New Media in Higher Education 47 Coffy, YouTube, and Uncle Ben: The Use of Film and New Media in the Teaching of African American Studies at the University of Hawai‘i Elisa Joy White Department of Ethnic Studies, University of Hawai‘i When students enter my African American Experience understand the complexity of the African American courses at the University of Hawai‘i at Mänoa many are experience. For although it is the case that students on the taking part in their first academic engagement with the study U.S. continent could become better educated in various of individuals racialized as Black. The great percentage areas of the African American experience (see Pinar 1993; of students are from Hawai‘i and, despite the “majority Shujaa 1995; Ladson-Billings 2000), opportunities for the minority” status of the state, they have grown up in a engagement of students in Hawai‘i in lessons that promote society that, according to the 2000 United States Census, a better understanding of the African American experience is only 2.8 percent “African American or Black,” including are even more limited. This educational gap often results individuals who selected both categories of one single race in the expression of race-based assumptions and epithets and “in combination with one or more other races” (US that—even though they may be considered innocuous by Census 2000). The small population of African Americans those who utter them—can provoke acts of violence (see in Hawai‘i is a very diverse group that includes members of Viotti 2005). the military, university students, travel industry employees, I am keenly aware that my students are frequently attorneys, medical doctors, journalists, and scholars. Some confronted with issues and events that are related to are transplants and others are local-born. They represent the African American experience, and that these events a broad cross-section of socio-economic classes (see inevitably require them to make sense of the meaning of race Jackson 2004). However, in spite of the diversity of the in contemporary society. Take, for example, the comments group, a majority of my students enter the classroom with by radio talk show host, Don Imus, who described the mostly predominant assumptions of a monolithic African American African American Rutgers University women’s basketball cultural identity; assumptions often gleaned from available team as “nappy headed hos”, or the use of the “n” word in a media products such as film, television, music, and news. private, yet well-broadcast, phone conversation by Hawai‘i Discourse on race and ethnicity in Hawai‘i is often resident Duane the Dog Chapman. Consider the significance constructed around the notion of the islands as a multiracial of the noose in Louisiana’s Jena Six case, or the on-going paradise. And even though these perceptions have been debates about the contemporary social significance of “hip challenged by scholars, journalists, and essayists (see hop,” or the political resonance of conversations about the Haas 1998; Okamura 1998; Edles 2004; Halagao 2006), Black authenticity of Hawai‘i born presidential candidate the mythology of multiracial harmony remains embedded Barack Obama. The various cases inter alia need to be in popular discussions. Indeed, the fact of a “majority put in the context of the history of the African American minority” society with a significant multiethnic population experience if they are to be properly understood—for in which individuals racialized as White are in the minority example, an understanding of the history of lynching in the does not necessarily eradicate problematic understandings United States, the use of racial epithets during the slavery of individuals racialized as Black (see Takara 2004). I and Jim Crow eras, and the presumption of Black female frequently observe that the fantasy of ethnic and racial promiscuity that accompanied racist understandings of harmony limits discourse that would help students further Black womanhood. Alarmingly, as students reflected on 48 Educational Perspectives (cid:86)(cid:0)Volume 42 (cid:86) Numbers 1 and 2 these highly publicized events it was apparent that many of early twentieth century audiences is almost as important them were at the whim of the sound bite—mere consumers as the content itself (see Rocchio 2000). Birth of a Nation, of media without the benefit of a broader and deeper based on Thomas Dixon’s book and play The Clansman: understanding of the social and historical background An Historical Romance of the Ku Klux Klan, takes the necessary to adopt a more critical and informed opinion. popularly successful text into a new arena in which the Teaching about the African American experience in nascent medium of film is used to construct a feature-length, Hawai‘i—as is the case elsewhere — involves teaching about live-action representation of the story. For the first time, contemporary debates in ways that bring out more fully the a mass audience experienced a medium that conveys a context in which the students are raised and that allow for sense of reality in a way that books or photographs cannot. a critical consideration of the ways that African Americans I show the film at the point when students have learned are represented in the media. I believe that this process about the Reconstruction era, the implementation of the is most effectively achieved when film and new media Jim Crow system, the beginning of the terrorist activities are incorporated into the curriculum. Therefore, the very of the Ku Klux Klan, and the anti-lynching movement. As media productions that have to this point distorted student a result, they are clearly able to understand that the Dixon awareness of the African American experience can be used story and Griffith’s cinematic production are historically to create a more accurate understanding. In