06. Open Learning: Media, Environments and Cultures
Paper
The Depiction of the Enemy in the Video Game Heimat Defender: Rebellion Reflected in the Ideology of the Identitarian Movement
Benjamin Möbus
University of Vechta, Germany
Presenting Author: Möbus, Benjamin
It is well-documented that approximately half of the German population regularly engages in digital gaming across platforms such as computers, consoles, and mobile devices, including smartphones and tablets (bitkom 2021). The widespread appeal of video games, both nationally and internationally, inevitably attracts attention from various groups, including those with extremist ideologies seeking to exploit the medium for their own agendas (Möbus 2023; Schlegel 2023; Huberts 2022). A particularly striking instance of this phenomenon is the video game "Heimat Defender: Rebellion" (2020), developed and released by "Ein Prozent" and "Kvltgames," both entities identified by The German domestic intelligence services as part of the far-right spectrum and closely linked to the Identitarian Movement, a group firmly placed within the far-right domain by the same federal authority (BMI 2021). According to the game's developers, Heimat Defender: Rebellion was purposefully designed to serve the propaganda efforts of the Identitarian Movement (Moritz 2020).
The trend of instrumentalizing video games as vehicles for explicit propagandistic messages within the context of German far-right extremism isn't particularly new. Earlier instances, such as the simplistic games "KZ-Manager" and "Antitürkentest" from the 1980s, gained traction within extremist circles. However, Heimat Defender: Rebellion marks a notable departure in this lineage. While it communicates a far-right ideology, it does not present itself as overtly extremist on the surface, particularly when contrasted with games like "KZ-Manager" (Möbus 2023). Furthermore, Heimat Defender: Rebellion was produced by a semi-professional developer and marketed within Germany (and Austria) until its prohibition, thus endowing it with a unique potential to propagate the Identitarian Movement's narratives and ideology. The game's contemporary relevance in terms of narrative, gameplay, and aesthetics suggests a capacity to engage players beyond mere provocation, possibly mainstreaming far-right ideologies through intrinsic player motivation (Möbus 2023).
Plenty of interdisciplinary publications exist which clearly state that "Heimat Defender: Rebellion" propagates dehumanizing, racist, antisemitic, and anti-democratic world views (Möbus 2023; BpjM 2020). Nonetheless, the game remains freely downloadable, thus maintaining easy accessibility for children, adolescents and young adults (BpjM 2020, 33). This is particularly alarming given the game's explicit targeting of younger demographics. Yet, comprehensive academic engagement with Heimat Defender: Rebellion, especially within the framework of digital propaganda and disinformation strategies of the Identitarian Movement, has been limited (Möbus 2023; Schlegel 2023; Huberts 2022).
A well-known strategy within the digital propaganda and disinformation arsenal of the German far-right is establishing and repeating antagonizing images of individuals and groups, which are considered as the enemy. These depictions play a significant role in spreading far-right ideologies and fostering individual radicalization processes (Jesse 2011; Auer 2002). Recent academic efforts have focused on dissecting these depictions, considering the unique propagandistic potentials of various media forms, such as right-wing music, memes, and social media posts (Hajok and Leonhardt 2020; Zeyer 2017). However, explorations into depictions of the enemy within video games, particularly from the perspective of the Identitarian Movement, remain sparse (Schlegel 2023; Huberts 2022).
The aim of this contribution is to deconstruct the depiction of the enemy conveyed by the Identitarian Movement within the video game Heimat Defender: Rebellion, specifically to identify the characters represented as antagonists, thereby enabling further insights into the Identitarian Movement's ideology. The contribution will therefore address the following research questions:
- How are the enemies depicted in the video game Heimat Defender: Rebellion?
- What insights can the deconstruction of the enemy provide regarding the ideology of the Identitarian Movement?
