the
difference between good and bad, mediocre and beneficial, media and multimedia
texts. Teachers and students should learn to evaluate new cultural forms in the
same manner in which one judges and evaluates print media material. This
approach, however, necessitates a commitment to teaching media, computer, and
multimedia literacies and the active incorporation of the best of these
programs within the pedagogical forum (Kellner 1998 and 2000).
It
is within this context, then, that the Shoah project could prove an innovative and useful teaching
resource. For any liberatory and effective educational form that assists in
progressive and revelatory education must be pedagogically efficacious in both
form and content. Thus, projects like the Survivors of the Shoah Visual History
Foundation can provide models of how multimedia material can enhance education,
if, of course, the material is utilized appropriately.
Such
multimedia technology has a great potential for multicultural education. To
non-Jews, Jews are an Other, they exist in an area of strangeness outside of
familiar experience, just as Blacks are alien to non-Blacks who have not had
personal experience and interaction with them. Multimedia technology makes
accessible representations of those perceived as an Other. Such images can
personalize individuals in groups often perceived as different or other; it
makes it possible to see, hear, and experience the views, practices, and
culture of groups outside of one's ordinary life and interaction. In
particular, multimedia can dramatize oppression, making intolerance and bigotry
vivid and striking, showing the evil effects of racism and prejudice.
The
new multimedia can thus help document racism and teach tolerance by providing
concrete and vivid images and examples of prejudicial behavior and racial and other
forms of oppression. The documentation of concrete instances of racism and
prejudice help personalize and vivify the consequences of oppression and enable
students and citizens to emphasize with the victims through humanizing
phenomena that are often abstract and objectified. Hence, well-produced
multimedia productions can help teach tolerance and moral behavior, as well as
history, religion, philosophy, and any particular subject matter.
We
are therefore encouraged that the Shoah Foundation has chosen to illuminate a
variety of forms of fascist oppression in addition to the slaughter of millions
of Jews in the Holocaust. The next phase of their work involves documenting
other groups and individuals oppressed by German fascism, including many people
who have sometimes been forgotten in the wake of literature and research
dedicated to the vitriolic hatred of the Nazis toward the Jewish people. The
significance and consequent complexities implicated in expansion of the Shoah
parameters are powerfully expressed by Bohdan Wytwycky in his critical
documentary text, The Other Holocaust: Many Circles of Hell (1982),
which provides an excellent textual supplement to the Shoah material.
To
grasp the full range of German atrocities involves understanding the Nazi
policies which extended beyond Jews and encompassed an additional 9 to 10
million people who shared the same or similar fates (Wytwycky, 17). Indeed,
Wytwycky draws on Dante to attempt to make clearer the Nazi genocidal
pathology.
In his classic medieval
trilogy, The Divine Comedy, Dante managed to portray nine different
"circles" of damnation. The Nazi hell, too, consisted of different
circles into which victims were consigned and in which they suffered a variety
of cruel fates. The Nazi hell differed from Dante's, of course, because its
victims were innocents whose only "crime" was to belong to peoples
whom Nazi and racism had decreed to be unworthy of sharing in the Thousand Year
Reich (17).
Hence,
rather than restricting their multi-dimensional educational and interactive
archival project to audio-video documentation of those Jewish veterans of the
Holocaust who managed to survive and then stayed alive long enough to be
chronicled by the archives, the Shoah foundation has been expanding its mandate.
As mentioned, it will actively collect the testimonies of other pariahs of the
Nazi genocide. These groups include gypsies, Slavs, homosexuals, Jehovah's
Witnesses, Communists, and individuals in any way deemed physically or mentally
challenged or different, as well as any individual or group who resisted the
official doctrines of the so-called germanic "master race." Moreover,
the Shoah Institute is also attempting to chronicle those particularly
courageous and usually unsung heroes and heroines people who refused to
collaborate and chose to put their lives on the line by assisting those
identified as the enemies of the Third Reich to escape or hide from their
executioners and by resisting a hegemonic force which was so powerful. Indeed,
the power of fascism was due in large part to the vast legions of supporters
and collaborators who were encouraged and rewarded for practices of cooperation
and collusion which cost the lives of brothers, sisters, friends, and loved
ones. Hence, celebrating the lives and sacrifices of those who resisted fascism
is an important lesson for the future and a necessary aspect of properly
understanding the past.
The
magnitude of the Shoah project, which makes use of the most advanced
technologies for educational purposes, is thus beneficial to showing how new
technologies can advance and revitalize education for today's student. Creative
use of new technologies, of course, depends on those who implement them and how
they are deployed. Effective use is nurtured by the convictions and sustained
efforts that must accompany projects embodying imaginative teaching designs and
programs to further multicultural education and teaching of events, otherwise
hard to grasp, such as the Holocaust.
