Lewis and Fabos in this article discuss the increased need for a pedagogy that includes new literacies. Throughout the article, Lewis and Fabos also discuss the importance of using new literacties such as instant message communication. Lewis and Fabos go on to discuss instant messaging communication through the example of two girls in the midwest. Throughout the article, Lewis and Fabos discuss the different literary elements that are applicable in instant messaging and how instant messaging could possibly be used in the classroom.
The first literary element that is evident in instant messaging is voice. When talking online, students must use different voices in different conversations. For example, in the article, Sam uses different voices to talk to different friends. She says that she uses a more "sweet and soft" tone with her best friend. Sam also says that someone that she does not know added her as a friend and when talking to that girl, Sam attempts to mock the way the girl speaks so she is changing her voice again. Voice is an important element in the English classroom. Many students become comfortable writing in one voice and are hesistant to explore other voices that they could possibly write in. Talking online causes these students to take on different voices in order to tell stories and chat with different friends. As students use these different voices in their instant messaging they will become more apt to use them in their writing.
Subject matter and audience are other concepts that students are able to practice in their instant messaging. When Sam talks about different topics with her friends, she must identify her audience and speak to that specific audience. For example, the article says that Sam changes her tone and subject matter when talking to a boy that she likes from school. Sam realizes that this boy is a different audience than her best friend, Karrie, and she talks differently to him. Sam changes her words and her tone in order to try to seem "cool" and get into a new group of friennds. By doing this, Sam is realizing her audience and changing her subject matter and tone to fit the audience that she is speaking to.
Lewis and Fabos go on to say that students such as Sam use instant messaging, or IM, because it provides them with any easy way to communicate that they say is not as awkward as telephone or face-to-face conversations. IM is beneficial for students because as Sam stated, it is often difficult for young teens to feel comfortable talking in face-to-face situations, especially with members of the opposite sex. In these situations, instant messaging allows them to practice their language and speech even when they are too shy to talk to these people in person. This conversation that takes place will help students when they write in class to learn to express themselves because each time that they IM, they are basically writing a short essay to their friends.
Instant messaging was and is one of the fastest growing modes of communication. There are constantly new forms of instant messaging. IM has moved from Windows to MSN to Facebook to Gmail. This constant growth in our culture has caused more and more people to begin instant messaging. Rather than trying to draw students away from their computers and instant messaging, teachers must use that as a tool for the classroom. As I have stated earlier in this blog, students are able to attempt new voices and tones, as well as to consider the audience to whom they are speaking and to make any changes in tone or voice that they must make because of the audience. There is not anything in this article that I believe I need to question, yet there are things that I would like for Lewis and Fabos to expand on. I would have liked for Lewis and Fabos to have expanded on the ways in which instant messaging affects the classroom from the inside and outside. Is instant messaging and its rise in our culture a good thing for the classroom? I believe that it is because of the reasons that I have stated about it helping students with voice, tone, and audience. One of the best essays that gave me the most pride that I have written in my academic career was one that I wrote in instant message form. This was a new genre for me, yet it was a very familiar one because of my days spent in front of a computer sending and receiving these messages. If not for instant messaging, I would lack many of the writing skills that I have developed today.
Wednesday, May 5, 2010
Tuesday, May 4, 2010
New Literacy Classroom-Kist
William Kist believes that as English teachers, we must develop a new literacy classroom. This would be a classroom that focuses on new aspects of literature and communication that are constantly becoming available to students. Kist discusses his own experience of learning that film could be a means of communication and believes that students should feel the same revelation about new aspects of literacy. Throughout the article, Kist outlines several characteristics of a pedagogy for new literacy. In this blog I will outline a few that I believe to be the most important and question some of those that I may not understand or do not believe to be effective.
The first point that Kist makes is the rationale for new literacy in the classroom. Kist points out the obvious when he states that students are being bombarded with new forms of literacy and communication in our current culture. The internet, instant messaging, youtube, facebook, and more outlets have provided students with new ways to communicate, be communicated with, and to show expression. Kist points out that in the classroom, all modes of communication should be represented and acknowledged. Kist also goes on to talk about something that has been addressed in many of my previous blogs. Kist discusses students understanding of the purpose of each of these new methods of communication. Kist says that students must be encouraged to question the motivation and reason for each topic that is displayed in these new forms of media. Students must even question the reason for different forms of media and why each is appealing or not appealing to them. Another question that Kist believes that students must ask is what other forms of media did this form stem from and what other forms could it lead to.