Methodology, Methods, Research Instruments or Sources UsedMethodologically, in alignment with the presentation's objectives and considering the peculiarities of Heimat Defender: Rebellion, a pragmatic approach to analyze and deconstruct the depiction of the enemy through ‘video game analysis’ (Eichner 2017, 526f) is proposed. This approach blends literary analysis—understood as texts that "require physical effort to engage with" (Eichner 2017, 525)—with film and television analysis techniques, and organizes video game analysis into various heuristic steps: 1) Description, i.e., making specific phenomena visible through descriptive explication; 2) Analysis, i.e., systematically extracting relevant insights; 3) Interpretation, i.e., contextualizing analytical findings within the theoretical framework (Eichner 2017, 526; Mikos 2017). To specify the focus of the analysis, namely the deconstruction of the depiction of the enemy, an analytical approach inspired by the generic model of ‘general game analysis’ (Fernández-Vara 2019) and in line with Preisinger (2022, 48), who emphasizes the importance of "interaction rules and forms within the game world and between player characters and non-player characters," is suggested. This approach focuses on the analysis of intradiegetic boss enemies, understood in reference to Genette's (1994) narrative theory as the narrative level within the digital game world, specifically characters and their actions occurring within the Heimat Defender: Rebellion game world.
Boss enemies, known by various synonyms and associated concepts such as end bosses, level bosses, etc., and programmed by the game's AI, play a significant role in video games, often posing existential threats: "[they] are usually significantly stronger than other enemies, often having some significance to the plot of the game’s story" (Wood and Summerville 2019, 1). Boss enemies typically emerge at the end of certain game sections, associated with key narrative progressions (Segschneider 2022, 13f; Rato and Prada 2021, 41): "[they] provide a moral compass – they show behaviours that are threatening to society, because they cause others physical harm, deny the rights and freedom of others, create chaos, would betray others, or perform actions that are disgusting" (Pradantyo, Birk, and Bateman 2021, 2).
Therefore, to answer the research questions, the depiction of the enemy in Heimat Defender: Rebellion is analyzed with blending ‘video game analysis’ and ‘general game analysis’ to approach the depiction of boss enemies.
Conclusions, Expected Outcomes or FindingsRegarding the central findings of the contribution, it can be summarized on one hand that Heimat Defender: Rebellion sardonically distorts the characteristic of the perceived enemies of the Identitarian Movement/New Right, namely politicians such as Heiko Maas and Angela Merkel, who are perceived from the Identitarian perspective as disregarding the (allegedly) homogeneous interests of the German pipulation, as well as artists/activists engaging critically with the phenomenon of right-wing extremism, such as Jan Böhmermann and Philipp Ruch, and the Jewish investor George Soros, who is depicted as a personalized projection surface for numerous anti-Semitic conspiracy theories and is staged in Heimat Defender: Rebellion as an influential background actor. On the other hand, the analysis of depiction of the enemy offers intriguing insights into the Identitarian ideology by conveying the narrative in Heimat Defender: Rebellion that the elites represented by the aforementioned real-world figures are deliberately acting against the citizens in a concerted effort to enforce population homogenization.
Particularly, the narrative of cooperative elites consciously and strategically working together against the population for their own interests, such as power retention and economic enrichment, along with the portrayal of political actors like ‘George Soros’, who wield particularly extensive political influence from behind the scenes, is deeply anti-democratic. It is evident that these narratives are intended to discredit not only the current elites but also the intermediary institutions they represent, thereby undermining their significance within the framework of a liberal democratic society and its foundational order.
ReferencesAuer, Kathrin. 2002. «‚Political Correctness‘ - ideologischer Code, Feindbild und Stigmawort der Rechten». Österreichische Zeitschrift für Politikwissenschaft 31(3), 291−303. https://nbn-resolving.org/urn:nbn:de:0168-ssoar-60024.
Bitcom. 2021. Halb Deutschland spielt Video- oder Computerspiele. Bitkom 23.08.2021. Zugriff: 03.12.2022. https://www.bitkom.org/Presse/Presseinformation/Halb-Deutschland-spielt-Video-oder-Computerspiele.
Bundesministerium des Innern und für Heimat (BMI). 2021. Verfassungsschutzbericht 2020. BMI 15.06.2021. Zugriff: 05.07.2023. https://www.bmi.bund.de/SharedDocs/downloads/DE/publikationen/themen/sicherheit/vsb-2020-gesamt.pdf?__blob=publicationFile&v=2.