addition, the inaccurate. Armed with an awareness of historical facts, process of applying students’ understanding of key social they are in a better position to analyze the socio-political and political circumstances to a reading of media products purpose and impact of a false story told through a medium also makes them more able to apply this knowledge to that had enormous influence in shaping the social and readings of media outside the classroom. racial landscape of the time. The students’ awareness of the In the remainder of this article I aim to demonstrate problematic fact that information is presented by the film how I use the content and contextual analyses of a range as “history,” and their understanding of the excitement that of film and new media products in the teaching of African the new medium of film would have had for early audiences, American Studies. In addition, I will include examples of helps them to understand how information can be used to ways in which I take into consideration the unique social and create a distorted picture of the past. I encourage them to cultural circumstances of Hawai‘i. consider that the Internet can also be considered in the same way—as a contemporary source of potential misinformation Old School Media – Early Cinema, Resistance, that can produce invidious effects. and Propaganda After I show Griffith’s classic “cliff scene” in which D. W. Griffith’s 1915 Birth of a Nation played a role a White woman leaps to her death rather than face contact in perpetuating the racist and discriminatory conditions with a Black soldier—a scene that is best understood in the experienced by African Americans by constructing a violent context of the legal, social, and political discourse around tale of the rise of the Ku Klux Klan in what is conceived as a the topic of miscegenation that was prevalent at the time—I heroic effort to curtail Black presence in post-Civil War social bring students into the world of African American resistance and political arenas. The film, notably described by President to the film’s message via an excerpt from African American Woodrow Wilson as “history written with lightning,” presents filmmaker Oscar Micheaux’s 1920 film, Within Our Gates. students with an opportunity to see the way in which the Micheaux’s film features a scene that counters Griffith’s power of a new medium bolstered an oppressive social and “cliff scene” by showing a White man attempting to rape political system that disadvantaged African Americans. a Black woman. The woman stands on a chair and holds However, in spite of its racist message, I believe that a screen- her arms up in an attempt to protect herself from the man’s ing of Birth of a Nation can also be used to challenge modern advances. The act is conspicuously a cinematic match to students to consider alternative readings of media texts. Griffith’s White woman raising her arms to fend off the One of the main reasons that I have for showing approaching Black soldier. However, in Micheaux’s scene excerpts from the film is to make students aware of the a birthmark is revealed on the woman’s shoulder, which impact of the medium at the time, because its effect upon makes her would-be rapist aware that he is about to attack New Media in Higher Education 49 his own daughter from what is described as a “legitimate” my students are often surprised that the film includes relationship with a Black woman. The scene presents a a cinematic history of Black participation in American richly meaningful example of the methods which Micheaux conflicts dating back to the Revolutionary War. However, is using simultaneously to correct a wrong via the same students are also aware that there was a significant challenge medium as Griffith and to readjust the impact by presenting launched against the ban on Black participation in the war the well-documented reality that the circumstances of rape effort, including A. Philip Randolph’s threatened march on were more than likely the reverse of Griffith’s popularly Washington D.C. if defense industry jobs were not opened based assumption that Black men were raping White women up to African Americans. So, even as the Negro Soldier (see Courtney 2005; Siomopoulos and Zimmerman 2006). brings forth a history that arguably is still not widely In addition, Micheaux’s film, by depicting the legitimacy of known and represents a media prelude to the Civil Rights the young woman, serves the early twentieth century African movement, students are able to read it as a propaganda American racial uplift project that promoted puritanically document. Interestingly, I’ve seen my students become bourgeois notions of Black sexuality, Black womanhood, and savvy enough to read the film as part of a project designed things moral by presenting a representation that countered to raise the morale of Black troops and secure the support the images of Black women as hypersexual, licentious, and of African Americans at home; further communicating the immoral. contradictions inherent in the project of fighting fascism In a further effort to give students a sense of the early abroad while simultaneously experiencing discrimination in twentieth century African American experience, I show the military and the United States. sections of the 1927 silent film Scar of Shame, directed by Education through Blaxploitation – Difficult Texts in Frank Perugini, one of numerous white directors of “race Difficult Times films.” The film, which tells the story of a relationship between an African American classical musician and an The MGM Lion roars and the deep pluck of an African American woman from a less than honorable electronic bass rolls underneath. As the film opens, Richard background, provides an illustration of the discussions we Roundtree strolls down a New York City Street in a dark have in class about the color-hierarchy