Technologies like smartphones and the internet have made media literacy more important than ever.

智能手機和互聯網等技術使媒體素養變得比以往任何時候都更加重要。

But concerns about media and their effects have been around a long, long time.

但關於媒體及其影響的擔憂已存在很長時間。

Many of the arguments for and against media have shaped how new technologies, industries, and cultures have developed throughout history.

對於媒體的贊成和反對的許多論點塑造了新技術、行業和文化如何在整個歷史上發展。

Media literacy as a term or a field didn’t become "a thing" until around the 1960’s.

媒體素養作為一個術語或一個領域直到大約1960年代才變得"重要"。

Before it became the work of communications scholars and media professionals,

在成為傳播學者和媒體專業人員的工作之前，

thinking about communication was (and often still is) led by philosophers, psychologists, sociologists, linguists, and critical theorists.

關於溝通的思考是由哲學家、心理學家、社會學家、語言學家和批判性理論家領導的（而且通常仍然如此）。

It’s an ancient problem that even Plato, the classical Greek philosopher, thought a lot about.

這是一個古老的問題，甚至古希臘哲學家柏拉圖都深思熟慮過。

In the Phaedrus, a dialogue he wrote around 370 BCE, Plato imagines a conversation between his teacher, Socrates, and one of their friends, Phaedrus.

在《饗宴篇》中，他約於公元前370年寫的一篇對話中，柏拉圖想像了他的老師蘇格拉底和他們的朋友費德魯斯之間的對話。

Socrates and Phaedrus start off talking about love and end up debating the best way to give a speech.

蘇格拉底和費德魯斯一開始談論愛情，最終卻辯論起發表演講的最佳方式。

But you know what was really bugging Socrates, what he thought was the biggest problem in Greek society?

但你知道什麼讓蘇格拉底真正煩惱，他認為是古希臘社會中最大的問題嗎？

Writing things down.

寫東西下來。

He writes, "If men learn this, it will implant forgetfulness in their souls; they will cease to exercise memory because they rely on that which is written,

他寫道："如果人們學會這一點，它將使遺忘根深蒂固；他們將停止運用記憶，因為他們依賴於所寫的東西，

calling things to remembrance no longer from within themselves, but by means of external marks.

不再從他們內心召喚事物，而是依靠外部標記。

What you have discovered is a recipe not for memory, but for reminder.

你所發現的不是記憶的方法，而是提醒的方法。

That’s right. Plato was dark.

沒錯，柏拉圖是悲觀的。

He thought leaving your words on paper, just lying around, would encourage others to use them out of context.

他認為把話語留在紙上，隨處亂放，會鼓勵其他人以不當的方式使用它們。

If you were there in person, though, you could defend your thoughts and talk them out with the listener.

然而，如果你親自在場，你可以捍衛你的想法，並與聽眾交談。

And if you’ve ever said something dumb on the internet, you know the man’s got a point.

如果你曾在互聯網上說過一些愚蠢的話，你就知道這個人有道理。

So the root of media literacy concerns is really just straight up literacy, learning to read and write.

因此，媒體素養問題的根本其實就是讀寫能力，學會閱讀和寫作。

In Plato’s day, and for centuries after, information was often shared by word of mouth and, for most people, education was informal.

在柏拉圖時代，以及之後的幾個世紀，信息通常是口耳相傳的，對於大多數人來說，教育是非正式的。

If you were lucky and rich, you might’ve shared info through hand-written media like letters and codices (a type of pre-book book).

如果你幸運而且有錢，你可能會通過手寫媒體（如信件和葉子書）分享信息。

Or you might’ve studied alongside a master or scholar and learned from handmade manuscripts.

或者你可能會在大師或學者的指導下學習，從手工製作的手稿中學習。

These were very expensive and time -onsuming to make, so very few people had the means to become educated and literate.

這些手稿非常昂貴且耗時，所以很少有人有能力接受教育並識字。

But all that changed when Johannes Gutenberg invented the movable type printing press in 1452.

但一切都在1452年約翰內斯·古腾堡發明了可移動式活字印刷機之後發生了變化。

Suddenly, print media was easier to produce, and books and pamphlets could be shared crazy fast – well, as fast as your fastest horse could go, this was the 15th century.

突然之間，印刷媒體變得更容易製作，書籍和小冊子可以被快速分享 - 好吧，就像你最快的馬一樣快，這是15世紀。

As media became cheaper, more people had the means to become literate.

隨著媒體變得更加便宜，越來越多的人有了識字的手段。

For people in power, this was a huge problem.

對於掌權者來說，這是一個巨大的問題。

It’s much easier for a government to control or persuade their subjects with the word of law when most of them can’t read.

當大多數人都不識字時，政府更容易控制或說服他們遵守法律。

Organized religion had a similar problem.

