KU J-School innovates for sustainability

By: Nicholas Renard

For KU students about to graduate, many questions are ringing in their heads. Where do I go from here? What have I truly learned? And, perhaps most importantly, were the last four years worth it?

On top of that, journalism students have been hearing for as long as they can remember that jobs journalism jobs are disappearing and fast. It makes sense, too. With everyone and their mothers carrying an advanced smartphone with them nearly 24/7, not to mention recent advances in social media, it seems that anyone can be a journalist these days.

But in reality, journalism students probably shouldn’t fret.

In a study by the University of Georgia’s School of Journalism regarding job placement, evidence showed 81 percent of May 2011 KU J-School graduates found a jobs within six months in the journalism or strategic communication field. That’s a 3 percent increase from the year before.

Good news, right?

Scott Reinardy seems to think so. He’s a KU J-School associate professor and Chair of the News and Information Track with a Ph.D. from the University of Missouri. He cited the 81 percent statistic, too, and seems confident that J-School grads have plenty of opportunities.

Data courtesy Rutgers University, May 2012

Data courtesy Rutgers University, May 2012

“We’re in a period of transition,” he says. “Much like the [journalism] industry.”

The industry has changed so much recently that CareerCast.com, an online job-finder and self-marketing forum, ranked newspaper reporter the worst job of 2013, right below lumberjack and dairy farmer.

To confront these changes, Reinardy says the J-School has undergone a myriad of curriculum changes, specifically in the last year, aimed at broadening the skill sets of its graduates. One particular class, a lower-level research and writing lecture/lab combo, has subsequently been divided into three separate classes, each providing a specific area of focus.

Among these changes is a staunch focus on multimedia use and accessibility from the get-go, a novel and ever-evolving facet of modern journalism which most professionals consider invaluable.

“In other schools I’ve been at, they’ve had emphasis areas early – photo, design, print, TV,” he says. “Then when they were juniors and seniors they said ‘Oh, now you’re going to do multimedia.’ Well, that was problematic.”

He says students who began in their respective emphasis areas were less receptive to multimedia later in their careers, a potential hindrance in today’s industry.

But, Reinardy says, by exposing students to multimedia strategies early in their education, upperclassmen gain a solid foundation before focusing on their specific interests. He says students in their latter years can then essentially design their own curriculum, tailored specifically to their career goals.

And after their initial dip in the multimedia spring, Reinardy says the students quickly become the teachers.

“Students oftentimes come with things that we haven’t seen, or they’re more familiar with areas to get information out there than we are,” he says. “And that’s great.”

So, why KU J-School? Can’t skills like multimedia literacy and strong writing be learned on the job?

The issue of whether J-School should consist of a liberal arts education or simply vocational training has been a debate for more than 90 years, Reinardy says. While a liberal arts program may produce more socially rounded grads, vocational-style J-Schools offer more hands-on work and experience in an environment akin to a real newsroom.

Ann Brill, Dean of the KU School of Journalism, says it’s difficult to draw the line.

“I think it’s a combination and that’s what we do,” she says. “According to our accrediting documents, the majority of classes are outside the school.”

Brill says that only 48 credit hours come from inside the J-School itself, while the minimum 72 remaining credit hours are left for students to choose. She encourages students to minor or double major and to explore any interests other than journalism, such as economics, hard sciences or even a foreign language.

“I really was fascinated by anthropology when I was an undergrad,” she says. “I think that’s really another trait of a good journalist is to be curious.”

By combining a liberal arts-style college experience with technical training in writing, communication skills and information analysis, the J-School hopes to turn out grads that are both marketable and well-cultured.

Like Brill, Reinardy is confident that the current J-School curriculum does just that.

“I think we can be stronger in some areas,” he says. “However, I think the majority of what we do is very good.”

And the numbers don’t lie. Remember the 81 percent of KU J-School grads who found jobs in their field within six months? Compare that to the employment statistics of Columbia Journalism School, the oldest J-School in the world. Columbia’s program is more technically geared than KU’s, almost akin to a trade school.

Turns out only 72 percent of their 2011 graduates found jobs.