Bundesprüfstelle für jugendgefährdende Medien (BpjM). 2020. «Entscheidung Nr. 6322 vom 07.12.2020.» Frag den Staat 18.03.2021. Zugriff: 01.06.2023. https://fragdenstaat.de/files/foi/581665/heimat-defender.dePr.677-2020Anonym._geschwrzt.pdf?download.
Eichner, Susanne. 2017. «Videospielanalyse». In Qualitative Medienforschung. Ein Handbuch, eds. v. Lothar Mikos und Claudia Wegener, 524−533. Konstanz: UVK.
Fernández-Vara, Clara. 2019. Introduction to Game Analysis (2nd edition). New York, NY u. a.: Routledge.
Genette, Gérard. 1994. Die Erzählung. München: Wilhelm Fink.
Hajok, Daniel, und Ricardo Leonhardt. 2020. «Extremismus im Hip-Hop? Eine vergleichende Analyse von linken und rechten Raptexten.» JMS Jugend Medien Schutz-Report 43/2020 Heft 1, 7−8. doi.org/10.5771/0170-5067-2020-1
Huberts, Christian. 2022. Rechte Falschspieler:innen in Gaming. Belltower News 27.06.2022. Zugriff: 01.06.2023. https://www.belltower.news/good-gaming-well-played-democracy-rechte-falschspielerinnen-in-gaming-129289/.
Jesse, Eckhard. 2011. «Feindbilder im Extremismus», in Jahrbuch Extremismus & Demokratie, Bd. 23, eds. v. Uwe Backes, Alexander Gallus, und Eckhard Jesse, 13−36. Baden-Baden: Nomos.
Mikos, Lothar. 2017. «Film- und Fernsehanalyse» In Qualitative Medienforschung. Ein Handbuch, eds. v. Lothar Mikos und Claudia Wegener, 516−523. Konstanz: UVK.
Möbus, Benjamin. 2023. «Würden wir die Rolle von Computerspielen nicht für wichtig erachten, würden wir nicht tun, was wir tun“ – Die Identitäre Bewegung und das propagandistische Potential von Computerspielen am Beispiel von ‚Heimat Defender: Rebellion‘» Zeitschrift für praxisorientierte Radikalisierungsforschung zepRa, 2, 1, 4−35.
Pradantyo, Reyhan, Max V. Birk, und Scott Bateman. 2021. How the Visual Design of Video Game Antagonists Affects Perception of Morality. Frontiers in Computer Science, 3, Article 531713. https://doi.org/10.3389/fcomp.2021.531713.
Rato, Diago, und Prada, Rui. 2021. «A Taxonomy of Social Roles for Agents in Games». In Entertainment Computing – ICEC 2021, eds. v. Jannicke Baalsrud Hauge, Jorge C. S. Cardoso, Licínio Roque und Pedro A. Gonzalez-Calero, 75–87. Cham: Springer.
Schlegel, Linda. 2023. Super Mario Brothers Extreme? Wie Extremist:innen Videospiele und Gaming-Kultur für sich nutzen. Violence Prevention Network 12.04.2023. Zugriff: 13.05.2023. https://gaming-rechtsextremismus.de/themen/super-mario-brothers-extreme/.
Segschneider, Anja. 2022. Empathie und Parteilichkeit gegenüber fiktionalen Figuren in Videospielen. Eine Analyse von narrativen Strategien am Beispiel von ‚The Last of Us Part II‘. Wiesbaden: Springer VS.
Wood, Andrew, und Adam Summerville. 2019. Understanding Boss Battles: A Case Study of Cuphead. Zugriff 28.10.2023. https://exag.org/archive/wood2019battles.pdf.
Zeyer, Jens. 2017. Feindbilder – Mythen – Helden. Rechtsextreme Liedtexte und ihre weltanschaulichen Hintergründe. Würzburg: Verlag Königshausen und Neumann.
