By Mizuko Ito, Sonja Baumer, Matteo Bittanti, danah boyd, Rachel Cody, Becky Herr-Stephenson, Heather A. Horst, Patricia G. Lange, Dilan Mahendran, C. J. Pascoe, Dan Perkel, Laura Robinson, Christo Sims, Lisa Tripp, Katynka Z. Martínez
An exam of younger people's daily new media practices—including video-game taking part in, text-messaging, electronic media creation, and social media use.
Read or Download Hanging Out, Messing Around, and Geeking Out: Kids Living and Learning with New Media (The John D. and Catherine T. MacArthur Foundation Series on Digital Media and Learning) PDF
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Extra resources for Hanging Out, Messing Around, and Geeking Out: Kids Living and Learning with New Media (The John D. and Catherine T. MacArthur Foundation Series on Digital Media and Learning)
Unlike the other Iranian movies about the war and some of the art-house films, which were given to the exploration of the physical and phenomenological world of the senses (Abecassis 2011), the Chronicle of Victory series tended to be metaphysical and abstract, particularly because of Avini’s voice-over. Many Chronicle of Victory films, such as Operation Valfajr 8 and The Road, follow the form and structure of a religious sermon (rowzeh), showing how Shiite performance traditions have influenced the films.
Changing times, particularly during Ahmadinejad’s retrenchment period and the political dissent it spawned, necessitated a different kind of narration and chronicler. Avini’s books, too, vanished from bookstores without any explanation, including from the Chronicle of Victory Institute’s own bookstore. Gradually, the institute itself became somewhat marginalized and its mission reduced.
Shekl-e Dovvom, 1979), Kianush Ayyari’s Summer 1979 in Today’s Tehran: First Timers (Tabestan-e 1358 dar Tehran-e Emruz: Tazeh Nafasha, 1979), and Amir Naderi’s First Search (Jostoju-ye Yek, 1980). Ayyari’s film is an important historical film as it presents documentary footage of the immediate postrevolution period when there was much fluidity and freedom, with street vendors displaying rows of books and pamphlets, young stand-up comics accurately mimicking prerevolution enter- tainers (Fereydoun Farrokhzad) or political leaders (the Shah) for a large and delighted audience, a sign outside a movie house asking customers not to bring weapons inside, people arguing about politics in the streets or lecturing the passersby, and unveiled women strolling and carrying out their business freely in public places.