Social inclusion and wellbeing are a fundamental human right and intimately connected with the right to reside in a country. For refugees and migrants this takes on multiple and new forms as digital experiences increasingly wrap every part of our being. It can refer to maintaining social capital through shared digitally mediated conversations and images with friends and relatives in the homeland. It can also be about producing and accessing digital information and learning resources that can support social inclusion and wellbeing in the new country. In this paper we explore how digital learning resources developed in the Erasmus+ ReGap project (Reducing the Educational Gap for Migrants and Refugees) can support the desire to be socially included and to experience a sense of wellbeing. A key finding is that in creating such resources as digital stories, refugees and migrants, who are co-producers and users of these stories, experience social inclusion and a sense of wellbeing. The paper proposes an innovative set of indicators to measure the success of the online learning resources developed. 4 To be a refugee or a migrant is an experience unlike others, it is at once to be a no-place person 5 and at the same time to live everywhere 6 ; belonging to many places, if only fleetingly. It is in many senses "a", if not "the" modern defining experience as people appear, and perhaps also are, ever more mobile. Existentially it is what has been called refugeeness, and in so doing denotes an experience lived in the flesh of the body, in the flesh of language (metonyms and metaphors) and in the flesh of community (social bonds and interactions) (Dobson, 2004: 337) 7 .

The article contributes content and perspectives to the concept of creative media literacy. Our analysis is based on the assumption that creative media literacy develops in an interplay of technical and aesthetic literacy, combined with an ability to communicate and to be reflective with regard to one's own media expressions. The empirical material consists of four media productions, two web sites and two video films, made by teenage girls, including interviews with the producers. keywordsCreative media literacy • creativity • media productions • informal learning Introduksjon Vi løser ikke de store verdensproblemene hver dag, men de problemene vi løser, er de største i verden for oss.Sitat fra filmen Ikke sant, 2006

This article explores how policymaking relates to young people's ability to produce moving images in Norway by connecting the three domains authorities' incentives and policy-making, youth production practices and availability of production resources and contexts. First, we give an overview of how policymakers have facilitated formal and nonformal contexts for moving image production. Second, we provide a bottom-up perspective, aiming at understanding youth production practices over time in and out of school. By combining a top-down, policy-oriented perspective with a bottom-up practice-oriented perspective, we illustrate how filmmaking as a distinct culture of digital production has been constituted and elaborated in an era of transition from analogue to digital technologies.

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