15 pages, via online journal article, Okja is a fictional Netflix original film that was released in 2017. Okja features a “super pig” that is owned by the large, agricultural company Mirando Corporation. Okja is raised by a young girl, Mija, and her grandfather in the South Korean mountains. The film climaxes when Mija and the Animal Liberation Front (ALF) narrowly save Okja and a smuggled piglet from the slaughter process. The purpose of this study was to understand how college students responded to the film. The viewers of this film included students who were majoring in a field within the agricultural college (COA) at Texas Tech University as well as students who were majoring in a field outside of agriculture (NCOA). Emergent themes from this focus group study identified the film as overdramatized and that the film misrepresented food production. Previous knowledge and experiences impacted how viewers perceived the film with COA students indicating that Okja was portrayed more like a pet than as a food animal. Both COA and NCOA students indicated that their food purchasing decisions would not be affected by viewing the film. Findings suggested that entertainment films may not be an effective method for changing public opinion of agriculture and food production. Transparency in agriculture through real-life and real-time activities in a documentary style may serve a greater role in improving public opinion of food and agricultural production practices and industries.Findings from this study serve as an indicator of the role entertainment films play in swaying public opinion of food and agriculture.
Agricultural Communications Documentation Center, Funk Library, University of Illinois Document Number: D08834
Notes:
Pages 74-92 in Yoon, Sukki and Oh, Sangdo (eds.), Social and environmental issues in advertising. United Kingdom: Routledge, Taylor and Francis Group, London. 169 pages.
15 pages., via online journal., The study analyzed 108 films released during the transformation agenda period. The proportion, frequency, centrality and framing of agricultural content in the movies were reviewed. Data obtained were described using frequency counts and percentages. One out of three movies screened had agricultural content, which was either one or two scenes in the movie (80.0%). Such content was mostly peripheral (89.0%) to the themes of the films and negatively framed (60.0%). Potentials of the industry for agricultural purposes were poorly utilized by government. Government should partner with Nollywood to portray agriculture in a positive light for improved citizens’ attitude toward agriculture.
40 pages., via online journal., The present essay comparatively explores and reflects on
popularizing the environment in a changing media ecology
wherein content is no longer exclusive to traditional television
viewing or distributed for cinematic release. Specifically, the
aim of this essay is to illustrate how screened presentations
such as film, television, and recently digital media, promote
environmentalist ideals in the hopes that if audiences are
entertained, then perhaps these narratives can subtly influence
thinking and behavior. This review also draws from research on
mediating the environment in television and film studies as
well as scholarly literature on entertainment-education. The
implications of this essay indicate that whether real or fictional,
eco-friendly content is growing in popular media and no
longer the backdrop to the story being told. As this essay
shows, media professionals have started embracing entertaining content infused with content of value so that audiences
can “see” why the environment is important.