06. Open Learning: Media, Environments and Cultures
Paper
Development of Digital Multimodal Composing skills in secondary school students. A systematic literature review (in progress)
Katy Asem
Pontificia Universidad Católica, Chile
Presenting Author: Asem, Katy
In recent decades, technology has substantially modified how adolescents generate content and interact socially through various digital platforms (OECD, 2021). The digital era has transformed the traditional notion of textual composition (Danielsson & Selander, 2021) since, in digital environments, messages are produced by non-linear and interactive elements composed of various semiotic modes, such as images, sounds, and verbal text (Flewitt, 2011). Therefore, the digital content composition must be conceived from a multimodal perspective (Jewitt, 2003) to understand how different semiotic modes contribute to meaning-making according to communicative purposes (Bezemer & Jewitt, 2018). Multimodal composition in digital environments has been studied as Digital Multimodal Composing (DMC), defined as the production of digital content through various semiotic modes to negotiate meanings with a real or imaginary audience (Smith et al., 2021). DMC has been studied from Social Semiotic theory (Kress, 2009), which states that individuals select specific semiotic resources depending on modes’ potential—or affordance—to communicate meanings (Kress, 2009) according to sociocultural factors, discursive genre, and the relationship with the audience (Smith, 2017). DMC has also been studied under the theories of multiliteracies (Cope & Kalantzis, 2009) since multimodal composition processes respond to new pedagogical practices related to the digital age, design thinking skills and students' authentic contexts (Cope & Kalantzis, 2009; Miller, 2013). Empirical studies in secondary school contexts have shown that DMC processes positively affect the development of higher-order skills (Knobel, 2017), such as creation, creativity, critical thinking, collaborative work, and problem-solving. Likewise, DMC promotes the development of linguistic skills (Vandommele et al., 2017), social skills (Mills, 2009), metacognitive strategies (Hung, 2019), digital empathy (Jiang & Gao, 2020), and metalanguage to consciously use semiotic resources in multimodal texts production (Unsworth & Mills, 2020). Although DMC practices positively impact the development of learning and skills, some studies have shown that young people do not always have the skills needed to generate content in digital environments (Bennett et al., 2008; Dalton, 2012) due to the scarcity of teaching strategies to evaluate and guide DMC tasks (Purcell et al., 2013). Consequently, it is relevant to conceive DMC processes not only as a means to achieve learning purposes but as a skill that requires the development of pedagogical strategies to help students create digital content through new ways of representation (Jocius, 2013).
Recent literature reviews on DMC tasks with secondary school students have examined students' processes and perceptions in DMC contexts (Li & Akoto, 2021), the relationship between DMC and translanguage with bilingual and multilingual students (Pacheco et al., 2022), and teaching strategies to work on DMC in the classroom (Smith et al., 2021). These literature reviews allow to know how the implementation of DMC in secondary education has been empirically analyzed; however, these studies focus mainly on language learning (L1-L2), and lees on other disciplines, such as scientific areas, in which the use of multimodality is essential to represent phenomena and elements that can hardly be explained only by verbal language (Bergey et al., 2015). This literature review aims to expand understanding of DMC processes, incorporating different school disciplinary areas. Therefore, this literature review seeks to answer the question: What do empirical studies report on DMC implementation in secondary education from diverse disciplinary areas? Knowing the practices teachers and students carry out during DMC processes will contribute to understanding the pedagogical strategies for developing multimodal language and its impact on digital literacies.
Methodology, Methods, Research Instruments or Sources UsedA literature review was conducted using the Web Of Science (WOS) database, in which the following codes were used: TS=(“digital multimodal compos*” OR “multimodal writing” OR “multimodal compos*” OR “digital compos*” OR “digital multimodal” OR “multimodal codemeshing” OR multimodality) AND TS=(“middle school” OR “junior high” OR “high school” OR “secondary”). Combining these search codes resulted in 107 articles published between 2018 and 2023 (the search ended on September 6th, 2023). This review aimed to determine what the empirical evidence reports on DMC implementation from diverse disciplinary areas in secondary school education. A first screening was performed by analyzing the titles and abstracts (N=107). At this stage, theoretical studies, literature reviews, and studies focused only on teachers were rejected. Then, a second screening focused on full-text articles (N=77) dismissed studies according to the analysis object: multimodal artifacts, classroom interactions, and digital educational platforms. The final sample of documents for subsequent analysis consisted of 30 articles. Subsequently, the articles were described according to the research design, the country where studies were implemented, and the disciplines or themes related to DMC tasks. Open coding (Corbin & Strauss, 2002) was used to identify emerging elements. Next, axial coding (Corbin & Strauss, 2002) was used to gather the elements into thematic categories. The categories were divided into two phases: the first focused on the students' practices during the DMC processes, and the second focused on the teachers' practices during the DMC processes.