within the African leather jacket. The students know from the music, the American community by highlighting the significance of swagger, and the city backdrop that Richard Roundtree social class distinctions within the community, and the embodies 1970s coolness. However, my students must also overall focus on racial uplift—a theme that is also dealt with consider this “coolness” in light of the historical and social in Within Our Gates. The scenes from Scar of Shame further context of the African American experience. Through support my students’ understanding of DuBois’ “talented lectures and readings, they learn that Gordon Parks’1971 tenth” and related projects meant to redefine the meaning film, Shaft, is part of a larger cinematic movement known as of African American cultural identities in the United States. Blaxploitation. But, the important issue for them to consider The film is melodramatic yet, significantly, it offers students emerges out of the question: What does Blaxploitation say the opportunity to witness the lives of individuals involved about American society? in an important social project meant to demonstrate that I use the opening scene of Shaft to demonstrate that African Americans were upright members of society who the film emerges out of a socio-political context that were indeed worthy of full citizenship. facilitated a shift in the production of African American When using media to make historical circumstances cinematic representations. In other words, Roundtree’s strut resonate with greater significance for my students, it is can be interpreted as an historical and social document. useful to show how content and context interact. During Hollywood producers and independent filmmakers saw lectures and discussions about the African American it as economically viable to bring forth a series of movies experience during World War II, my students screen sections in this vein in the 1970s, and by looking at the film in of the 1944 U.S. War Department film, The Negro Soldier. this way students gain a better insight into how the Black Considering the resistance to Blacks serving in the war Power movement emerged from the Civil Rights era. The and the ubiquity of anti-Black discrimination at the time, contentious social and political debates of the late 1960s and 50 Educational Perspectives (cid:86)(cid:0)Volume 42 (cid:86) Numbers 1 and 2 early 1970s created the economic conditions for marketing social evil of drug dealing. As a result the film perpetuates a strong Black superhero á la John Shaft—a representation the myth of the hyper-sexualized African American woman of an African American man far removed from the black that early twentieth century racial uplift proponents worked soldier in Griffith’s classic whose physical proximity could so hard to dispel. cause a white woman to leap from a cliff. Overall, an examination of the contradictions inherent in Shaft offers students a very lively and useful the Blaxploitation period help students to acquire the skills presentation of the prevalent discourse of the time. While and knowledge to further interrogate the complexities of the the idea of John Shaft could still appear threatening to African American experience and the flawed outcomes of mainstream America, my students realize that the portrayal what are presumed to be advances. Students, therefore, come of an African American helping to remove heroin from to see the contemporary discourse around African American the streets without compromising his dignity or appearing pop-cultural products (e.g., film, television, hip hop music) neutered represented a significant social change in people’s as derived from earlier pop-cultural moments with similarly perceptions of African Americans. Also, students learn that nuanced debates. the film’s commodification of radical African American On-Line Life and Making the Past New identities is an aspect of the movement towards more neo- conservative ideologies and post-Civil Rights era discourse The Internet is a rich medium that offers educators that suggested that racism and discrimination were no longer many opportunities to access visual and audio documents, prevalent aspects of the African American experience. though they often have to remind students that all data are I also show students the opening scene of the 1973 film, not created equal. For example, when we discuss slavery Coffy, starring Pam Grier and directed by Jack Hill, one of and, later in the course, when we discuss the Works Progress numerous white directors of Blaxploitation era films. The Administration (WPA), students are encouraged to visit the story features a revenge tale, in which the lead character Library of Congress on the World Wide Web and access avenges the drug-related death of her sister. The students the WPA interviews in which the audio-taped recordings of are lured into the “groovy” movie by Roy Ayers’ music former slaves have been converted to digital format (http:// running through the opening credits and before they know memory.loc.gov/). Students marvel at hearing the voices it they are catapulted into a classic “Blaxploitation” scene of former slaves tell their stories. Listening to the voice of of sexuality and violence. Students watch Coffy lure a drug an actual former slave lessens the distance between past dealer into bed under the guise of trading sexual favors for injustices and present circumstances, and it helps students to the proverbial “fix,” only to shoot him and his partner. The understand that they too are the inheritors of the legacy of Coffy screening begs the question: Why show the students American slavery. such unseemly scenes and characters as representations of The culture of contemporary Hawai’i has been shaped the African American experience? I believe that there are in part by networks of social and cultural alliances