But what about that other 19 percent of J-School grads who didn’t?

Dylan Derryberry is 22 and graduated from the J-School in December 2012. Today, he works at a Lawrence liquor store and says he’s starting to feel pretty bitter about his college experience.

He says his difficulty in finding a journalism job is most likely a reflection of the narrowing field, but that J-School didn’t necessarily give him the experience he required to be competitive. He also says J-School may have been a waste.

“When I think about what I’ve learned I think about how there never really was much to learn,” he says. “I also don’t think there’s anything I could have learned.”

For Derryberry, even multimedia exposure was superfluous.

“Multimedia use, final cut, camera operation, I learned all of that shit in high school,” he says.

Despite majoring in magazine writing, Derryberry says he will take a job in anything journalism related. He’s having trouble, though, and blames a lack of real-world experience. During his time in college he was forced to work two jobs and never had a chance for an internship. He says he would like to see the J-School push more for internships within the school itself, particularly for students that have jobs and no more hours in the day.

Neither Reinardy nor Brill can predict what the future holds for the field of journalism or the J-School itself. But rest assured, innovation is always paramount and the KU J-School will continue to do what it can to prepare its graduates for any career possibilities.

“We’re here to provide lifelong skills that will take you to a lot of different places,” says Reinardy.

3D movies: Here to stay or next to go?

By: Nicholas Renard

As the lights dim and the projector whirrs to life, the mountainous Paramount logo rushes into view. “Oohs” and “Awes” immediately emanate from the audience who adjust and readjust their plastic glasses.

We’re soon catapulted through the depths of the ocean, on a continuous heading toward a submerged, indiscernible mass. Flecks of plankton and dust float from the screen and vanish into our peripheries as the suspense heightens.

Alas, we reach our destination, the battered wreckage of the R .M.S. Titanic.

But of course it is—we’ve seen this before.

Amid increasingly frequent stereoscopic 3D major motion picture releases, “Titanic 3D” is one of many films in recent months to return to theaters for revitalized, three-dimensional screenings. Hollywood film studios, eager to capitalize from 3D cinema’s eye-popping surge in popularity, continue to commission and release 3D films at an ever-growing rate.

But despite its growing global prevalence, will 3D become the new industry standard, or are the dazzling effects and plastic glasses simply a fad?

“This is our third go-round with 3D, and what we’ve seen is story matters more than technology,” said Robert Hurst, assistant professor of film and media studies at the University of Kansas who has a Master of Fine Arts in film and video production from the University of Iowa. “I’m interested in story, not the visuals.”

Hurst added that 3D is really about getting more people to theaters however many viewers are no longer interested.

And as far as local movie theaters are concerned, 3D seems to be on the way out.

The end of an era?

“A few years ago, 3D movies came out almost every weekend, but nowadays they don’t have the allure they once did,” said Michael McMahon, a spokesperson for the Leawood, Kan. AMC Town Center 20 theater. “When ‘Avatar’ was released it set the bar very high, but (3D) isn’t doing it anymore and people leave unhappy.”

Hurst also mentioned James Cameron’s “Avatar,” in which 3D effects seemed appropriate.

That film, released in 2009 in 3D and IMAX 3D, became the first 3D film to reach $1 billion worldwide, and went on to become the highest-grossing film in history, according to Box Office Mojo. Its 3D visual effects were also applauded by most critics, including Roger Ebert of The Chicago Sun-Times.

Three years later, with the rerelease of his 1997 epic romance, “Titanic 3D,” Cameron has yet again dominated the box office, with domestic grosses more than $17 million opening weekend and more than $54 million as of April 25, according to Box Office Mojo.

But despite “Titanic 3D’s” resounding splash, local theaters say profits remain mostly unchanged.

Higher prices, similar profits.

“It’s all about the same, honestly,” said Jon Kelly, the house manager of Hollywood South Wind 12 theater in Lawrence, Kan., who declined to release box-office financial statistics. “As long as most of the (3D) glasses are returned things stay pretty even,” said Kelly, adding that 3D sales help bolster any losses in 2D ticket sales.

