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July 3, 2020

The State of SIE Report

The Skoll Center for Social Impact Entertainment (Skoll Center SIE) at the UCLA School of Theater, Film and Television (UCLA TFT), in partnership with Participant Media, has released a world-class report on The State of Social Impact Entertainment. The extensive report discusses how SIE works, why it matters and how it can be created.
January 31, 2020

Gender Perspectives: Audience Research

This report is about audience research for a diverse set of audiences. There are six Story at Scale audience profiles created from a survey of more than 6,000 people and enriched with cultural and qualitative research. The profiles are not about demographics, ideology, political issues, or even gender justice; they are about how our audiences experience gender in their everyday lives.
January 31, 2020

Building a Creative Strategy: Video Testing

Story at Scale produced and tested twelve videos based on the story platform—the core narrative that will help us change the culture and achieve gender justice—using the six story pillars that arose out of the platform to support particular areas of storytelling. Our goal was to create content that worked for Kids First and For the Win, two persuadable audiences identified through the Story at Scale audience segmentation process.
October 19, 2019

The Power of Storytelling: Media and Positive Character Development

Parents have traditionally relied on family, religion, and schools to impart character lessons but, as media increasingly permeates the fabric of social life, it becomes another powerful tool for promoting positive character development. An initiative launched by the non-profit Common Sense Media was designed to help parents and educators harness the power of media to support their efforts in developing positive character strengths.
September 6, 2019

Impact Investing in the Creative Economy: Deep Dive into Social Impact Media

In an effort to demystify the creative economy for impact investors, impact fund managers and other stakeholders, this report dives deep into three large and growing consumer industries within the creative economy: fashion, food and media.
April 19, 2019

The Landscape of Children’s Television in the US & Canada

This report studied TV programs aimed at children under 12 in the U.S. and Canada. The following is an analysis of the program as a whole (e.g., its genre, country of origin, target age, the various professionals who were involved in its production) as well as all main characters represented in the program (e.g., their gender, race, age, ability, class, appearance, behavior).
August 19, 2017

Character Is Common Sense: Media, Kids, and Character Strengths

This research report details the Common Sense methodology for developing the first-of-its-kind tagging system that identifies movies and TV programs that promote core character strengths and life skills. In this report we describe insights gleaned from our work, which included an extensive literature review of multiple academic fields, with a focus on our core competencies: kids and media. We also report the results of evaluation research conducted with parents and educators in focus groups and in a small intervention study, conducted in three different cities and in English and Spanish.
August 6, 2017

A Guide to Getting the Most Out of Your Media Production Education

The following practices are based on research and input from faculty and students in media production programs across the U.S. They are designed to encourage the building of skills and knowledge that will make you versatile, creative in solving problems, and a strong member of a team, whether you’re a leader or part of the crew.
August 6, 2017

BEST PRACTICES FOR INCLUSIVE TEACHING IN MEDIA PRODUCTION

EDIT Media’s impetus in developing this document began in department meetings, at conferences, and in student conversations about recurring problems in production classes: frustration with gender, racial, economic, and other imbalances in the classroom; students’ desire to see a wider array of media makers, actors, and characters in examples presented in class; and shared concerns across campuses and at festivals over stereotypical characters, gratuitous violence, and clichéd narratives in student work.

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