created four reasons for this. First, the film offers a window into the by the descendants of the predominantly Chinese, Japanese, harsh social and political circumstances that could motivate Portuguese, and Filipino laborers who came to the islands an African American woman to take control of her life, beginning in the late nineteenth century to work the sugar albeit through violent means. Second, it reflects the period’s and pineapple plantations. So, in contrast to the continental prevalent representation and criminalization of militant United States, a consideration of plantation life in Hawai‘i African American women identified with such high profile is not framed by the experience of the Trans-Atlantic Slave legal cases as Angela Davis’ prosecution as an accomplice Trade. Most notably, the impact of the enslavement of Blacks to a plot to free the “Soledad Brothers.” Third, the film in the Americas takes a peripheral position in the Hawaiian counters predominant assumptions that African Americans Islands, as the unique circumstances of Hawai‘i’s plantation- were supportive of extra-legal activities, particularly in the era history of labor exploitation and ethnicity-based stratifi- distribution and sale of illegal drugs. Fourth, as an example cation are more prevalent in social and political discourse, of exploitative cinema, it invites students to explore the as well as in the curriculum (see Takaki 1983; Rosa 2004). contradictions in Coffy’s violent acts of revenge for the But when the 1941 voice of former slave Mrs. Laura Smalley New Media in Higher Education 51 of Hempstead, Texas resonates through my University of our society, I take them on a journey to the Ferris State Hawai‘i classroom, it makes the experience of slavery more University website, “The Jim Crow Museum of Racist real for my students. Mrs. Smalley speaks across the decades Memorabilia” http://www.ferris.edu/jimcrow . Here they can to explain a life experience that is rarely given much thought view a range of products and advertisements that reveal the by students here because of its distance in time and place historical acceptance of racist representations of African from the history of ethnic divisions with which they are most Americans. And even though items such as the golf product, familiar. “Niggerhead Tees,” no longer exist, the African American The website YouTube (http://www.youtube.com) also cook on the Cream of Wheat box can still be found at the offers numerous opportunities to bring media into the class- local Safeway. Aunt Jemima received a makeover in the room for student discussion and analysis. In covering the 1980s to shed her plantation-era mammy look, yet her brand- Civil Rights movement, I’ve found it useful to show a clip name origins are still rooted in a particular moment—a of what is described as “rare live footage” of a late 1950s moment when the African American status was that of a Billie Holiday performance of the song “Strange Fruit.” lowly servitor such as a cook or maid. The students know that lynchings such as the 1955 killing The Jim Crow Museum visit also raises the topic of of fourteen-year-old Emmett Till in Money, Mississippi, rice—a product that is an integral part of local cuisine as well as other racist acts of violence, are not remote phe- throughout the Hawaiian Islands. It is also a highly nomena, and Billie Holiday’s performance of the 1939 Abel significant factor in a consideration of the part played by Meeropol song opens a window into the efforts of the anti- food production on plantations in the southern United States. lynching movement. The song was frequently banned from Students deconstruct the social significance of the product broadcast—evidence that the demands of the marketplace labeled “Uncle Ben’s” rice, and consider its role as a product and various socio-political interests aimed to limit resistance icon. I explain that “Uncle” was used as the familiar title and restrict freedom of speech on the topic. And so a view- for older Black men to whom the larger White society could ing of the haunting black and white footage of Billie Holiday never offer the more respectful “Mister.” It was widely used drawling Meeropol’s lyrics, “Southern trees bear a strange as a generic reference to older Black men. We also discuss fruit, blood on the leaves and blood at the root,” introduces the use of the product title, “Uncle Ben,” to sell rice—the students to an important American performer, highlights long history of similar representations of Black men, and the many dimensions of racism in U.S. society, and offers a the assumption implicit in the name that a Black man would penetrating social commentary on the violence and terrorism have expertise in the area of harvesting and cooking rice (see prevalent in the southern United States at the time. Pieterse 1992). Another example from YouTube that I find useful The Uncle Ben’s corporate website, launched in to show my students is a video of Gil Scott Heron’s 1974 2007, provides the visitor with an interactive exploration song, “The Revolution Will Not Be Televised.” The video, of the headquarters of Chairman Uncle Ben (http://www. featuring colorful post-psychedelic 1970s-style animation, unclebens.com). But armed with the history of Uncle-Ben- presents Heron’s lament for contemporary politics, and like representations of black men in mind, students see expresses the sentiment that the medium of television has things differently—they now find themselves in a corporate fostered complacency and the co-opting of events that world that is painstakingly striving to erase this history and might otherwise have helped bring about social change. reinvent the icon that is such a vital part of their corporate After viewing the Heron video, I ask students to listen to image (Elliot 2007). This more nuanced understanding of the 1995 