Kelly said 3D ticket costs, a $3 addition to any normal ticket price, are allocated directly toward the theater’s five 3D projectors on lease from the Sony Corporation.

He added that some movie-goers complain about the higher ticket costs, which he said probably won’t disappear in the near future.

And given recent announcements by some film industry magnates, neither will 3D.

Industry looks ahead.

After the recent success of his first 3D film, “Hugo,” Academy Award-winning director Martin Scorsese announced in a Guardian article that he will never work without the format again. He also addressed the need to further improve the 3D technology, which has drawn criticism regarding darkened visuals.

Scorsese is among the many proponents of future, laser-illuminated projection technology aimed at brightening 3D visuals, which could be used in theaters by the end of 2013, the article said.

With more than 20 3D films yet to release this year and at least another eight already slated for 2013, the format continues to appear unfazed. And with upcoming big-name 3D releases like “The Avengers” and “The Hobbit,” 2012 could be the biggest year for 3D yet.

“I think ‘The Avengers’ will be our most successful film of the year,” said McMahon of AMC Town Center 20. “We’re also screening every previous Avenger movie during the day leading up to the midnight premiere, which we hope will attract a huge crowd.”

CLICK TO HEAR KU STUDENTS’ OPINIONS OF 3D SUSTAINABILITY

 

A graphic representing the amount of recent 3D film releases.

Number of 3D film releases from 2009 to 2012, includes current 2013 announcements.

“Bully” rating raises dispute, questions MPAA

By: Nicholas Renard

As the sun rises over Sioux City, Iowa, 12-year-old Alex Libby waits for his school bus. After climbing aboard, he sits alone. It’s not long before the harassment begins. It starts small with name-calling and the occasional pinch, but soon escalates to viscous profanity, hitting and even strangling.

This is not an unusual morning for Libby, this is his routine.

This moment, an early scene in “Bully,” the Weinstein Company’s emotionally charged documentary from director Lee Hirsch, sets the tone for the entire film.

“Bully” assays the current bullying crisis in U.S. schools through a focused, objective lens.  Through profiles of five students, and their families, who fall victim to bullying on a near day-to-day basis, “Bully” hopes to provide audiences a glimpse into an ongoing, perforating social problem.

However, after the Motion Picture Association of America branded it with an R rating, which bars anyone under age 17 without an accompanying adult, producers of “Bully” faced losing its target audience of young children and teens.

Studio pleads case, tempers flare.

Proponents of the film, like Stephen Bruno, president of marketing at Time Warner Cable, spoke out against the R rating, claiming it barred children from much needed exposure.

“This documentary shows what’s happening in schools every day,” Bruno said in a Business Week article. “Kids can’t edit their lives.”

The R rating, assigned because of several usages of the “F-word” in what producers considered a key scene, spurred a heated dispute between the MPAA and the Weinstein Co., who responded by advocating for a PG-13 rating. The Weinstein Co.’s campaign culminated with a more than 500,000 signature petition on the website change.org.

After immense public and celebrity support and a prominent media spotlight, the MPAA reclassified “Bully” as “Unrated” before ultimately assigning a PG-13 rating on April 6, provided filmmakers cut three “F-words.” A decision the film’s producers called a “huge victory.”

The MPAA also waved the 90-day waiting period normally required between the release of two differently-rated versions of a film.

MPAA fairness?

The “Bully” rating dispute calls into question the MPAA’s rating system, which some film industry figures say could benefit from re-evaluation.

“It’s definitely an arcane system,” said Robert Hurst, assistant professor of film and media studies at the University of Kansas who has a Master of Fine Arts in film and video production from the University of Iowa. “They have a weird value system that doesn’t seem neutral.”

He said that while the MPAA’s choices are usually justified, its grip on films sometimes becomes too tight, and because an MPAA rating is required before a film can legally show in theaters, or be considered for an Academy Award, this places a “huge burden” on independent filmmakers.

And for independent directors, like Lee Hirsch of “Bully,” an undesired MPAA rating can potentially eliminate a targeted audience or influence box-office success.

