Holy Child High School

Kinoguitan, Misamis Oriental

STUDENT ACTIVITY SHEETS

MEDIA AND INFORMATION LITERACY
Name: Grade & Section:

Activity No. 2 Date: September 1, 2020

Lesson 2: Introduction to Media and Information Literacy
Learning Target:
Learners will be able to...
 define media literacy;
 define Media Literacy, Information Literacy, and Technology Literacy.
 identify the similarities and differences of Media Literacy, Information Literacy.

TOPIC OUTLINE:
I- Introduction to Media and Information Literacy
A. Media Literacy
 Types of Media
 Types of Digital Media
B. Information Literacy &. Media Literacy
C. When Do We Say Something Is Constructed?
D. The Grammar Of Camera
Reference: Media and Information Literacy Book
Values: Critical Thinking
Concept Notes
What is literacy? - the ability to read and write.
WHAT IS MEDIA?
Origins of the word “Media”
 Means of mass communication were “print” – magazines, journals, and newspapers – and their collective
name was already in place: publication. Soon after radio and television were added to mix, however, the
term “publications” would not stretch to fit. Needing a term would encompass all these means of
communication, writers borrowed the term “media” from advertising people, and used it since then to
accommodate these means of communication and even the newer ones such as internet. (Turow 2009)
Types of Media:
 Print Media
 Broadcast media
 Digital or new media
 Media literacy is a 21st century approach to education that provides a framework to access,
analyze, evaluate and create messages in a variety of forms.
 It builds an understanding of the role of media in society as well as essential skills of inquiry and
self-expression necessary for citizens.
Digitalcitizenship.net
 Citizenship/Internet access involves looking into several domains of information technologies behavior.
DIGITAL ACCESS
1. The ideal situation is that all have full electronic participation in society. Responsible digital citizenship/ netizen
should advocate for the increase access of all netizen information technologies.
DIGITAL COMMUNICATION
2. This involves the electronic exchange of information through various platforms and channels.
DIGITAL COMMERCE
3. This involves the sale and purchase of goods and services using digital platforms in the internet and mobile
phones.
DIGITAL ETIQUETTE
4. This is about the commonly regarded as appropriate and respectful behavior when using information
technologies.
DIGITAL LAW
5. This covers the legal environment that informs and guides the users about the ethical and productive use of
technology, defined as abiding with the laws of society in the Philippines, we refer to the Magna Carta for Internet
Freedom which is a crowed- source of documents.
DIGITAL WELLNESS
6. This covers the protection of users from what could be potentially deleterious to their physical, physiological, and
even psychological well-being eye safety, repetitive stress syndrome, and sound.
DIGITAL SECURITY
7. This area covers the entire gamut of safety precautions that information technologies invoke- from virus
protection to data protection.
WHAT IS INFORMATION LITERACY?
Information literacy as a set of abilities requiring individuals to recognize when information is needed and have
the ability to locate, evaluate, and use effectively the needed information.

MEDIA LITERACY –
 is most validity seen as a repertoire of skill and capacities the most common definition “is the ability to
access, analyze, and response to a range of media”.
 By range of media, this includes print, moving image and other hybrid forms such as multimedia text.
Access denotes the knowledge of where to find these form of media, such as access to cable, knowing how to
play the DVD player, knowing how to adjust setting and knowledge where to access the internet/media text that are
crucial to your life and to your community, etc.
Analysis includes thinking reflectively and critically on what has been read, seen or experience, and its
implications to oneself and to one’s community.it also includes the assessment of the reliability of the material, its
source and if it is presenting facts, the reliability of the source
Reponses includes the ability to experience and explore the pleasures of the media text and how these are
realized through the language of the media. It also includes evaluation of how as perennial media audience, these
media texts shape our insights, perspectives and identities.
Why are media messages constructed?
When we say that all media messages are constructed, we mean that all media messages have been
assembled by someone. That “someone” could be a single person, or it could be a large organization.
The messages and values embedded in this piece of media are those of the people who created it.
WHEN DO WE SAY SOMETHING IS CONSTRUCTED?
Messages are the ones that we transmit in communication and media. The first step in creating a message is
first we construct it. ... Each one of us can be an artist that can represent our own understanding or perception of
reality through media.

What is media construction?

Construct or Construction: The process by which a media text is shaped and given meaning through a process
that is subject to a variety of decisions and is designed to keep the audience interested in the text.

THE GRAMMAR OF CAMERA

Television and film use certain common conventions often referred to as the ‘grammar’ of these audiovisual media.
This list includes some of the most important conventions for conveying meaning through camera and editing
techniques (as well as some of the specialized vocabulary of film production).

Long shot (LS). Shot which shows all or most of a large subject (for example, a person) and usually much of the
surroundings.

Extreme Long Shot (ELS) – see establishing shot: In this type of shot the camera is at its furthest distance from
the subject, emphasizing the background.

Medium Long Shot (MLS): In the case of a standing actor, the lower frame line cuts off his feet and ankles. Some
documentaries with social themes favor keeping people in the longer shots, keeping social circumstances rather
than the individual as the focus of attention.

Establishing shot. Opening shot or sequence, frequently an exterior ‘General View’ as an Extreme Long Shot
(ELS). Used to set the scene.