Brooklyn Funk Essentials song, “The Revolution the historical circumstances and social conditions enables Was Postponed Because of Rain” which, as the title implies, students to see the Uncle Ben representation as out of step is critical of the lack of passionate interest in politics and with contemporary understandings of African American deplores the new cultural and political priorities that impede identity, and they come to understand more fully the manner African American revolution in the post-Black Power era. in which social movements and discourses of justice have In order to show students the ways that social and had an impact on corporate presentations. As the students political changes are articulated in various sectors of explore Uncle Ben’s office, they see how his image has 52 Educational Perspectives (cid:86)(cid:0)Volume 42 (cid:86) Numbers 1 and 2 been completely reconstructed. For example, his bow American experience in a way that transcends textbook in- tie, once conceived as a common sartorial adornment of struction. It leads them to view the world from a new vantage the subservient house slave, is now considered a part of a point—one that inspires a more informed perspective on a collection that has been “a fixture of [his] wardrobe” and painful past. is worthy of a trophy that reads “Golden Bow Tie Award” (http://www.unclebens.com). Students can run their cursor over his large corporate desk to read his journal, which recounts an active schedule of lectures, product approvals, and world travels. The text is filled with Uncle Ben’s REFERENCES proverbs and witticisms that reflect an educated life of the (cid:56)(cid:100)(cid:106)(cid:103)(cid:105)(cid:99)(cid:90)(cid:110)(cid:33)(cid:21)(cid:72)(cid:35)(cid:21)(cid:29)(cid:39)(cid:37)(cid:37)(cid:42)(cid:30)(cid:35)(cid:21)(cid:61)(cid:100)(cid:97)(cid:97)(cid:110)(cid:108)(cid:100)(cid:100)(cid:89)(cid:21)(cid:59)(cid:86)(cid:99)(cid:105)(cid:86)(cid:104)(cid:94)(cid:90)(cid:104)(cid:21)(cid:100)(cid:91)(cid:21)(cid:66)(cid:94)(cid:104)(cid:88)(cid:90)(cid:92)(cid:90)(cid:99)(cid:86)(cid:105)(cid:94)(cid:100)(cid:99)(cid:47)(cid:21) (cid:72)(cid:101)(cid:90)(cid:88)(cid:105)(cid:86)(cid:88)(cid:106)(cid:97)(cid:86)(cid:103)(cid:21)(cid:67)(cid:86)(cid:103)(cid:103)(cid:86)(cid:105)(cid:94)(cid:107)(cid:90)(cid:104)(cid:21)(cid:100)(cid:91)(cid:21)(cid:60)(cid:90)(cid:99)(cid:89)(cid:90)(cid:103)(cid:21)(cid:86)(cid:99)(cid:89)(cid:21)(cid:71)(cid:86)(cid:88)(cid:90)(cid:35)(cid:21)(cid:69)(cid:103)(cid:94)(cid:99)(cid:88)(cid:90)(cid:105)(cid:100)(cid:99)(cid:33)(cid:21)(cid:67)(cid:63)(cid:47)(cid:21) mind, as well as a business-oriented obsession with rice. (cid:69)(cid:103)(cid:94)(cid:99)(cid:88)(cid:90)(cid:105)(cid:100)(cid:99)(cid:21)(cid:74)(cid:99)(cid:94)(cid:107)(cid:90)(cid:103)(cid:104)(cid:94)(cid:105)(cid:110)(cid:21)(cid:69)(cid:103)(cid:90)(cid:104)(cid:104)(cid:35) In short, he is transformed into a genteel, high-powered (cid:58)(cid:89)(cid:97)(cid:90)(cid:104)(cid:33)(cid:21)(cid:65)(cid:35)(cid:21)(cid:29)(cid:39)(cid:37)(cid:37)(cid:41)(cid:30)(cid:35)(cid:21)(cid:185)(cid:71)(cid:90)(cid:105)(cid:93)(cid:94)(cid:99)(cid:96)(cid:94)(cid:99)(cid:92)(cid:21)(cid:187)(cid:103)(cid:86)(cid:88)(cid:90)(cid:188)(cid:33)(cid:21)(cid:187)(cid:90)(cid:105)(cid:93)(cid:99)(cid:94)(cid:88)(cid:94)(cid:105)(cid:110)(cid:188)(cid:21)(cid:86)(cid:99)(cid:89)(cid:21)(cid:187)(cid:88)(cid:106)(cid:97)(cid:105)(cid:106)(cid:103)(cid:90)(cid:188)(cid:47)(cid:21)(cid:62)(cid:104)(cid:21) corporate executive with worldly interests. The website, rich (cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:188)(cid:94)(cid:21)(cid:105)(cid:93)(cid:90)(cid:21)(cid:187)(cid:98)(cid:100)(cid:89)(cid:90)(cid:97)(cid:21)(cid:98)(cid:94)(cid:99)(cid:100)(cid:103)(cid:94)(cid:105)(cid:110)(cid:188)(cid:21)(cid:104)(cid:105)(cid:86)(cid:105)(cid:90)(cid:52)(cid:186)(cid:21)(cid:58)(cid:105)(cid:93)(cid:99)(cid:94)(cid:88)(cid:21)(cid:86)(cid:99)(cid:89)(cid:21)(cid:71)(cid:86)(cid:88)(cid:94)(cid:86)(cid:97)(cid:21)(cid:72)(cid:105)(cid:106)(cid:89)(cid:94)(cid:90)(cid:104)(cid:21) (cid:39)(cid:44)(cid:29)(cid:38)(cid:30)(cid:33)(cid:21)(cid:40)(cid:44)(cid:183)(cid:43)(cid:45)(cid:35) with opportunities for students to explore various dimensions (cid:58)(cid:97)(cid:97)(cid:94)(cid:100)(cid:105)(cid:105)(cid:33)(cid:21)(cid:72)(cid:35)(cid:21)(cid:29)(cid:39)(cid:37)(cid:37)(cid:44)(cid:30)(cid:35)(cid:21)(cid:74)(cid:99)(cid:88)(cid:97)(cid:90)(cid:21)(cid:55)(cid:90)(cid:99)(cid:33)(cid:21)(cid:55)(cid:100)(cid:86)(cid:103)(cid:89)(cid:21)(cid:56)(cid:93)(cid:86)(cid:94)(cid:103)(cid:98)(cid:86)(cid:99)(cid:35)(cid:21)(cid:67)(cid:90)(cid:108)(cid:21)(cid:78)(cid:100)(cid:103)(cid:96)(cid:21)(cid:73)(cid:94)(cid:98)(cid:90)(cid:104)(cid:33)(cid:21) of Chairman Uncle Ben’s life, reinforces his new role as (cid:66)(cid:86)(cid:103)(cid:88)(cid:93)(cid:21)(cid:40)(cid:37)(cid:35)(cid:21)(cid:93)(cid:105)(cid:105)(cid:101)(cid:47)(cid:36)(cid:36)(cid:108)(cid:108)(cid:108)(cid:35)(cid:99)(cid:110)(cid:105)(cid:94)(cid:98)(cid:90)(cid:104)(cid:35)(cid:88)(cid:100)(cid:98)(cid:36)(cid:21)(cid:29)(cid:86)(cid:88)(cid:88)(cid:90)(cid:104)(cid:104)(cid:90)(cid:89)(cid:21)(cid:63)(cid:86)(cid:99)(cid:106)(cid:86)(cid:103)(cid:110)(cid:21)(cid:39)(cid:37)(cid:33)(cid:21) the knowledgeable and wealthy uncle that everyone wishes (cid:39)(cid:37)(cid:37)(cid:45)(cid:30)(cid:35) they had, rather than the servant “uncle” reminiscent of a (cid:61)(cid:86)(cid:86)(cid:104)(cid:33)(cid:21)(cid:66)(cid:33)(cid:21)(cid:29)(cid:38)(cid:46)(cid:46)(cid:45)(cid:30)(cid:35)(cid:21)(cid:66)(cid:106)(cid:97)(cid:105)(cid:94)(cid:88)(cid:106)(cid:97)(cid:105)(cid:106)(cid:103)(cid:86)(cid:97)(cid:21)(cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:94)(cid:47)(cid:21)(cid:73)(cid:93)(cid:90)(cid:21)(cid:59)(cid:86)(cid:87)(cid:103)(cid:94)(cid:88)(cid:21)(cid:100)(cid:91)(cid:21)(cid:86)(cid:21) nineteenth