Hurst said the when the MPAA, which he referred to as the “Ratings Cartel,” rejects films that apply for a specific rating, it often causes filmmakers to re-edit their films in hope of achieving a desired rating.

Opening weekend and hitting home.

Once reassigned as PG-13, “Bully” opened March 30 in select theaters to mostly positive reviews, grossing $116,472 in its first weekend, according to Box Office Mojo.

At the AMC Town Center 20 theater in Leawood, Kan., “Bully” opened Friday in the largest theater, attracting a mostly adult audience, according to a Leawood AMC spokesperson.

“This is real and something should be done about it,” said Dan Steinbacher of Olathe, Kan., who saw the film with his two step-children Saturday. “My kids say it isn’t going on at their schools but it’s clearly happening elsewhere. People need to be made aware.”

Steinbacher’s sentiments were echoed by the roughly 20 audience members, most of which left with low-hung heads and watery eyes.

Some movie-goers couldn’t wait until the lights came up to share their feelings.

Robert Basolo, a Kansas City, Mo. resident, was one of several who shouted remarks of disapproval during the screening.

“It’s truly horrible,” Basolo said afterwards. “Showing this film should be mandatory in schools.”

“Bully” is rated PG-13 for intense thematic material, disturbing content and some strong language, all involving kids.

For more information on bullying visit standforthesilent.org, or make a contribution toward ending bullying in schools at sftsstore.org.

View an interactive graph of U.S. bullying statistics here.

New L.A. ordinance requires condoms in porn, industry concerned

By: Nicholas Renard

Since its inception, pornography provides its fans a chance to escape their hectic lives, a fantasy world where dreams come true and a land of golden opportunity. But now, fans are about to receive a jarring jolt of reality.

Amid tireless congressional efforts to enact employer-provided contraceptive coverage laws, Los Angeles is doing its part to stay safe.

In the wake of numerous adult film production suspensions regarding suspicion of HIV transmission among performers, the Los Angeles City Council adopted a city ordinance on March 5 stipulating male pornographic film actors must wear condoms at all times during filming.

While seen as a glowing achievement by safe-sex proponents, the “City of Los Angeles Safer Sex In The Adult Film Industry Act” has some adult film executives in an uproar, with many threatening to move their multibillion-dollar operations elsewhere.

If successful porn studios go elsewhere, Los Angeles stands to lose a sizeable number of jobs and revenue.

“Clearly, the viewing public doesn’t want to watch movies with condoms,” said Steven Hirsch, the founder of Vivid Entertainment, in a recent New York Times article. “If they mandate condoms, people will shoot in other locations.”

Hirsch’s sentiments are echoed by some adult film actors who have long believed condoms in porn are a surefire sales hindrance.

Adult film actor weighs in

“Guys don’t watch straight couples having sex with condoms,” said Brandon Wilde, a Los Angeles resident and gay porn actor.

But Wilde said he was amazed the city adopted the ordinance and that the industry needs condoms.

“It’s about time,” he said. “Diseases are always a risk.”

However Wilde said most gay porn studios in California he has worked for, such as Channel 1 Releasing and Stag Boys, already mandate condom use and the gay industry has yet to see any link between condom usage and declining sales.

“This change will affect the straight industry more than the gay industry,” he said.

So why does the straight industry feel threatened?

Expert testimony

Some experts, like Milton Wendland, a lawyer and visiting assistant KU professor of Women, Gender and Sexuality studies with a Ph.D. from KU, says safe-sex practices are important in real-life, but many viewers may find them distracting.

“Condoms may disrupt the fantasy flow of the film, much as if the actors all stopped to shower themselves clean or female performers stopped to insert contraceptive sponges,” he said in an email.

He said this could be considered a government over-reach and limit filmmakers’ artistic expression and free speech, and that the industry has already taken sufficient precautionary measures against sexually transmitted infections.

“Clearly, protecting people from possible STIs is a concern,” he said “The adult film industry has in place industry standards dictating STI testing for all performers every 28 days and maintenance of a master database of all performers who are or are not eligible for work.”

Better safe than sorry

As gay men are more prone to HIV and AIDS, two diseases the ordinance hopes to help prevent, Wilde says has always makes a conscious effort to stay safe.