A
democratic and multicultural reconstruction of education thus requires the
commitment and critical intelligence -- as well as hard work! -- of teachers,
in conjunction with the students who so desperately need these kinds of
resources to truly learn about the world, and hence themselves and their place
in it. Teachers will find that such respond positively to multimedia materials
which can be of great assistance in promoting student interest as well as
transforming key historical experiences and knowledge. A transformative media
pedagogy thus helps broaden the curriculum and brings voices, experiences, and
material into the educational process that is often downplayed or ignored in
traditional educational texts and materials.
Historical Education and Multimedia: UCLA's Executive
Order 9066
The
Shoah project, to be sure, had tremendous economic resources behind it, but, as
Steve Ricci, the director of the Film and TV Archives at UCLA, and his other
colleagues have demonstrated, it is not necessary to have access to a budget of
over 45 million dollars to produce a highly effective interactive educational
pedagogical supplement. While the Shoah Foundation has a large budget and
multiple sources of funding, the unlimited use of state-of-the art
technological equipment, and the contributions of at least 240 paid staff
members and over 3,600 volunteers, Ricci and his colleagues co-produced with
the Japanese American National Museum a CD-ROM which is highly sophisticated,
arresting and absorbing in both form and content. And like the Shoah project, Executive
Order 9066: The Incarceration of Japanese Americans During World War II
bursts disciplinary boundaries and traditional compartmentalized learning
arenas to produce a transdisciplinary, multi-leveled portrayal and historical
presentation of one of the cruelest, most blatantly racist programs in U.S.
history.[6]
The
UCLA-produced CD-ROM documents an often obscured episode of World War II
history. Emphasizing particularly the situation of Japanese Americans in the
United States, this riveting multimedia, interactive project documents, at many
levels, how 120,000 Japanese Americans were incarcerated by the United States
government in numerous so-called internment or concentration camps through-out
the United States, primarily in the West, Midwest and Texas. Allowing users to
navigate from photographs, diaries, and home videos of life in the camps to
newsreels, essays, and media texts, the CD-ROM provides a contextual framework
to understand the events and humanizes the experience of its victims and survivors.
It also contains information often omitted from accounts of the war, such as
the collusion of thirteen Latin American countries with U.S. agents in the
displacement and internment in the United States of over 2,000 people of
Japanese ancestry from these countries, on the highly dubious charges that they
posed security risks.
Like
the Shoah project, the UCLA CD-ROM also stresses the necessity of revisiting
and re-examining painful and repugnant instances of massive scale, legitimized
programs of persecution and inhumanity to others. Indeed, the incarceration of
Japanese Americans was rationalized and justified solely on the basis of an
assortment of bigoted myths and practices, and the CD-ROM helps ensure that we
do not forget and repeat, reproduce, falsify or gloss over these atrocities of
the recent past. One learns, for example, that much of the land or property
owned by these Japanese Americans was legally stolen or
"repossessed" by government agencies during this shameful episode of
U.S. history which many Americans would prefer remain buried and forgotten.[7]
Employing
a multiplicity of innovative technological devices, archival and documentary
footage, maps, photographs, oral histories, Executive Order 9066
presents and interrogates the arrests and conditions of incarceration of over
120,000 Japanese Americans during World War II, of whom over two-thirds were
American citizens. Drawing on both UCLA-owned archival material and the
resources of the Japanese American National Museum, rare archival footage and
photos, interview material, personal accounts, chronologies, maps, and
historical essays all provide a vivid historical reconstruction of the event.
In making accessible this shameful episode, the project develops a diversity of
imaginative, ingenious and original multimedia formats which display
testimonies from survivors and visionary, artistic mixes of computer graphics,
digitizations and stunning examples of virtual reality to make concrete the
Japanese American experience of internment. Moreover, the CD-ROM incorporates
familiar Japanese-American actors and celebrities as narrators, and includes
many of their own testimonies. This content further humanizes the shameful
episode, as well as demonstrating the courage of those who are too often
portrayed as victims.
The
UCLA-produced CD-ROM thus clearly demonstrates, in a variety of iconic, aural,
and oral forms and forums, that propensities toward intolerance and persecution
lies within ourselves and within the frameworks of the systems of government
and ways of life that are defined and embraced as democratic, liberal, and
egalitarian. The production reveals that crimes against humanity are not
restricted to peoples and nations that are commonly identified as evil,
totalitarian, fascistic, undemocratic, or Other, and hence interrogates and
teaches about some very discomfiting truths and realities in our own
democracies.
Rather
than relying on the usual "bells and whistles" that often typify
educational CD-ROMs (which often embody simplified, computer game-like brain
candy techniques), Executive Order 9066 permits students to learn at
their own speeds and levels of expertise. It also facilitates both
individualized and class-based teacher-student multimedia tutorials, studies,
and assignments. The CD-ROM thus exemplifies the practical applications of the
theoretical and educational calls for multimedia based projects that actually
enhance and transform public pedagogies. Consequently, this is exactly the kind
of multimedia project essential for contemporary teaching, which may help
remedy the situation evoked by current studies that appear to demonstrate
waning basic student skills and literacies, as well as serious lack of
historical and political knowledge and awareness.