century house slave. (cid:66)(cid:106)(cid:97)(cid:105)(cid:94)(cid:90)(cid:105)(cid:93)(cid:99)(cid:94)(cid:88)(cid:21)(cid:72)(cid:100)(cid:88)(cid:94)(cid:90)(cid:105)(cid:110)(cid:35)(cid:21)(cid:67)(cid:90)(cid:108)(cid:21)(cid:78)(cid:100)(cid:103)(cid:96)(cid:47)(cid:21)(cid:71)(cid:100)(cid:106)(cid:105)(cid:97)(cid:90)(cid:89)(cid:92)(cid:90)(cid:35) In the context of the Hawai‘i plantation experience, the (cid:61)(cid:86)(cid:97)(cid:86)(cid:92)(cid:86)(cid:100)(cid:33)(cid:21)(cid:69)(cid:35)(cid:21)(cid:58)(cid:35)(cid:21)(cid:29)(cid:39)(cid:37)(cid:37)(cid:43)(cid:30)(cid:35)(cid:21)(cid:185)(cid:70)(cid:106)(cid:90)(cid:104)(cid:105)(cid:94)(cid:100)(cid:99)(cid:94)(cid:99)(cid:92)(cid:21)(cid:105)(cid:93)(cid:90)(cid:21)(cid:54)(cid:97)(cid:100)(cid:93)(cid:86)(cid:21)(cid:94)(cid:99)(cid:21)(cid:86)(cid:21)(cid:66)(cid:106)(cid:97)(cid:105)(cid:94)(cid:88)(cid:106)(cid:97)(cid:105)(cid:106)(cid:103)(cid:86)(cid:97)(cid:21) (cid:73)(cid:90)(cid:86)(cid:88)(cid:93)(cid:90)(cid:103)(cid:21)(cid:58)(cid:89)(cid:106)(cid:88)(cid:86)(cid:105)(cid:94)(cid:100)(cid:99)(cid:21)(cid:56)(cid:100)(cid:106)(cid:103)(cid:104)(cid:90)(cid:35)(cid:186)(cid:21)(cid:54)(cid:104)(cid:94)(cid:86)(cid:21)(cid:69)(cid:86)(cid:88)(cid:94)(cid:196)(cid:88)(cid:21)(cid:63)(cid:100)(cid:106)(cid:103)(cid:99)(cid:86)(cid:97)(cid:21)(cid:100)(cid:91)(cid:21)(cid:58)(cid:89)(cid:106)(cid:88)(cid:86)(cid:105)(cid:94)(cid:100)(cid:99)(cid:21) revision of Uncle Ben’s “image” underlines the differences (cid:39)(cid:43)(cid:29)(cid:38)(cid:30)(cid:33)(cid:21)(cid:40)(cid:44)(cid:183)(cid:42)(cid:37)(cid:35)(cid:21) in the meaning of “uncle” in Hawai‘i and in the continental (cid:63)(cid:86)(cid:88)(cid:96)(cid:104)(cid:100)(cid:99)(cid:33)(cid:21)(cid:66)(cid:35)(cid:21)(cid:66)(cid:35)(cid:21)(cid:29)(cid:39)(cid:37)(cid:37)(cid:41)(cid:30)(cid:35)(cid:21)(cid:73)(cid:93)(cid:90)(cid:110)(cid:21)(cid:59)(cid:100)(cid:97)(cid:97)(cid:100)(cid:108)(cid:90)(cid:89)(cid:21)(cid:105)(cid:93)(cid:90)(cid:21)(cid:73)(cid:103)(cid:86)(cid:89)(cid:90)(cid:21)(cid:76)(cid:94)(cid:99)(cid:89)(cid:104)(cid:47)(cid:21)(cid:54)(cid:91)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:21) United States. In Hawai‘i “uncle”—and “auntie” for that (cid:54)(cid:98)(cid:90)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:104)(cid:21)(cid:94)(cid:99)(cid:21)(cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:187)(cid:94)(cid:21)(cid:29)(cid:72)(cid:100)(cid:88)(cid:94)(cid:86)(cid:97)(cid:21)(cid:69)(cid:103)(cid:100)(cid:88)(cid:90)(cid:104)(cid:104)(cid:21)(cid:94)(cid:99)(cid:21)(cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:187)(cid:94)(cid:21)(cid:41)(cid:40)(cid:30)(cid:35)(cid:21)(cid:61)(cid:100)(cid:99)(cid:100)(cid:97)(cid:106)(cid:97)(cid:106)(cid:47)(cid:21) matter—does not carry the same legacy of oppression. It is (cid:74)(cid:99)(cid:94)(cid:107)(cid:90)(cid:103)(cid:104)(cid:94)(cid:105)(cid:110)(cid:21)(cid:100)(cid:91)(cid:21)(cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:187)(cid:94)(cid:21)(cid:69)(cid:103)(cid:90)(cid:104)(cid:104)(cid:35)(cid:21) an honorific that is comfortably extended to family friends. (cid:65)(cid:86)(cid:89)(cid:104)(cid:100)(cid:99)(cid:34)(cid:55)(cid:94)(cid:97)(cid:97)(cid:94)(cid:99)(cid:92)(cid:104)(cid:33)(cid:21)(cid:60)(cid:35)(cid:21)(cid:29)(cid:39)(cid:37)(cid:37)(cid:37)(cid:30)(cid:35)(cid:21)(cid:59)(cid:94)(cid:92)(cid:93)(cid:105)(cid:94)(cid:99)(cid:92)(cid:21)(cid:91)(cid:100)(cid:103)(cid:21)(cid:68)(cid:106)(cid:103)(cid:21)(cid:65)(cid:94)(cid:107)(cid:90)(cid:104)(cid:47)(cid:21)(cid:69)(cid:103)(cid:90)(cid:101)(cid:86)(cid:103)(cid:94)(cid:99)(cid:92)(cid:21) (cid:73)(cid:90)(cid:86)(cid:88)(cid:93)(cid:90)(cid:103)(cid:104)(cid:21)(cid:105)(cid:100)(cid:21)(cid:73)(cid:90)(cid:86)(cid:88)(cid:93)(cid:21)(cid:54)(cid:91)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:21)(cid:54)(cid:98)(cid:90)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:21)(cid:72)(cid:105)(cid:106)(cid:89)(cid:90)(cid:99)(cid:105)(cid:104)(cid:35)(cid:21)(cid:63)(cid:100)(cid:106)(cid:103)(cid:99)(cid:86)(cid:97)(cid:21)(cid:100)(cid:91)(cid:21) In the African American context the usage of “uncle” takes (cid:73)(cid:90)(cid:86)(cid:88)(cid:93)(cid:90)(cid:103)(cid:21)(cid:58)(cid:89)(cid:106)(cid:88)(cid:86)(cid:105)(cid:94)(cid:100)(cid:99)(cid:21)(cid:42)(cid:38)(cid:29)(cid:40)(cid:30)(cid:33)(cid:21)(cid:39)(cid:37)(cid:43)(cid:183)(cid:39)(cid:38)(cid:41)(cid:35) on a very different meaning. And students who do not (cid:68)(cid:96)(cid:86)(cid:98)(cid:106)(cid:103)(cid:86)(cid:33)(cid:21)(cid:63)(cid:35)(cid:21)(cid:29)(cid:38)(cid:46)(cid:46)(cid:45)(cid:30)(cid:35)(cid:21)(cid:72)(cid:100)(cid:88)(cid:94)(cid:86)(cid:97)(cid:21)(cid:72)(cid:105)(cid:103)(cid:86)(cid:105)(cid:94)(cid:196)(cid:88)(cid:86)(cid:105)(cid:94)(cid:100)(cid:99)(cid:35)(cid:21)(cid:62)(cid:99)(cid:21)(cid:66)(cid:106)(cid:97)(cid:105)(cid:94)(cid:88)(cid:106)(cid:97)(cid:105)(cid:106)(cid:103)(cid:86)(cid:97)(cid:21)(cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:94)(cid:47)(cid:21) initially grasp the offensive connotation that “uncle” has (cid:73)(cid:93)(cid:90)(cid:21)(cid:59)(cid:86)(cid:87)(cid:103)(cid:94)(cid:88)(cid:21)(cid:100)(cid:91)(cid:21)(cid:86)(cid:21)(cid:66)(cid:106)(cid:97)(cid:105)(cid:94)(cid:90)(cid:105)(cid:93)(cid:99)(cid:94)(cid:88)(cid:21)(cid:72)(cid:100)(cid:88)(cid:94)(cid:90)(cid:105)(cid:110)(cid:33)(cid:21)(cid:66)(cid:94)(cid:88)(cid:93)(cid:86)(cid:90)(cid:97)(cid:21)(cid:61)(cid:86)(cid:86)(cid:104)(cid:21)(cid:29)(cid:58)(cid:89)(cid:35)(cid:30)(cid:21)(cid:101)(cid:101)(cid:35)(cid:21) for African Americans learn to see that a major corporate (cid:38)(cid:45)(cid:42)(cid:183)(cid:39)(cid:37)(cid:41)(cid:35)(cid:21)(cid:67)(cid:90)(cid:108)(cid:21)(cid:78)(cid:100)(cid:103)(cid:96)(cid:47)(cid:21)(cid:71)(cid:100)(cid:106)(cid:105)(cid:97)(cid:90)(cid:89)(cid:92)(cid:90)(cid:35) revision