Abstract
The Dreamworlds videotape emerged out of the pedagogical experience of teaching media courses to large groups of American undergraduate students. It was an attempt to denaturalise images that had become almost invisible as a result of their prevalence, as well as their deep attraction. The paper describes how this was attempted by a process of decontextualisation and recontextualisation (removing the music, tight editing, employing a narrative constructing both visual and verbal arguments). The response to the tape by young people, the media, political groups and the academic community is described to highlight the whole issue of media literacy and media education in an image-saturated culture.
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