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Set against the background of the so-called refugee crisis in Germany in 2015/16, this article asks about the subjective value that refugees give different sources of information and examines whether they were making informed decisions during the various stages of their transit. Between November 2015 and April 2016, four focus groups and 36 in-depth interviews were conducted with Syrian and Iraqi refugees, as well as interviews with Iraqi experts in the media and civil society sectors, based on the theoretical concepts of network and broadcast feedback developed by Bakewell and Jolivet. The results show that, unlike the mass media, personal network and narrowcast feedback were the most important sources of information for the study's participants. While most of the interviewees felt adequately informed both before and during their transit, it was mainly after the refugees arrived in Germany that they experienced a deficit of information.

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In this chapter, perhaps counterintuitively, we begin by challenging the orthodoxies of two key terms in media education (creativity and literacy) and then suggest that by bringing them together in a new way we can provide a framework for media production work that is critical, reflective and student-centred. We understand that production work takes place in a variety of educational contexts, some of which are explicitly vocational, but we suggest here that, if claims for production work are to be made as part of a wider project of literacy, some of the assumptions about the affordances of such work must be addressed and subjected to scrutiny. We propose, ultimately, the concept of 'creative literacy' -a critically oriented set of attributes with which students practise a systematic interrogation of their own productive processes and the meanings attributed to them. Through a philosophically grounded critical framework and examples of pedagogic practice drawn from a three year study of student production work we show how creative literacy can be recognised, developed and how the conditions of possibility for its emergence may be created.First though, we attempt to model the kind of interrogation of terminology that we believe to be necessary for a philosophical approach to media production work. We question, initially, the assumptions around the notion of literacy, and then the myths and contradictions underpinning 'creativity'. By doing this we establish some reasonably secure foundations for our term 'creative literacy' 1 . We move on to outlining a conceptual framework for creative literacy -one refined through an engagement with the debates around practice based research in the arts -and then show, through discussion of concrete examples, how creative literacy might be recognised in practice. Finally we suggest the conditions that should obtain in order for creative literacy to be fostered. 1 We are not the first to use this term, but Woods (2001) uses it to refer specifically to reading as empowerment, therapy and pleasure.

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