組織宗教也面臨類似的問題。

Before the printing press was invented, most of the church-going public couldn’t even read the Bible; they relied on the clergy to interpret it.

在印刷機發明之前，大多數教會信徒甚至無法閱讀聖經；他們依賴牧師來詮釋它。

In 1517, German theologian Martin Luther started pushing the buttons of the Roman Catholic Church by publishing his 95 Theses.

1517年，德國神學家馬丁·路德通過發表95條論題開始挑戰羅馬天主教會。

He claimed the church didn’t and shouldn’t have the only power to interpret scripture.

他聲稱教會不應該擁有解釋經文的唯一權力。

He even translated the Bible from Latin to German to grant access to everyday people.

他甚至將聖經從拉丁文翻譯成德語，以使普通人可以閱讀。

The idea that suddenly parishioners could interpret the Bible for themselves was a major shake-up.

突然間，教區信徒可以自行詮釋聖經的想法是一個重大的變革。

His revelations eventually led to the Protestant Reformation and a democratization of religion in the West.

他的啟示最終導致了西方的宗教改革和宗教的民主化。

(Though, Luther’s impact wasn’t all roses – today his more antisemitic views are pretty hard to stomach.)

（盡管路德的影響並非一帆風順 - 今天他更反猶太的觀點令人難以接受。）

The history of media literacy closely follows the history of media technology – with each new invention, discussions and fears follow.

媒體素養的歷史緊密追隨著媒體技術的歷史 - 每次新的發明，都會引發討論和擔憂。

Just as Plato was wary of the written word, government and religious leaders were very wary of the printed word.

正如柏拉圖對書面文字持懷疑態度一樣，政府和宗教領袖對印刷文字充滿警惕。

Those in power wanted to be gatekeepers for information – and prohibiting access to media, of course, makes media literacy impossible.

當權者希望成為信息的看門人 - 禁止訪問媒體，當然，這使媒體素養成為不可能。

Media literacy really becomes important three centuries later, with a new medium – the world’s first MASS media: the newspaper.

媒體素養在三個世紀後變得尤為重要，隨著一種新的媒介出現 - 世界上第一個大規模媒體：報紙。

Publications of local news date back to Plato’s era.

當地新聞的出版可以追溯到柏拉圖時代。

But the type we think of today – a regularly published document quickly and cheaply covering major events for the masses – didn’t really form until the 17th century.

但我們今天所認識的這種報紙 - 定期出版的文件，迅速且廉價地報導重大事件供大眾閱讀 - 直到17世紀才真正形成。

And at first, no surprise, most of them were government-controlled.

起初，多數報紙受政府控制，這並不令人意外。

But as the print media industry began to take shape, people fought for a free press.

但隨著印刷媒體行業的形成，人們爭取了新聞自由。

This was especially true in the American colonies, where the struggle for an independent press was tied up with their struggle for freedom from British control.

在美國殖民地，這一情況尤為明顯，那裡尋求新聞自由與尋求擺脫英國控制的斗爭緊密相關。

By the early 1800’s the newspaper begins to become a democratizing force.

到了19世紀初，報紙開始成為一股民主化的力量。

This is the era of the Penny Press.

這是便士報的時代。

Called the Penny Press because they cost – you guessed it – a penny, these papers were incredibly popular.

之所以稱為便士報，是因為它們的價格 - 你猜對了 - 只值一便士，這些報紙非常受歡迎。

They spread like wildfire, especially among the middle and lower classes.

它們像野火一樣擴散，尤其在中下層社會中非常流行。

Suddenly, anyone, even an unlikely street kid without two pennies to rub together could be in the know and feel like they were King of the World!

突然間，任何人，甚至是一個沒有兩個便士的不太可能的街頭孩子，都可以了解情況，感覺自己是世界之王！

Newspapers weren’t just about educating the masses. They were also about making lots of money.

報紙不僅僅是為了教育大眾。 它們也是為了賺錢。

Penny paper owner Benjamin H. Day, printed this motto atop every issue of The New York Sun:

便士報的擁有者本傑明·H·戴在每一期《紐約太陽報》的頂部印有這樣的座右銘：

"The object of this paper is to lay before the public, at a price within the means of every one,

「本報的目的是以每個人都負擔得起的價格向公眾，

all the news of the day, and at the same time offer an advantageous medium for advertisements."

提供當天的所有新聞，同時為廣告提供有利的媒介。」

By the mid 1800’s, the penny presses were making so much money from ads that people worried about publishers choosing profit over truth.

到了19世紀中葉，便士報因廣告收入豐厚而賺得盆滿缽滿，人們擔心出版商選擇利潤而不是真相。

The more publishers relied on advertising revenue to pay the bills, the more sensational papers became.

