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Critical Media Literacy (CML) is defined by Kellner and Share as the process of understanding, analyzing, deconstructing and evaluating media in order to challenge dominant ideologies, messages and hegemonic power structures. It encourages viewers to be mindful that all media is produced with a specific agenda in mind; it recognizes the role of cultural industries such as television, film, radio and print media in reinforcing or challenging existing social norms; and it offers strategies for how those exposed to any form of media can act upon their critical analysis.

Miss Representation (2011) is a documentary directed by Jennifer Siebel Newsom which examines how mainstream media contributes to the under-representation of women in positions of power. The film’s goal was not only to raise awareness about this issue but also to provide viewers with opportunities for empowerment through education on how they can become “active participants” in creating change. Through interviews conducted with academics, activists and other public figures as well as archival footage from popular sources such as music videos, movies and news programs, Miss Representation provides an array of examples that demonstrate the negative impact traditional gender roles have on young girls growing up today.

The Mask You Live In (2015), another documentary from director Jennifer Siebel Newsom explores hypermasculinity within our culture’s definition of manhood. This movie follows multiple boys throughout adolescence into adulthood showing us how these pressures have led them down destructive paths resulting in depression and even suicide among many others issues. By highlighting various stories from individuals who have experienced this form of oppression firsthand we are provided with an education on exactly what goes into making men feel isolated or ashamed when trying to express emotions outside society’s expectations.

Both films illustrate several principles associated with Critical Media Literacy: recognizing the influence that particular forms of media may have over one’s beliefs regarding politics, gender roles or race; understanding the impact oppressive messages presented via different genres of entertainment might carry over time; being conscious about what type information is being consumed; questioning how certain narratives shape ideas surrounding identity formation etc.. They also both introduce audiences to tangible solutions related CML including learning more about alternative histories/stories that may not be reflected within mainstream channels; seeking out films/programs created by diverse filmmakers/producers who are committed to challenging gendered stereotypes thus providing more positive representations for viewers etc.. As such both films can certainly be viewed as effective illustrations demonstrating some core premises & practices related Critical Media Literacy (CML).

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