Conclusions, Expected Outcomes or FindingsThe articles examined correspond mainly to qualitative studies, such as case studies, ethnographic studies, design-based research, and critical discourse analysis. Only three investigations used a mixed approach. The studies were mainly implemented in the United States, followed by China, South Korea, Singapore, Denmark, Finland, Canada, New Zealand, and Norway. Concerning the disciplines or themes, most of the DMC tasks were related to social topics, second language teaching, and, to a lesser extent, science-related areas. The analysis was divided into two parts. The first is related to DMC processes from the students' perspective, and the second is related to DMC processes from the teachers' perspective. In the first section, which focused on students, two categories emerged: (1) the factors influencing the selection of semiotic modes—emotions and identities, the type of content, and the relationship with the audience— 2) perceptions about DMC practices—DMC benefits and tensions. Two categories emerged in the second section, which focused on teachers: (1) strategies for teaching DMC—emphasis on technical aspects and metalanguage teaching—(2) perceptions about DMC processes—benefits and challenges of DMC in teachers' educational contexts.
ReferencesBennett, S., Maton, K., & Kervin, L. (2008a). The “digital natives” debate: A critical review of the evidence. British Journal of Educational Technology, 39(5), 775–786. https://doi.org/10.1111/j.1467-8535.2007.00793.x
Bezemer, J., & Jewitt, C. (2018). Multimodality: A guide for linguists. In L. Litosseliti (Ed.), Research Methods in Linguistics (Bloomsbury)
Cope, B., & Kalantzis, M. (2009). “Multiliteracies”: New Literacies, New Learning. Pedagogies: An International Journal, 4(3), 164–195. https://doi.org/10.1080/15544800903076044
Dalton, B. (2012). Multimodal composition and the common core state standards. Reading Teacher, 66(4), 333–339. https://doi.org/10.1002/TRTR.01129
Danielsson, K., & Selander, S. (2021). Multimodal Texts in Disciplinary Education: A Comprehensive Framework. (Springer)
Flewitt, R. (2011). Bringing ethnography to a multimodal investigation of early literacy in a digital age. Qualitative Research, 11(3), 293–310. https://doi.org/10.1177/1468794111399838
Jewitt, C. (2003). Reshaping Learning. New Technologies and Multimodality. International Journal of Learning, 10.
Jiang, L., & Gao, J. (2020a). Fostering EFL Learners’ Digital Empathy through Multimodal Composing. RELC Journal, 51(1), 70–85. https://doi.org/10.1177/0033688219898565
Li, M., & Akoto, M. (2021). Review of Recent Research on L2 Digital Multimodal Composing. International Journal of Computer, 11, 1–16. http://www.igi-global.com/authorseditors/titlesubmission/newproject.aspx
Hung, S. (2019). Creating Digital Stories: EFL Learners’ Engagement, Cognitive and Metacognitive Skills.