Medium shots. Medium Shot or Mid-Shot (MS). In such a shot the subject or actor and its setting occupy roughly
equal areas in the frame. In the case of the standing actor, the lower frame passes through the waist. There is
space for hand gestures to be seen.
Medium Close Shot (MCS): The setting can still be seen. The lower frame line passes through the chest of
the actor. Medium shots are frequently used for the tight presentation of two actors (the two shot), or with
dexterity three (the three shot).

Close-up (CU). A picture which shows a small part of the scene, such as a character’s face, in detail so that
it fills the screen. It abstracts the subject from a context.

MCU (Medium Close-Up): head and shoulders. BCU (Big Close-Up): forehead to chin. Close-ups focus
attention on a person’s feelings or reactions and are sometimes used in interviews to show people in a state
of emotional excitement, grief or joy. In interviews, the use of BCUs may emphasize the interviewee’s tension
and suggest lying or guilt. BCUs are rarely used for important public figures; MCUs are preferred, the camera
providing a sense of distance. Note that in western cultures the space within about 24 inches is generally felt
to be private space, and BCUs may be invasive.

Angle of shot. The direction and height from which the camera takes the scene. The convention is that in
‘factual’ programs subjects should be shot from eye-level only. In a high angle the camera looks down at a
character, making the viewer feel more powerful than him or her, or suggesting an air of detachment. A low
angle shot places camera below the character, exaggerating his or her importance. An overhead shot is one
made from a position directly above the action.

Viewpoint. The apparent distance and angle from which the camera views and records the subject. Not to be
confused with point-of-view shots or subjective camera shots.

Point-of-view shot (POV). A shot made from a camera position close to the line of sight of a performer who
is to be watching the action shown in the point-of-view shot.

Two-shot. A shot of two people together.

Selective focus. Rendering only part of the action field in sharp focus through the use of a shallow depth of
field. A shift of focus from foreground to background or vice versa is called rack focus.

Soft focus. An effect in which the sharpness of an image, or part of it, is reduced by the use of an optical
device.

Wide-angle shot. A shot of a broad field of action taken with a wide-angle lens.

Tilted shot. When the camera is tilted on its axis so that normally vertical lines appear slanted to the left or
right, ordinary expectations are frustrated. Such shots are often used in mystery and suspense films to create
a sense of unease in the viewer.

Zoom. In zooming in the camera does not move; the lens is focused down from a long-shot to a close-up
whilst the picture is still being shown. The subject is magnified, and attention is concentrated on details
previously invisible as the shot tightens (contrast tracking). It may be used to surprise the viewer. Zooming
out reveals more of the scene (perhaps where a character is, or to whom he or she is speaking) as the shot
widens. Zooming in rapidly brings not only the subject but also the background hurtling towards the viewer,
which can be disconcerting. Zooming in and then out creates an ugly ‘yo-yo’ effect.

Following pan. The camera swivels (in the same base position) to follow a moving subject. A space is left in
front of the subject: the pan ‘leads’ rather than ‘trails. A pan usually begins and ends with a few seconds of
still picture to give greater impact. The speed of a pan across a subject creates a particular mood as well as
establishing the viewer’s relationship with the subject.

Surveying pan. The camera slowly searches the scene: may build to a climax or anticlimax.

Tilt. A vertical movement of the camera – up or down- while the camera mounting stays fixed.

Crab. The camera moves (crabs) right or left.

Tracking (dallying). Tracking involves the camera itself being moved smoothly towards or away from the
subject (contrast with zooming). Tracking in (like zooming) draws the viewer into a closer, more intense
relationship with the subject; moving away tends to create emotional distance. Tracking back tends to divert
attention to the edges of the screen. The speed of tracking may affect the viewer’s mood. Rapid tracking
(especially tracking in) is exciting; tracking back relaxes interest. In a dramatic narrative we may sometimes
be drawn forward towards a subject against our will. Camera movement parallel to a moving subject permits
speed without drawing attention to the camera itself.

Hand-held camera. A hand-held camera can produce a jerky, bouncy, unsteady image which may create a
sense of immediacy or chaos. Its use is a form of subjective treatment.

Process shot. A shot made of action in front of a rear projection screen having on it still or moving images as
a background.
 Self-Test/ Activity Sheet
No. 2
Name: _________________________ Date: _____________
Grade & Section: _________________
Learning Experiences
Checking for Understanding

Task 1: You will prepare a video portrait of ordinary person or any member of your family as the
subject of your interview. (NOTE: All grade 11)
 Do an interview. Open – ended questions about the media today that would elicit (obtain) a
substantial response. (Fast talk interview with least than 1minute.)
 Used/Apply at least 3 Grammar of the camera that create angles of your video portrait.
Task 2: Discuss the following question: to the students using module learning write your answer on
yellow paper and for those online send your answer to my gmail account cecilleidjao@gmailcom.
1. Evaluate your works. Go back to the decisions you made with the use of the camera, the angles
that you create, the use of the magnification capacity through the lens that zoom in and out, and
the capacity of the camera to pan or tilt.
1. Why did you do it? How?
2. What was the effect on how you portrayed your subject?
3. How did the camera help you tell the significant work that your subject does?