Kist later points out that the new literacy classroom should balance individual and collaborative activities. Each of these types of activites are essential for the growth of students' understanding of new literacy. Kist points out that in a classroom where mass instruction must take place, teachers should allow students a freedom of choice in instruction. One way to do this would be create projects that allow students to choose their own medium of communication. Currently, this would mean that students should be allowed to choose between powerpoint, hypertext, film, instant messaging essays, or another medium of their choice. Kist says that in this classroom that promotes individual choice, there must also be built in social interaction. Each student brings different knowledge to a classroom, the sharing of this knowledge can lead to better understanding for all students about new literacy and what it means to different students. Social interaction and collaboratively learning benefit each student in the class and often help the teacher become more acquainted with new literacy. Balancing individual and collaborative work is a key component of the new literacy classroom.
Kist says that a classroom in which the individuality of each student will allow students to become more involved in their work and more motivated. A teacher allowing students to make choices about their work will allow them to show their individualization and to represent themselves in a way that they believe is accurate. Teachers should tap into what makes students become involved with their favorite forms of media outside of school and attempt to access this involvement within the classroom. Kist goes on to discuss how collaborative classrooms could have an effect on the individuality of each student. Kist says that the new literacy classroom should consist of immersion in practices by a community of learners that realize that each of them to play multiple and different roles that would be influenced by their backgrounds and experiences. kist suggests that a portfolio of students individual and collaborative work should be kept so that students can see their movement towards new literacy. One possible way of doing this would be through a multi-genre essay or portfolio in which students engage in a variety of media and use these media to project themselves and their experiences. In this extended portfolio, students will learn to use a variety of symbols to express their beliefs. This variety of symbols will introduce students to new ways of expressing themselves. Often, these new ways of expression can be learned from other students in the classroom and the expertise that they bring. One difficult issue for teachers, especially in a middle or high school setting would be determining acceptable symbols and methods of expression for students. However, teachers should give as much room for expression as they possibly can. This form of new literacy that allows different forms of expression for students can also serve as a way for teachers to close the gap between them and their students, by allowing teachers to learn more about each student's interest and their feelings.
There was one point in Kist's article that I struggled to understand, though there is likely an applicable use for it. The idea of ongoing metadialogues and cognative pluralism was something that I could not get a grip on or understand. I understand the argument that Kist makes in this section about students being proficient in methods such as graphs and charts just as they are in understanding painting, literature, and sculpture but I fail to see the connection between this and the rest of the section. I found the rest of the article to be very accurate and beneficial. Although I think that Kist focuses a bit too much on the individualization of students I can understand his point of view. I disagree with him focusing more on this individualization than on collaborative work, though. It is my opinion that collaborative work is the most important work that takes place in the classroom and Kist addresses collaborative work and its importance but chooses to focus more on student individualization. I believe that Kist makes very good points about student involvement and engagment. He references student choice in assignments and acknowledges the importance of students being able to bring their own background and experience into their work and the classroom. This is another concept, along with collaborative work, that I believe to be essential to the classroom. It is my opinion that with an effective balance of collaborative assignments and individuality in the classroom, students can receive the maximum benefit of the new literacy classroom.
The first point that Kist makes is the rationale for new literacy in the classroom. Kist points out the obvious when he states that students are being bombarded with new forms of literacy and communication in our current culture. The internet, instant messaging, youtube, facebook, and more outlets have provided students with new ways to communicate, be communicated with, and to show expression. Kist points out that in the classroom, all modes of communication should be represented and acknowledged. Kist also goes on to talk about something that has been addressed in many of my previous blogs. Kist discusses students understanding of the purpose of each of these new methods of communication. Kist says that students must be encouraged to question the motivation and reason for each topic that is displayed in these new forms of media. Students must even question the reason for different forms of media and why each is appealing or not appealing to them. Another question that Kist believes that students must ask is what other forms of media did this form stem from and what other forms could it lead to.
Kist later points out that the new literacy classroom should balance individual and collaborative activities. Each of these types of activites are essential for the growth of students' understanding of new literacy. Kist points out that in a classroom where mass instruction must take place, teachers should allow students a freedom of choice in instruction. One way to do this would be create projects that allow students to choose their own medium of communication. Currently, this would mean that students should be allowed to choose between powerpoint, hypertext, film, instant messaging essays, or another medium of their choice. Kist says that in this classroom that promotes individual choice, there must also be built in social interaction. Each student brings different knowledge to a classroom, the sharing of this knowledge can lead to better understanding for all students about new literacy and what it means to different students. Social interaction and collaboratively learning benefit each student in the class and often help the teacher become more acquainted with new literacy. Balancing individual and collaborative work is a key component of the new literacy classroom.
