1 in 10 undergraduates in the US will study abroad. Extoled by students as personally transformative and celebrated in academia for fostering cross-cultural understanding, study abroad is also promoted by the US government as a form of cultural diplomacy and a bridge to future participation in the global marketplace.

In Documenting the American Student Abroad, Kelly Hankin explores the documentary media cultures that shape these beliefs, drawing our attention to the broad range of stakeholders and documentary modes involved in defining the core values and practices of study abroad. From study abroad video contests and a F.B.I. produced docudrama about student espionage to reality television inspired educational documentaries and docudramas about Amanda Knox, Hankin shows how the institutional values of "global citizenship," "intercultural communication," and "cultural immersion" emerge in contradictory ways through their representation.

By bringing study abroad and media studies into conversation with one another, Documenting the American Student Abroad: The Media Cultures of International Education offers a much needed humanist contribution to the field of international education, as well as a unique approach to the growing scholarship on the intersection of media and institutions. As study abroad practitioners and students increase their engagement with moving images and digital environments, the insights of media scholars are essential for helping the field understand how the mediation of study abroad rhetoric shapes rather than reflects the field's central institutional ideals

Vividly revealing the multiple layers on which print has been produced, consumed, regulated, and contested for the purpose of education since the mid-nineteenth century, the historical case studies in Education and the Culture of Print in Modern America deploy a view of education that extends far beyond the confines of traditional classrooms. The nine essays examine “how print educates” in settings as diverse as depression-era work camps, religious training, and broadcast television—all the while revealing the enduring tensions that exist among the controlling interests of print producers and consumers. This volume exposes what counts as education in American society and the many contexts in which education and print intersect.
    Offering perspectives from print culture history, library and information studies, literary studies, labor history, gender history, the history of race and ethnicity, the history of science and technology, religious studies, and the history of childhood and adolescence, Education and the Culture of Print in Modern America pioneers an investigation into the intersection of education and print culture.

In classrooms, museums, health clinics and beyond, the educational uses of visual media have proliferated over the past fifty years. Film, video, television, and digital media have been integral to the development of new pedagogical theories and practices, globalization processes, and identity and community formation. Yet, Brian Goldfarb argues, the educational roles of visual technologies have not been fully understood or appreciated. He contends that in order to understand the intersections of new media and learning, we need to recognize the sweeping scope of the technologically infused visual pedagogy—both in and outside the classroom. From Samoa to the United States mainland to Africa and Brazil, from museums to city streets, Visual Pedagogy explores the educational applications of visual media in different institutional settings during the past half century.

Looking beyond the popular media texts and mainstream classroom technologies that are the objects of most analyses of media and education, Goldfarb encourages readers to see a range of media subcultures as pedagogical tools. The projects he analyzes include media produced by AIDS/HIV advocacy groups and social services agencies for classroom use in the 1990s; documentary and fictional cinemas of West Africa used by the French government and then by those resisting it; museum exhibitions; and TV Anhembi, a municipally sponsored collaboration between the television industry and community-based videographers in São Paolo, Brazil.

Combining media studies, pedagogical theory, and art history, and including an appendix of visual media resources and ideas about the most productive ways to utilize visual technologies for educational purposes, Visual Pedagogy will be useful to educators, administrators, and activists.