“Some companies are specifically known for their bare-backing,” he said. “I won’t work for them because personally I always wear a condom.”

He said studios usually have gloved technicians on set to ensure proper condom application and sanitation.

“It’s a simple enough process,” he said. “But it’s worth it to be 99 percent safe.”

Local business not worried

But how will the ordinance affect pornography sales elsewhere? For Lawrence, it seems, not much.

Christina Clark, manager of Cirilla’s, a Lawrence porn shop, was pleased with Los Angeles’ decision and is certain her business will go un-phased.

Clark said the promise of safe sex may even attract more actors to the porn scene who were previously reluctant to sign up.

“Porn is porn, sex sells,” she said.


Classroom movies boost students’ curriculum

By: Nicholas Renard

LISTEN TO THE STORY.

Once the bell rings and the lights dim, seventh-graders at Lawrence’s Liberty Memorial Central Middle School scramble for a comfortable seat, crane their necks and await the commencement of movie day.

The students recently read the Sherlock Holmes caper “The Hound of the Baskervilles” and today are receiving another dose of the tale, this time through film.

In the wake of the recent proliferation of social and visual media, America’s youth are consistently exposed to visual and intellectual stimuli earlier than ever. With online media outlets such as YouTube so easily accessible, our nation’s teachers face the challenge of integrating visual media into the classroom without abandoning pupils in the media vortex.

“In the classroom, movies and YouTube are used as curriculum extensions,” said Carolyn Montney, a seventh-grade language arts and geography teacher at Liberty Memorial Central. “The more removed from a situation a student is, the more visuals are needed.”

She said feature films and videos provide students further insight into their lessons. In language arts classes, films afford her students a novel view of character emotions through tone of voice and facial expression.

Educators encouraged to use digital media.

USD 497 teachers currently have no requirements for visual media use in classrooms, but they say they are definitely encouraged.

“It’s a useful tool and a good challenge for teachers who aren’t that tech-savvy,” Montney said. “But we’re careful when using YouTube – you don’t always know what a video may show.”

Molly Fuller, a student teacher and University of Kansas graduate student studying social studies curriculum and teaching, said her graduate program advocates for in-class visual media.

“Good teaching pedagogy involves multiple forms of representation,” Fuller said. “Use of text, audio and visuals are encouraged because they incorporate every sense into learning.”

Movies trump maps.

For geography teachers like Charlotte Prosser, videos depicting foreign countries and cultures make a stronger impression than globes and atlases.

“A lot of my students have never even been outside of Lawrence,” said Prosser, who also teaches seventh-grade language arts at Liberty Memorial Central. “I’m trying to teach them about another country and some haven’t even seen the Rocky Mountains.”

Because of her students’ geographic isolation, Prosser said she does her best to include visual media in her lesson plan at least once a week.

“You need to be able to show kids what countries look like,” she said. “And they can’t visualize or conceptualize them without traveling.”

Expert opinion.

In a 2010 International Examiner article, Dr. Patricia Greenfield, a professor of developmental psychology from UCLA, said exposing children to visual stimuli increases visual reasoning and improves multitasking skills.

However, Greenfield’s research also revealed that technological stimuli decreases youth’s attention spans, which can reduce children’s ability to focus in the classroom and evaluate information.

But both Prosser and Montney concur that their students appear more interested and engaged when visual media are exhibited; however, every student is different.

“Most students are very receptive but it definitely varies between classes and students,” Montney said.

Taking it further.

Montney said some advanced students are given enrichment assignments that go beyond classroom work and improve multimedia and video literacy. After reading “Red Midnight,” a novel about Guatemalan conflicts in the 1980s, her advanced students went a step further by synthesizing visual projects.

“Some were able to find Guatemalan war footage and integrate it into PowerPoint presentations,” she said. “They later used their presentations to educate their peers.”

Almost all of her seventh-grade students are now comfortable with producing PowerPoint presentations, a useful skill to whet at a young age, she said.

For students at Liberty Memorial Central, the presence of visual media will remain consistent and continue to complement their curriculum.

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