The Effects of Media Literacy-Based Activities on Writing Skills in the EFL Classroom

This study explores the effectiveness of media literacy-based activities on writing proficiency and affective domains in the EFL setting. A quasi-experiment was conducted during the 2021 academic year with 148 college EFL students selected as participants from three classes from a private university in Seoul, South Korea. Participants were divided into three groups based on proficiency levels: upper proficiency, intermediate proficiency, and lower proficiency. The assigned activities included four steps: (1) watching video clips made by a teacher, (2) group discussion, (3) individual presentation, and (4) individual writing. For these activities, participants used multimedia like YouTube, Fanfiction.net, Reddit discussion boards, and blogs to understand the topic, evaluate the content, and express their thoughts. Popular franchises, including the Marvel Cinematic Universe (MCU), the Potterverse, and the Twilight saga provided material for the activities. The study’s results reveal that students significantly increased their writing skills, regardless of proficiency level. Moreover, the higher the linguistic ability, the more the writing ability improved. In a survey, students also showed significant changes in all affective domains (anxiety, interest, confidence, and engagement), except for the lower proficiency group’s confidence domain. The study presents a detailed summary of the activities and derives meaningful implications.

Marvel Cinematic Universe Introductions

Petrinovich’s target article focused on how behavioral science is done, including how it is often done wrong, and how it should be done. I identify another malign influence on behavioral science, which, so far as I know, has, until now, been ignored (I would be happy to be shown that I am wrong on this). To wit, the way that Introductions to papers are written creates a niche that can be exploited for the purposes of promoting one’s work to obtain resources or status, or for self-aggrandizement. I offer a few, probably wrongheaded, suggestions for ending this practice.

The cultural repertoire of recontextualized superhero in the Avengers sequels

This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.

The memory of perfection: Digital faces and nostalgic franchise cinema

This article is concerned with the intersection of digitally augmented performance and nostalgia in contemporary Hollywood franchise cinema. The practice of ‘de-ageing’ or even resurrecting actors following their real-life deaths in films like Tron: Legacy (Joseph Kosinski, 2010), Terminator Genysis (Alan Taylor, 2015), Rogue One (Gareth Edwards, 2016), Blade Runner 2049 (Denis Villeneuve, 2017), Star Wars: The Rise of Skywalker (J.J. Abrams, 2019), and a large number of Marvel Cinematic Universe films, is now commonplace. Though such digital faces are primarily still found in franchise cinema, some exceptions ( The Irishman, Martin Scorsese, 2019; Gemini Man, Ang Lee, 2019) are telling in their franchise-like appeals to cinematic nostalgia. In particular, the digital face is most commonly aligned with the ‘legacy film’ (Golding, 2019), resurrected franchises interested in transferring franchise protagonists, themes and fandom across generations. The digital face therefore is an expression of the convergence of the digital with film, with the franchise, with the past and with memory. For these films, memory and nostalgia are meticulous exercises involving thousands of work hours of highly skilled CGI workers and cutting-edge technology. These highly technical, virtuosic digital faces are quite literally the face of this kind of nostalgia, and as Ndalianis observes, position the face ‘as façade that opens up a time-travel passageway between past and present’, inviting a seam-spotting game between audience and filmmaker (2014). Even if the digital face is perfect in its recreation, the audience’s knowledge of the impossibility of the performance leaves a trace of artistry. Accordingly, digital faces are creative, technical and financial decisions above all. This article outlines the uses of the digital face for memory, nostalgia and seriality in contemporary Hollywood franchise cinema, with a focus on representation and death.

Expanded Universes in Science Fiction: A Matter of Integration

Still lacking theoretical definitions, expanded universes are an artistic phenomenon often seen in science fiction literature as well as in narratives in other media. This text proposes a mechanism to explain how these universes come into being. For this, we analyze a series of cases such as Robert A. Heinlen’s Future History, Ursula K. Le Guin’s Hainish Cycle, George R. R. Martin’s Thousand Worlds, Joanna Russ’ Whileaway, and transmedia examples such as the Marvel Cinematic Universe. Borrowing from Tamar Yacobi’s concept of mechanisms of integration – ways in which the reader makes sense of inconsistencies or oddities in a narrative – we argue that the explanation that two or more independent stories are set in a common universe is a hypothesis generated by the reader to integrate coincidences between these stories