出版商依賴廣告收入支付費用，報紙變得越來越耸人聽聞。

This trend came to a head around the turn of the 20th century.

這一趨勢在20世紀初達到頂峰。

In the late 1890’s, Joseph Pulitzer (Pulitzer like the Prize), a self-made, traditional newspaper man who owned the New York World,

在19世紀末，紐約世界報的業主，一位自力更生的傳統報業人士，約瑟夫·普利策（像普利策獎一樣），擁有《紐約世界報》。

and William Randolph Hearst, a young mining heir who wanted to emulate Pulitzer and owned the New York Journal, went head to head.

而威廉·蘭道夫·赫斯特，一位年輕的礦業繼承人，想要效仿普利策，擁有《紐約日報》（New York Journal），他們開始競爭。

They both wanted their papers in as many hands as humanly possible to attract bigger and better advertisers.

他們都希望他們的報紙盡可能多地出現在人們手中，以吸引更多更好的廣告商。

The two papers began ramping up their stories, focusing less on getting the facts straight and more on getting more readers and more cash.

這兩家報紙開始加大它們的報導，不再專注於確保事實準確性，而是更關注獲得更多的讀者和更多的現金。

This became known as Yellow Journalism.

這被稱為黃色新聞。

Yellow journalists used bold, scary or misleading headlines; faked interviews and exaggerated stories;

黃色新聞記者使用大膽、可怕或具有誤導性的標題；偽造訪問和誇大故事；

and used lots of splashy pictures and illustrations, and did anything else they could do to sell a paper.

並使用大量引人注目的圖片和插圖，並採取任何其他可能出售報紙的手段。

They prioritized sensationalism over professionalism and journalistic ethics.

他們將轟動性置於專業素養和新聞倫理之上。

They thrived on scandals, sports, crime, and self-promotion.

他們繁榮於醜聞、體育、犯罪和自我推銷之中。

Good thing we don't have to worry about that kind of thing today.

幸好我們今天不必擔心這種事情。

Let's head into the Thought Bubble for a closer look.

讓我們進入思想泡泡，近距離查看一下。

Here we have a classic example from the peak of yellow journalism.

這是我們在黃色新聞鼎盛時期的一個典型例子。

This article is from Pulitzer's The New York World, published in February 1898.

這篇文章來自普利策的《紐約世界報》，發表於1898年2月。

The main front-page story is about the sinking of a U.S. battleship, the Maine, in Havana Harbor a few days earlier.

主要的封面故事是關於幾天前在哈瓦那港沉沒的美國戰艦“緬因號”。

Cuba, which was colonized by Spain, was in the middle of a revolution.

古巴被西班牙殖民，正處於一場革命中。

The U.S.S. Maine was there as a show of power to protect U.S. interests in Cuban independence.

美國“緬因號”出現在那裡，是為了展示實力，保護美國在古巴獨立方面的利益。

But it was also a gesture to ease tensions that were growing between the U.S. and Spain.

但這也是緩解美國和西班牙之間不斷升級的緊張局勢的一個姿態。 76

Then suddenly, in the middle of the night, February 15, an explosion tore apart the Maine.

突然間，在夜深人靜的時候，即2月15日，一次爆炸撕裂了“緬因號”。

It sunk, killing 260 men.

它沉了，造成260人死亡。

Let's take a look at this headline about the sinking.

讓我們看看這個有關沉沒的標題。

"Maine Explosion Caused By Bomb or Torpedo?" question mark.

“緬因號爆炸是由炸彈還是魚雷引起的？”問號。

Well, that's not a suspicious use of punctuation or anything.

嗯，那不是一個可疑的標點符號使用方式。

Even today, the cause of the Maine's sinking is unclear.

即使在今天，緬因號沉沒的原因仍然不清楚。

A naval inquiry held in 1898 concluded a mine laid in the harbor had exploded.

1898年舉行的海軍調查得出結論，是港口中布設的一枚地雷爆炸了。

But today, some experts believe the explosion was internal, caused by a coal bunker fire.

但今天，一些專家認為爆炸是由煤炭艙火引起的內部爆炸。

Either way, two days later in 1898, no one knew what happened.

無論如何，在1898年的兩天後，沒有人知道發生了什麼事情。

But Pulitzer's paper didn't hesitate before taking a guess.

但普利策的報紙在猜測之前毫不猶豫。

During their stand-off, both Pulitzer and Hearst stoked tensions between the U.S. and Spain to sell papers.

在他們的對峙期間，普利策和赫斯特都煽動了美國和西班牙之間的緊張局勢，以賣報紙。

With this headline, the New York World helped to spread rumors about enemy involvement in the sinking.

通過這個標題，《紐約世界報》幫助散播了有關沉沒中敵人參與的謠言。

Notice the huge, ginormous illustration.

