Many students enroll in video production courses in high school as part of a vocational, career, or technical program. While there has been an explosion of scholarly work in digital literacy in informal settings, less is known about how digital and media literacy competencies are developed through school-based video production courses. This study explores the relationship between civic engagement and the various multimedia instructional practices used in a high school video production course with a single-school convenience sample and an ethnically diverse population of students. Findings reveal that the best predictors of the intent to participate in civic engagement are having positive attitudes about news, current events, reporting, and journalism. Media literacy attitudes and a range of in-classroom learning experiences with video production are also associated with civic engagement.

The post-truth era has challenged traditional ways of teaching journalism and media literacy. Media literacy education can offer a useful lens for teaching students to be more critical. This pedagogy article describes a semester-long undergraduate course designed to deconstruct information disorder in the post-truth era by looking at economics, ideology, and power relations. Applying a project-based learning model allowed students to enhance their digital and media literacy skills by inquiring about the accuracy of a variety of sources centered on a single story.

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The Creativity of Imitation in Remake Videos When attending a youth media screening event in Philadelphia in 2013, many attendees were impressed by a short video screened there, entitled "Love Language." The short video depicts a unique relationship that develops between two young people sitting on a park bench through the use of post-it notes. We see the couple flirting and developing an interest in each other over a period of three days as they playfully exchange notes. At the conclusion of the short film, it is revealed that one of the youth is hearing and one is deaf. The charming and sentimental narrative offers an optimistic view of human nature and human relationships and expresses people's ability to communicate and value each other across difference. The video received an audience appreciation award at the youth media screening event hosted at PhillyCam, the city's local access center. But only one week previous to this event, in Providence, Rhode Island, the GiveMe5 festival, a statewide youth media event, featured another youth-produced video, also called "Love Language," featuring different actors and setting, but with an identical plot, structure, and form. This video also received a warm response from the audience. Because the ending credits were cut before the conclusion of the film, the audience could not see that this version included a line at the end that indicated that the productions were in fact a remake of the viral video produced by the Jubilee Project to support the American Society for Deaf Children in November, 2010. A search on "Love Language" on YouTube reveals thousands of short video remakes from around the world featuring the plot and structure of the original. It is difficult to determine why this video attracted so many imitations, but the simple production values and emotionallycompelling narrative may explain its popularity as an object of imitation. We take an interest in the "Love Language" video in order to examine some of the pleasures, paradoxes, and tensions regarding the ethical, aesthetic, and therefore educational values of youth-produced remake videos. Although remakes have been sometimes considered "uninspired copies," the remake genre is a significant part of filmmaking (Koos & Forrest, 2002, p. 3). Film critics of the mid-20 th century considered remaking a purely American practice, a product of standardized filmmaking practices and the monopolization of the world market. In distinguishing between film remakes and adaptations, film scholars considered remakes as films that simply updated an older film in order to maintain its appeal to new audiences, while adaptations made changes to the content and form of the original in a way that transforms it by adding new meaning and value (Koos & Forrest, 2002). In examining Hollywood film remakes, Lenos (2009) observes that film remakes capitalize on familiarity while adapting narrative and filmic tropes to new cultural contexts. Digital remix practices work in similar ways to link together media culture, history and locali...