signifies that the prior representation of Uncle Ben (cid:69)(cid:94)(cid:90)(cid:105)(cid:90)(cid:103)(cid:104)(cid:90)(cid:33)(cid:21)(cid:63)(cid:35)(cid:21)(cid:67)(cid:35)(cid:21)(cid:29)(cid:38)(cid:46)(cid:46)(cid:39)(cid:30)(cid:35)(cid:21)(cid:76)(cid:93)(cid:94)(cid:105)(cid:90)(cid:21)(cid:100)(cid:99)(cid:21)(cid:55)(cid:97)(cid:86)(cid:88)(cid:96)(cid:47)(cid:21)(cid:62)(cid:98)(cid:86)(cid:92)(cid:90)(cid:104)(cid:21)(cid:100)(cid:91)(cid:21)(cid:54)(cid:91)(cid:103)(cid:94)(cid:88)(cid:86)(cid:21)(cid:86)(cid:99)(cid:89)(cid:21)(cid:55)(cid:97)(cid:86)(cid:88)(cid:96)(cid:104)(cid:21) (cid:94)(cid:99)(cid:21)(cid:76)(cid:90)(cid:104)(cid:105)(cid:90)(cid:103)(cid:99)(cid:21)(cid:69)(cid:100)(cid:101)(cid:106)(cid:97)(cid:86)(cid:103)(cid:21)(cid:56)(cid:106)(cid:97)(cid:105)(cid:106)(cid:103)(cid:90)(cid:35)(cid:21)(cid:67)(cid:90)(cid:108)(cid:21)(cid:61)(cid:86)(cid:107)(cid:90)(cid:99)(cid:33)(cid:21)(cid:56)(cid:73)(cid:47)(cid:21)(cid:78)(cid:86)(cid:97)(cid:90)(cid:21)(cid:74)(cid:99)(cid:94)(cid:107)(cid:90)(cid:103)(cid:104)(cid:94)(cid:105)(cid:110)(cid:21) is now deemed inappropriate. Furthermore, students gain (cid:69)(cid:103)(cid:90)(cid:104)(cid:104)(cid:35)(cid:21) insight into how a modern corporation employs new media to (cid:69)(cid:94)(cid:99)(cid:86)(cid:103)(cid:33)(cid:21)(cid:76)(cid:35)(cid:21)(cid:59)(cid:35)(cid:21)(cid:29)(cid:38)(cid:46)(cid:46)(cid:40)(cid:30)(cid:35)(cid:21)(cid:67)(cid:100)(cid:105)(cid:90)(cid:104)(cid:21)(cid:100)(cid:99)(cid:21)(cid:106)(cid:99)(cid:89)(cid:90)(cid:103)(cid:104)(cid:105)(cid:86)(cid:99)(cid:89)(cid:94)(cid:99)(cid:92)(cid:21)(cid:88)(cid:106)(cid:103)(cid:103)(cid:94)(cid:88)(cid:106)(cid:97)(cid:106)(cid:98)(cid:21)(cid:86)(cid:104)(cid:21)(cid:86)(cid:21)(cid:103)(cid:86)(cid:88)(cid:94)(cid:86)(cid:97)(cid:21) preserve an icon that supports its brand while simultaneously (cid:105)(cid:90)(cid:109)(cid:105)(cid:35)(cid:21)(cid:62)(cid:99)(cid:21)(cid:71)(cid:86)(cid:88)(cid:90)(cid:33)(cid:21)(cid:62)(cid:89)(cid:90)(cid:99)(cid:105)(cid:94)(cid:105)(cid:110)(cid:33)(cid:21)(cid:86)(cid:99)(cid:89)(cid:21)(cid:71)(cid:90)(cid:101)(cid:103)(cid:90)(cid:104)(cid:90)(cid:99)(cid:105)(cid:86)(cid:105)(cid:94)(cid:100)(cid:99)(cid:21)(cid:94)(cid:99)(cid:21)(cid:58)(cid:89)(cid:106)(cid:88)(cid:86)(cid:105)(cid:94)(cid:100)(cid:99)(cid:33)(cid:21) (cid:56)(cid:86)(cid:98)(cid:90)(cid:103)(cid:100)(cid:99)(cid:21)(cid:66)(cid:88)(cid:56)(cid:86)(cid:103)(cid:105)(cid:93)(cid:110)(cid:21)(cid:86)(cid:99)(cid:89)(cid:21)(cid:76)(cid:86)(cid:103)(cid:103)(cid:90)(cid:99)(cid:21)(cid:56)(cid:103)(cid:94)(cid:88)(cid:93)(cid:97)(cid:100)(cid:108)(cid:21)(cid:29)(cid:58)(cid:89)(cid:104)(cid:35)(cid:30)(cid:33)(cid:21)(cid:101)(cid:101)(cid:35)(cid:43)(cid:37)(cid:183)(cid:44)(cid:37)(cid:35)(cid:21) distancing itself from the horrid circumstances that (cid:67)(cid:90)(cid:108)(cid:21)(cid:78)(cid:100)(cid:103)(cid:96)(cid:47)(cid:21)(cid:71)(cid:100)(cid:106)(cid:105)(cid:97)(cid:90)(cid:89)(cid:92)(cid:90)(cid:35) facilitated the creation of that icon. (cid:71)(cid:100)(cid:88)(cid:88)(cid:93)(cid:94)(cid:100)(cid:33)(cid:21)(cid:75)(cid:35)(cid:21)(cid:59)(cid:35)(cid:21)(cid:29)(cid:39)(cid:37)(cid:37)(cid:37)(cid:30)(cid:35)(cid:21)(cid:71)(cid:90)(cid:90)(cid:97)(cid:21)(cid:71)(cid:86)(cid:88)(cid:94)(cid:104)(cid:98)(cid:47)(cid:21)(cid:56)(cid:100)(cid:99)(cid:91)(cid:103)(cid:100)(cid:99)(cid:105)(cid:94)(cid:99)(cid:92)(cid:21)(cid:61)(cid:100)(cid:97)(cid:97)(cid:110)(cid:108)(cid:100)(cid:100)(cid:89)(cid:188)(cid:104)(cid:21) (cid:88)(cid:100)(cid:99)(cid:104)(cid:105)(cid:103)(cid:106)(cid:88)(cid:105)(cid:94)(cid:100)(cid:99)(cid:21)(cid:100)(cid:91)(cid:21)(cid:54)(cid:91)(cid:103)(cid:100)(cid:21)(cid:54)(cid:98)(cid:90)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:21)(cid:56)(cid:106)(cid:97)(cid:105)(cid:106)(cid:103)(cid:90)(cid:35)(cid:21)(cid:55)(cid:100)(cid:106)(cid:97)(cid:89)(cid:90)(cid:103)(cid:33)(cid:21)(cid:56)(cid:68)(cid:47)(cid:21)(cid:76)(cid:90)(cid:104)(cid:105)(cid:107)(cid:94)(cid:90)(cid:108)(cid:21) Conclusion (cid:69)(cid:103)(cid:90)(cid:104)(cid:104)(cid:35) I have argued and demonstrated here that film and new (cid:71)(cid:100)(cid:104)(cid:86)(cid:33)(cid:21)(cid:63)(cid:35)(cid:21)(cid:69)(cid:35)(cid:21)(cid:29)(cid:39)(cid:37)(cid:37)(cid:41)(cid:30)(cid:35)(cid:21)(cid:55)(cid:90)(cid:110)(cid:100)(cid:99)(cid:89)(cid:21)(cid:105)(cid:93)(cid:90)(cid:21)(cid:69)(cid:97)(cid:86)(cid:99)(cid:105)(cid:86)(cid:105)(cid:94)(cid:100)(cid:99)(cid:47)(cid:21)(cid:73)(cid:90)(cid:86)(cid:88)(cid:93)(cid:94)(cid:99)(cid:92)(cid:21)(cid:86)(cid:87)(cid:100)(cid:106)(cid:105)(cid:21)(cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:188)(cid:94)(cid:21) (cid:87)(cid:90)(cid:91)(cid:100)(cid:103)(cid:90)(cid:21)(cid:38)(cid:46)(cid:37)(cid:37)(cid:35)(cid:21)(cid:63)(cid:100)(cid:106)(cid:103)(cid:99)(cid:86)(cid:97)(cid:21)(cid:100)(cid:91)(cid:21)(cid:54)(cid:104)(cid:94)(cid:86)(cid:99)(cid:21)(cid:54)(cid:98)(cid:90)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:21)(cid:72)(cid:105)(cid:106)(cid:89)(cid:94)(cid:90)(cid:104)(cid:33)(cid:21)(cid:44)(cid:29)(cid:40)(cid:30)(cid:33)(cid:21)(cid:39)(cid:39)(cid:40)(cid:183)(cid:39)(cid:41)(cid:37)(cid:35)(cid:21) media can be used to teach students to comprehend the com- (cid:72)(cid:93)(cid:106)(cid:95)(cid:86)(cid:86)(cid:33)(cid:21)(cid:66)(cid:35)(cid:21)(cid:29)(cid:38)(cid:46)(cid:46)(cid:42)(cid:30)(cid:35)(cid:21)(cid:56)(cid:106)(cid:97)(cid:105)(cid:106)(cid:103)(cid:86)(cid:97)(cid:21)(cid:72)(cid:90)(cid:97)(cid:91)(cid:21)(cid:66)(cid:90)(cid:90)(cid:105)(cid:104)(cid:21)(cid:56)(cid:106)(cid:97)(cid:105)(cid:106)(cid:103)(cid:86)(cid:97)(cid:21)(cid:68)(cid:105)(cid:93)(cid:90)(cid:103)(cid:21)(cid:94)(cid:99)(cid:21)(cid:105)(cid:93)(cid:90)(cid:21) plex