注意這個巨大的插圖。

It takes up nearly the whole page!

它幾乎占據了整個頁面！

This visual re-telling of the explosion – complete with bodies strewn around and flames shooting into the air – is so dramatic.

這種對爆炸的視覺再現 - 包括四處擲射的屍體和火焰升空 - 如此戲劇性。

Since the paper didn't have a photograph of the event, they dramatized it with a gory graphic to grab your attention.

由於報紙沒有事件的照片，他們通過一幅血腥的圖形戲劇化地吸引了你的注意力。

Finally, take a look at the subheadlines (often called the "deck" of a story).

最後，看看副標題，通常稱作故事的 deck。

They're full of equally dramatic tales from the scene of the supposed crime.

它們充滿了來自所謂犯罪現場的同樣戲劇性的故事。

But if you look closely, the writing signals they're just feeding the rumor mill.

但如果你仔細看，這些文字表明它們只是在滋養謠言。

The "facts" the article claims are really just suggestions and overheard talk, with no solid confirmed information.

文章聲稱的“事實”實際上只是建議和聽來的話語，沒有確鑿的確認信息。

Thanks Thought Bubble.

感謝思考泡泡。

You can see from this example that yellow journalism isn't trying to sell truth and facts.

你可以從這個例子中看出，黃色新聞並不試圖出售真相和事實。

It sells a story.

它賣的是一個故事。

By taking a closer look, we discover strategies publishers use to entertain or distract us – like staying away from the facts and leaning into drama.

通過仔細觀察，我們發現出版商用來娛樂或轉移我們注意力的策略 - 就像遠離事實，轉向戲劇。

The race to sell as many papers as possible was – and still is – a race to the bottom.

盡可能多地銷售報紙的競爭是一場墮落的競賽 - 直到今天仍然如此。

And publishers know all too well how to make a buck from a good story.

出版商們太清楚如何從一個好故事賺錢了。

And in case you're wondering:

而且，如果你好奇的話：

They called it Yellow Journalism because Pulitzer and Hearst's papers fought over which one would print a popular comic called The Yellow Kid.

他們稱之為黃色新聞，因為普利策和赫斯特的報紙爭奪誰將刊印一個受歡迎的漫畫《黃衣小子》。

It was a strange time.

那是一個奇怪的時代。

Yellow Journalism, then and now, helps remind us of those ancient questions – what happens when we rely on media?

黃色新聞，無論昔日還是今日，都幫助我們回想起古老的問題 - 當我們依賴媒體時會發生什麼？

Should everyone have access to it?

每個人都應該有存取權嗎？

What happens if that access is exploited?

如果這種存取被濫用了會發生什麼？

Media literacy is nothing new, but it's adapting and changing all the time.

媒體素養並不是什麼新鮮事物，但它一直在適應和不斷變化。

Where media literacy once required a mastery of language and a quill,

在媒體素養曾經需要精通語言和羽毛筆的時代，

the age of the penny press required the ability to analyze headlines at a glance and tell truth from sensationalism.

便士報紙時代需要能夠一眼分析標題，辨別真相和轟動性。

With every new medium, a new set of skills is needed to navigate it all – and we haven't even gotten to TV.

隨著每一種新媒體的出現，都需要新的技能來應對一切 - 我們甚至還沒談到電視呢。

That's for next time, during The History of Media Literacy Part II.

這留待下回，即《媒體素養的歷史第二部》。

For now, I'm Jay Smooth. We'll see you next week.

現在，我是傑·史密斯。我們下周見。

Crash Course Media Literacy is filmed in the Dr. Cheryl C. Kinney Studio in Missoula, MT.

《Crash Course：媒體素養》在蒙大拿州米蘇拉的雪爾博士C.金尼工作室拍攝製作。

It's made with the help of all of these nice people, and our animation team is Thought Cafe.

感謝所有這些友好的人的幫助，我們的動畫團隊是 Thought Cafe。

Crash Course is a Complexly production.

《Crash Course》是Complexly制作的。

If you want to imagining the world complexly with us, check out some of our other channels like Eons, Animal Wonders, and SciShow Psych.

如果你想與我們一起以復雜的方式想象世界，請查看我們的其他頻道，如Eons、Animal Wonders和SciShow Psych。

If you'd like to keep Crash Course free for everyone, forever, you can support the series at Patreon,

如果你想讓《Crash Course》永遠免費對所有人開放，你可以在Patreon上支持這個系列，

a crowdfunding platform that allows you to support the content you love.

這是一個允許你支持你喜愛的內容的眾籌平台。

Thank you to all of our patrons for making Crash Course possible with their continued support.

感謝所有的贊助者，因為他們的持續支持使《Crash Course》得以實現。