New
transdisciplinary multimedia projects include multiple educational arenas
within an underlying common, critical, and political theme. Such projects make
it possible to teach not only the basics of mathematics, reading, and study
skills, geography, history, and some dimensions of science, but also
disciplines such as political science, economics, and sociology, without the
often tedious and dull segregations and divisions that generally mediate these
subjects. Instead of decontextualizing historical events and divorcing them
from reality, the multimedia and CD-ROM projects that we have discussed provide
exceptional contextualized understanding of the many dimensions of political
oppression, as well as teaching tolerance and the importance of resisting
racist and oppressive political behavior. Thus, by bringing to the fore the
human dimensions of persecution, multimedia technology can also serve as an
instrument of moral and political education.
The Shoah
Foundation is currently offering tours to interested parties and will
eventually make their material accessible at the Simon Wiesenthal Museum of
Tolerance, via books and CD-ROM, and a website. Call the Shoah Foundation at
800-661-2092 for information.
For information
on ordering Executive Order 9066: The Incarceration of Japanese Americans
During World War II write Steve Ricci, Film and TV Archives, 302 E.
Melnitz, UCLA, Los Angeles, CA 90095 or call 310 826-5388.
References
Burbules, Nicholas C. and Thomas A. Callister
(2000) Watch IT. The Risks and Promises of Information Technologies for
Education. Boulder, Col.: Westview Press.
Giroux, Henry (2000) Impure Acts. The
Practical Politics of Cultural Studies. New York: Routledge.
Hammer,
Rhonda (1995) "Strategies for Media Literacy," in McLaren, Peter,
Rhonda Hammer, David Sholle and Susan Reilly, Rethinking Media Literacy. A
Critical Pedagogy of Representation. New York: Peter Lang: 225-235.
Kellner,
Douglas (1998) "Multiple Literacies and Critical Pedagogy in a
Multicultural Society," Educational Theory, Vol. 48, Nr. 1 (1998):
103-122.
Kellner,
Douglas (2000) ³New Technologies/New Literacies: Reconstructing Education for
the New Millennium,² Teaching Education, Vol. 11, No. 3 (2000): 245-265.
Luke,
Carmen (1996) "Reading Gender and Culture in Media Discourses and Texts,"
in G. Bull and M. Anstey (Eds.), The Literacy Lexicon. New York and
Sydney: Prentice-Hall: 177-192.
Luke,
Carmen (1997) Technological Literacy. Melbourne: Adult Literacy
Research Network/The National Language and Literacy Institute of Australia.
Luke, Allan and Luke,
Carmen (2001) ³Adolescence Lost/Childhood Regained: On Early
Intervention and the Emergence of the
Techno-Subject,² Journal of Early Childhood Literacy, 1(1): 91-120.
Wytwycky,
Bohdan (1982) The Other Holocaust. Many Circles of Hell. Washington: The
Novak Report.
[1] The current director, Douglas Greenberg, Š. We might note that the Holocaust Memorial Museum in Washington, D.C. is one of the most advanced and impressive museums in the world in terms of their use of multimedia technology. Museum displays deploy a variety of exhibits, multimedia, and interactive media to experience and teach about the Holocaust.
[2] For detailed discussion of media literacy and the major literature and debates concerning it, see Luke 1997 and Kellner 1998.
[3] For a brilliant study of the misfit below student experience, subjectivities, and culture and the institution of schooling, as well as strong arguments for introducing multiple literacies in the schools and not privileging print literacy, see Luke and Luke (forthcoming).
[4] Current statistics indicate that children [get recent lat article
[5] Luke¹s comments on the importance of using televisual and other cultural texts in the article cited is even more appropriate in an era marked by an explosion of computer and new multimedia technologies. In this situation, students are cultivating new identities and subjectivities in their interaction with new information and multimedia technologies (see Luke and Luke forthcoming).
[6]
Other allied countries colluded with the
United States in perpetuating this government-authorized bigotry against
Japanese citizens and residents of the U.S., Canada and South America. For
information on ordering Executive Order 9066: The Incarceration of Japanese
Americans During World War II, write Film and TV Archives, UCLA, 302 E.
Melnitz, Los Angeles, CA 90095; call at 310-206-5388; or check their website at
www.cinema.ucla.edu/publications.html.
[7]
The Civil Liberties Act of 1988 apologized
formally and allocated $40 million dollars in reparations -- half to fund
educational programs, and the other half to compensate about 81,000 Japanese
Americans directly. This legislation, however, hardly addresses the grievances,
suffering, loss, and long-term consequences of this injustice.