Henry Jenkins investigates the cultural appropriation of Star Wars

Article 1: Jenkins, H. (2003). Quentin Tarantino?s Star Wars? Digital Cinema, Media Convergence, and Participatory
Culture. In D. Thorburn & H. Jenkins (Eds.), Rethinking Media Change: The Aesthetics of Transition (pp. 281-312).
Cambridge, Mass.: MIT Press.
Henry Jenkins investigates the cultural appropriation of Star Wars. Discuss a contemporary example of cultural
appropriation where existing media content has been appropriated by fans and reworked/remixed into new content.

(a) What aspects of the original have been retained?
(b) What original content have fans contributed?
(c) Do you think this work infringes copyright? Why/why not?

Article 2: Russell, A., Ito, M., & Richmond, T. (2008). Culture: Media Convergence and Networked Participation. In
K. Varnelis (Ed.), Networked Publics (pp. 43-76). Cambridge, Mass.: MIT Press.

How have your practices of media consumption changed over the last 5-10 years?

Article 3: Crystal, D. (2003) English as a Global Language (Second Edition). Cambridge: Cambridge University
Press. [pp.1-28]

Question (focus on Youtube):
According to David Crystal, the dangers of a global language are Linguistic power, Linguistic complacency and
Linguistic death. Do you think the Internet exacerbates or incites these problems? Explain.

Article 4: Goggin, G. (2012 forthcoming) Changing Media with Mobiles. In J. Hartley, J. Burgess and A. Bruns
(Eds.) Companion to New Media Dynamics, Blackwell Companions to Cultural Studies series, Cambridge, MA: Blackwell.

1. How do different social media platforms operate on the web and on mobile phones?

2. How do social media practices operate in different cultural contexts? Are the uses of social media and mobile
phones governed by different social practices and social etiquette in different cultures? Discuss your own
experiences from other countries.

Article 5: Marwick, A. E., & boyd, d. (2011). I tweet honestly, I tweet passionately: Twitter users, context
collapse, and the imagined audience. New Media Society, 13(1), 114-133.

Marwick and boyd state that “The need for variable self-presentation is complicated by increasingly mainstream
social media technologies that collapse multiple contexts and bring together commonly distinct audiences” (2011:
115) Are you aware of your different audiences when you construct an online persona in platforms such as Twitter,
Pinterest and Facebook? Do you write and share for different audiences? If so, is this problematic?

Article 6: Nakamura, L. (2000). Race In/For Cyberspace: Identity Tourism and Racial Passing on the Internet. In D.
Bell (Ed.), The Cybercultures Reader (pp. 181-193). New York and London: Routledge.

Do avatar identities enable meaningful experimentation with different types of identity or is it just “identity
tourism” (Lisa Nakamura)? Comment on your own experience with avatars or game characters. Have you ever taken on a
very different identity (e.g. appearance, gender, race, age, species etc) than your physical identity. What, if
anything, have you learned from this experience?

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