Kress, G. (2009). A social-semiotic theory of multimodality. In Multimodality. A Social Semiotic Approach to Contemporary Communication (pp. 54–78)
Miller, S. M. (2013). A research metasynthesis on digital video composing in classrooms: An evidence-based framework toward a pedagogy for embodied learning. Journal of Literacy Research, 45(4), 386–430. https://doi.org/10.1177/1086296X13504867
Mills, K. A. (2009). Multiliteracies: Interrogating competing discourses. Language and Education, 23(2), 103–116. https://doi.org/10.1080/09500780802152762
Pacheco, M. B., Smith, B. E., Combs, E., & Amgott, N. A. (2022). Translanguaging within multimodal composition products and processes: A systematic review. Pedagogies, 17(4), 389–407. https://doi.org/10.1080/1554480X.2022.2139256
Purcell, K., Buchanan, J., & Friedrich, L. (2013). The Impact of Digital Tools on Student Writing and How Writing is Taught in Schools/Teachers-technology-and-writing. In JULY (Vol. 16). http://pewinternet.org/Reports/2013/Teachers-technology-and-writing
Smith, B. E. (2017). Composing across modes: a comparative analysis of adolescents’ multimodal composing processes. Learning, Media and Technology, 42(3), 259–278. https://doi.org/10.1080/17439884.2016.1182924
Smith, B. E., Pacheco, M. B., & Khorosheva, M. (2021). Emergent Bilingual Students and Digital Multimodal Composition: A Systematic Review of Research in Secondary Classrooms. Reading Research Quarterly, 56(1), 33–52. https://doi.org/10.1002/rrq.298
Unsworth, L., & Mills, K. A. (2020). English language teaching of attitude and emotion in digital multimodal composition. Journal of Second Language Writing, 47. https://doi.org/10.1016/j.jslw.2020.100712
06. Open Learning: Media, Environments and Cultures
Paper
Promoting Students' Media Literacy by Producing Animated Films in Educational Institutions
Herrad Schönborn, Katrin Alt
Hochschule für Angewandte Wissenschaften (HAW) Hamburg, Germany
Presenting Author: Schönborn, Herrad;
Alt, Katrin
Digitalization has made increasing progress over the last two decades. The term digitalization implies a growing presence and importance of digital media in our lives and thus a whole process of change in society (Krotz, 2018; Schrape, 2021). With regard to children, the growing presence of digital media is reflected in current studies, such as the KIM and JIM studies: smartphones, computers/laptops, televisions and internet access are available in almost all households in which 6-13-year-olds and 12-19-year-olds live. In addition, almost 50% of 6-13-year-olds and 100% of 12-19-year-olds have their own smartphone (KIM study, 2022; JIM study, 2023).
The increased use of digital media leads to a different communication and social interaction. In the future, children and young people will need special skills, that help them to find their way in the digitalized world and to participate in it. They need what is often described as media literacy to deal with it in a reflective manner. Baacke divides media literacy into the four dimensions of media knowledge, media use, media design and media criticism. Consequently, according to Baacke, it is not only important to know more about the various media, to be able to use them and to master the design of or with media, but also to deal with them critically (Baacke, 2007). In the context of the use of digital media in preschools, there are controversial discussions (Fröhlich-Gildhoff & Fröhlich-Gildhoff, 2017; Knauf, 2018) about the question of from what age children should use (which) digital media (and how) and from what age media literacy can and should be promoted.
Today, it is no longer a question of whether digital media can or should be used in preschools, but rather how they are used (Reichert-Garschhammer, 2020; Roboom, 2020). The discussion about the advantages and disadvantages of using them must therefore continue in the educational context. Recently, it has been observed that the discourse is shifting towards focusing more on the risks. For example, when using digital media, there should be paid more attention to the quality of the use and also good supervision by professionals must be guaranteed (Knauf, 2024; Kontovourki & Tafa, 2020; Karolinska Institutet, 2023). The educational framework needed to promote media literacy is still relatively unclear.
In addition to good framework conditions, such as time resources and good technical equipment and infrastructure (Cohen & Hemmerich, 2019), another important prerequisite is the media and media didactic skills of the educators themselves. Study results show, that many educational professionals are still insufficiently trained in this regard (Corona-KiTa-Studie, 2021; DKLK-Studie, 2020). Although it has already been shown that educational professionals are more likely to use digital media in their work and also directly with children and young people if they consider themselves to be media literate (Tappe, 2017, 2019). It is therefore of great importance if and to what extent prospective educational professionals acquire media literacy and media education skills as part of their education or studies.
Studies carried out, that these skills are still rarely addressed in pedagogical training and student courses (Friedrichs-Liesenkötter, 2019; Kammerl & Thumel, 2016). As a university, this should be covered in future via the study modules. It is necessary to take a closer look at the basic skills that prospective educational professionals should have.
This leads to the following research questions:
1. Are there any approaches to media-didactic training of childhood education students at "Hochschule für Angewandte Wissenschaften" (HAW) Hamburg? If so, how many and what kind of?