historical, social, political, and cultural dimensions of (cid:54)(cid:91)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:21)(cid:54)(cid:98)(cid:90)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:21)(cid:58)(cid:109)(cid:101)(cid:90)(cid:103)(cid:94)(cid:90)(cid:99)(cid:88)(cid:90)(cid:47)(cid:21)(cid:73)(cid:90)(cid:86)(cid:88)(cid:93)(cid:90)(cid:103)(cid:104)(cid:188)(cid:21)(cid:71)(cid:90)(cid:104)(cid:101)(cid:100)(cid:99)(cid:104)(cid:90)(cid:104)(cid:21)(cid:105)(cid:100)(cid:21)(cid:86)(cid:21) the African American experience. Whether they are located (cid:56)(cid:106)(cid:103)(cid:103)(cid:94)(cid:88)(cid:106)(cid:97)(cid:106)(cid:98)(cid:21)(cid:56)(cid:100)(cid:99)(cid:105)(cid:90)(cid:99)(cid:105)(cid:21)(cid:71)(cid:90)(cid:91)(cid:100)(cid:103)(cid:98)(cid:35)(cid:21)(cid:73)(cid:93)(cid:90)(cid:100)(cid:103)(cid:110)(cid:21)(cid:62)(cid:99)(cid:105)(cid:100)(cid:21)(cid:69)(cid:103)(cid:86)(cid:88)(cid:105)(cid:94)(cid:88)(cid:90)(cid:33)(cid:21)(cid:40)(cid:41)(cid:29)(cid:40)(cid:30)(cid:33)(cid:21) in Hawai‘i or anywhere else in the U.S., when students hear (cid:38)(cid:46)(cid:41)(cid:183)(cid:39)(cid:37)(cid:38)(cid:35) the voice of a former slave in a WPA interview, experience (cid:72)(cid:94)(cid:100)(cid:98)(cid:100)(cid:101)(cid:100)(cid:106)(cid:97)(cid:100)(cid:104)(cid:33)(cid:21)(cid:54)(cid:35)(cid:21)(cid:86)(cid:99)(cid:89)(cid:21)(cid:79)(cid:94)(cid:98)(cid:98)(cid:90)(cid:103)(cid:98)(cid:86)(cid:99)(cid:99)(cid:33)(cid:21)(cid:69)(cid:35)(cid:21)(cid:29)(cid:39)(cid:37)(cid:37)(cid:43)(cid:30)(cid:35)(cid:21)(cid:72)(cid:94)(cid:97)(cid:90)(cid:99)(cid:105)(cid:21)(cid:59)(cid:94)(cid:97)(cid:98)(cid:21) (cid:58)(cid:109)(cid:93)(cid:94)(cid:87)(cid:94)(cid:105)(cid:94)(cid:100)(cid:99)(cid:21)(cid:86)(cid:99)(cid:89)(cid:21)(cid:69)(cid:90)(cid:103)(cid:91)(cid:100)(cid:103)(cid:98)(cid:86)(cid:105)(cid:94)(cid:107)(cid:90)(cid:21)(cid:61)(cid:94)(cid:104)(cid:105)(cid:100)(cid:103)(cid:94)(cid:100)(cid:92)(cid:103)(cid:86)(cid:101)(cid:93)(cid:110)(cid:47)(cid:21)(cid:73)(cid:93)(cid:90)(cid:21)(cid:76)(cid:94)(cid:105)(cid:93)(cid:94)(cid:99)(cid:21)(cid:68)(cid:106)(cid:103)(cid:21) Billie Holiday’s voice, see the grimace of Pam Grier in the (cid:60)(cid:86)(cid:105)(cid:90)(cid:104)(cid:21)(cid:69)(cid:103)(cid:100)(cid:95)(cid:90)(cid:88)(cid:105)(cid:35)(cid:21)(cid:73)(cid:93)(cid:90)(cid:21)(cid:66)(cid:100)(cid:107)(cid:94)(cid:99)(cid:92)(cid:21)(cid:62)(cid:98)(cid:86)(cid:92)(cid:90)(cid:33)(cid:21)(cid:43)(cid:29)(cid:39)(cid:30)(cid:33)(cid:21)(cid:38)(cid:37)(cid:46)(cid:183)(cid:38)(cid:38)(cid:38)(cid:35)(cid:21) face of a drug dealer, or visit the corporate headquarters of (cid:73)(cid:86)(cid:96)(cid:86)(cid:96)(cid:94)(cid:33)(cid:21)(cid:71)(cid:35)(cid:21)(cid:73)(cid:35)(cid:21)(cid:29)(cid:38)(cid:46)(cid:45)(cid:40)(cid:30)(cid:35)(cid:21)(cid:69)(cid:86)(cid:106)(cid:21)(cid:61)(cid:86)(cid:99)(cid:86)(cid:47)(cid:21)(cid:69)(cid:97)(cid:86)(cid:99)(cid:105)(cid:86)(cid:105)(cid:94)(cid:100)(cid:99)(cid:21)(cid:65)(cid:94)(cid:91)(cid:90)(cid:21)(cid:86)(cid:99)(cid:89)(cid:21)(cid:65)(cid:86)(cid:87)(cid:100)(cid:103)(cid:21)(cid:94)(cid:99)(cid:21) the stylish Uncle Ben, they are engaging with the African (cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:94)(cid:33)(cid:21)(cid:38)(cid:45)(cid:40)(cid:42)(cid:183)(cid:38)(cid:46)(cid:39)(cid:37)(cid:35)(cid:21)(cid:61)(cid:100)(cid:99)(cid:100)(cid:97)(cid:106)(cid:97)(cid:106)(cid:47)(cid:21)(cid:74)(cid:99)(cid:94)(cid:107)(cid:90)(cid:103)(cid:104)(cid:94)(cid:105)(cid:110)(cid:21)(cid:100)(cid:91)(cid:21)(cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:187)(cid:94)(cid:21)(cid:69)(cid:103)(cid:90)(cid:104)(cid:104)(cid:35)(cid:21) New Media in Higher Education 53 (cid:73)(cid:86)(cid:96)(cid:86)(cid:103)(cid:86)(cid:33)(cid:21)(cid:64)(cid:35)(cid:21)(cid:76)(cid:35)(cid:21)(cid:29)(cid:39)(cid:37)(cid:37)(cid:41)(cid:30)(cid:35)(cid:21)(cid:73)(cid:93)(cid:90)(cid:21)(cid:54)(cid:91)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:21)(cid:57)(cid:94)(cid:86)(cid:104)(cid:101)(cid:100)(cid:103)(cid:86)(cid:21)(cid:94)(cid:99)(cid:21)(cid:67)(cid:94)(cid:99)(cid:90)(cid:105)(cid:90)(cid:90)(cid:99)(cid:105)(cid:93)(cid:21)(cid:56)(cid:90)(cid:99)(cid:105)(cid:106)(cid:103)(cid:110)(cid:21) (cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:187)(cid:94)(cid:35)(cid:21)(cid:62)(cid:99)(cid:21)(cid:73)(cid:93)(cid:90)(cid:110)(cid:21)(cid:59)(cid:100)(cid:97)(cid:97)(cid:100)(cid:108)(cid:90)(cid:89)(cid:21)(cid:105)(cid:93)(cid:90)(cid:21)(cid:73)(cid:103)(cid:86)(cid:89)(cid:90)(cid:21)(cid:76)(cid:94)(cid:99)(cid:89)(cid:104)(cid:47)(cid:21)(cid:54)(cid:91)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:21)(cid:54)(cid:98)(cid:90)(cid:103)(cid:94)(cid:88)(cid:86)(cid:99)(cid:104)(cid:21) (cid:94)(cid:99)(cid:21)(cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:187)(cid:94)(cid:21)(cid:29)(cid:72)(cid:100)(cid:88)(cid:94)(cid:86)(cid:97)(cid:21)(cid:69)(cid:103)(cid:100)(cid:88)(cid:90)(cid:104)(cid:104)(cid:21)(cid:94)(cid:99)(cid:21)(cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:187)(cid:94)(cid:21)(cid:41)(cid:40)(cid:30)(cid:33)(cid:21)(cid:66)(cid:35)(cid:21)(cid:66)(cid:35)(cid:21)(cid:63)(cid:86)(cid:88)(cid:96)(cid:104)(cid:100)(cid:99)(cid:21)(cid:29)(cid:58)(cid:89)(cid:35)(cid:30)(cid:33)(cid:21) (cid:101)(cid:101)(cid:35)(cid:38)(cid:183)(cid:39)(cid:39)(cid:21)(cid:61)(cid:100)(cid:99)(cid:100)(cid:97)(cid:106)(cid:97)(cid:106)(cid:47)(cid:21)(cid:74)(cid:99)(cid:94)(cid:107)(cid:90)(cid:103)(cid:104)(cid:94)(cid:105)(cid:110)(cid:21)(cid:100)(cid:91)(cid:21)(cid:61)(cid:86)(cid:108)(cid:86)(cid:94)(cid:187)(cid:94)(cid:21)(cid:69)(cid:103)(cid:90)(cid:104)(cid:104)(cid:35)(cid:21) 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