2. What kind of seminars do students ask for?
3. How is a specific media education seminar (animated film work) accepted by childhood education students?
Methodology, Methods, Research Instruments or Sources UsedIn the first step, we analysed the module handbook and the course schedules from the summer semester 2023 and winter semester 2023/2024 of the degree programme "Education in Childhood" at HAW Hamburg with regard to the keywords: media education, media literacy. A ranking in terms of frequency was carried out and related keywords were inductively analysed.
At the same time, we developed two seminar concepts which, from our perspective, can promote the acquisition of media literacy as well as the development of media didactic skills. These seminars were implemented in the summer semester 2023 and winter semester 2023/2024. The students evaluated the seminars with Questionnaires and reflection forms. These were analysed using qualitative content analysis according to Kuckartz and Rädiker (Kuckartz & Rädiker 2022). The aim of these surveys was to identify students' wishes, evaluate their satisfaction with the developed seminar concepts and consider implications for the training of childhood education students (media education and media didactics as a transdisciplinary topic) for the further development of the degree programme.
Conclusions, Expected Outcomes or FindingsAnalysing the module handbooks and course schedules revealed that there are hardly any media education seminars at the degree programme "Education in Childhood" at HAW Hamburg. The promotion of media literacy plays virtually no role in the training of childhood educators at this university. The exact quantitative analyses will be presented at the conference. The two media education seminars were well received by the students, so it can be concluded that the students themselves are interested in this programme and consider it relevant for their future pedagogical work. Both seminars were included in an elective area, so there was no obligation to choose them, but a quarter of the year group chose one of these courses.
The reflection on the seminar programme and the evaluation of the question and reflection sheets showed that the students:
- received new ideas for media education work with children and young people
- they appreciate the opportunity to engage in their own creative work supported by digital tools
-they can well imagine realising this together with children.
A differentiated evaluation will be available by the time of the conference and will then be presented in detail. The results will be compared with other international research findings in an attempt to answer the question of which media literacy students should acquire during their studies and how these can later be used in educational practice.
ReferencesBaacke, D. (2007). Medienpädagogik. [Nachdruck]. Tübingen: Niemeyer.
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Corona-KiTa-Studie (2021). 4. Quartalsbericht der Corona-KiTa-Studie (II/2021). DJI. München.
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Friedrichs-Liesenkötter, H. (2019). Medienerziehung und Medienbildung als Aufgaben der frühkindlichen Bildung: Aktuelle Situation und Implikationen für eine stärkere Verankerung. In K. Götz, J. Heider-Lang & A. Merkert (Hrsg.), Digitale Transformation in der Bildungslandschaft – den analogen Stecker ziehen? Schriftenreihe „Managementkonzepte“ (S. 52-69). München/Mehring: Rainer Hampp.
Fröhlich-Gildhoff, K., & Fröhlich-Gildhoff, M. (2017). Digitale Medien in der KiTa – die Risiken werden unterschätzt! Frühe Bildung, 6(4), 225–228.
JIM-Studie 2023 (2023). Jugend, Information, Medien. Basisuntersuchung zum Medienumgang 12- bis 19-jähriger. Stuttgart: Medienpädagogischer Forschungsverbund Südwest.
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KIM-Studie 2022 (2022). Kindheit, Internet, Medien. Basisuntersuchung zum Medienumgang 6- bis 13-jähriger. Stuttgart: Medienpädagogischer Forschungsverbund Südwest.
Knauf, H. (2018). Die Nutzung digitaler Medien in der KiTa entdramatisieren. Frühe Bildung, 7(2), 114–116.
Knauf, H. (2024). Pädagogik first, Digitalisierung second. Es ist Zeit, die unterschätzten Risiken digitaler Medien in der Kita in den Blick zu nehmen. Frühe Bildung, 13 (1), S. 48-50.
Kontovourki, S., & Tafa, E. (2020). Pedagogical approaches to digital literacy in early years education. In: Erstad, O., Flewitt, R.,Kümmerling-Meibauer, B. & Reira, I.S.P. (Hrsg.), The Routledge Handbook of Digital Literacies in Early Childhood. Oxon: Routledge.
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