Kist says that a classroom in which the individuality of each student will allow students to become more involved in their work and more motivated. A teacher allowing students to make choices about their work will allow them to show their individualization and to represent themselves in a way that they believe is accurate. Teachers should tap into what makes students become involved with their favorite forms of media outside of school and attempt to access this involvement within the classroom. Kist goes on to discuss how collaborative classrooms could have an effect on the individuality of each student. Kist says that the new literacy classroom should consist of immersion in practices by a community of learners that realize that each of them to play multiple and different roles that would be influenced by their backgrounds and experiences. kist suggests that a portfolio of students individual and collaborative work should be kept so that students can see their movement towards new literacy. One possible way of doing this would be through a multi-genre essay or portfolio in which students engage in a variety of media and use these media to project themselves and their experiences. In this extended portfolio, students will learn to use a variety of symbols to express their beliefs. This variety of symbols will introduce students to new ways of expressing themselves. Often, these new ways of expression can be learned from other students in the classroom and the expertise that they bring. One difficult issue for teachers, especially in a middle or high school setting would be determining acceptable symbols and methods of expression for students. However, teachers should give as much room for expression as they possibly can. This form of new literacy that allows different forms of expression for students can also serve as a way for teachers to close the gap between them and their students, by allowing teachers to learn more about each student's interest and their feelings.
There was one point in Kist's article that I struggled to understand, though there is likely an applicable use for it. The idea of ongoing metadialogues and cognative pluralism was something that I could not get a grip on or understand. I understand the argument that Kist makes in this section about students being proficient in methods such as graphs and charts just as they are in understanding painting, literature, and sculpture but I fail to see the connection between this and the rest of the section. I found the rest of the article to be very accurate and beneficial. Although I think that Kist focuses a bit too much on the individualization of students I can understand his point of view. I disagree with him focusing more on this individualization than on collaborative work, though. It is my opinion that collaborative work is the most important work that takes place in the classroom and Kist addresses collaborative work and its importance but chooses to focus more on student individualization. I believe that Kist makes very good points about student involvement and engagment. He references student choice in assignments and acknowledges the importance of students being able to bring their own background and experience into their work and the classroom. This is another concept, along with collaborative work, that I believe to be essential to the classroom. It is my opinion that with an effective balance of collaborative assignments and individuality in the classroom, students can receive the maximum benefit of the new literacy classroom.
Nonfiction Film-Golden
In this article, Golden discusses different techniques and methods in teaching nonfiction films. Golden compares nonfiction and fiction films while giving guiding questions for teachers when teaching nonfiction films to their classes. Golden outlines the differences that exist between nonfiction and fiction film, while showing that in essence these types of films are very similar. Golden demonstrates many elements of nonfiction films that viewers often do not consider.
When Golden asked students what they do in class while they watch a documentary and got the following answers the most: 1) nothing 2)sleep 3)take notes for a future quiz about the documentary 4)fill in the blanks on a prepared worksheet about the documentary. Golden states that students should be doing much more while they watch documentaries. It is essential for students to watch closely and understand how and why the film was made. This can be possible through prepared worksheets with fill in the blanks if the questions are geared towards the preparation of the documentary. However, it would be more beneficial to students if the worksheet was not fill in the blank but short answer. Short answer format would cause the students to think more in depth about the film and formulate their own ideas. Golden says that students should be knowledgable about the intended audience, intentions of the director, and the message that the film is trying to convey along with any bias that may be presented by the film.
The next key point in Golden's article is that documentaries and fiction films are very similar, despite the fact that they are believed to be opposites. Many people believe that documentaries are true stories that does not use scripts or double takes. However, fiction films can also be true stories and documentaries almost always use scripts and more than one take. Another common misconception about documentaries and fiction films is that documentaries are real people talking about their own experiences and fiction films use actors to portray scenes. It is common though, for documentaries to use actors to re-create real events and for actors to read voice overs during the documentary. Golden says that instead of distinguishing between fiction films and documentaries, it is better to discuss with students different genres of films such as expository, narrative, and so on. These genres allow for both fiction films and documentaries to be in the same category but allow for a distinct difference. Throughout this section of the article, Golden lays out questions for students to consider such as whether a film uses artificial lighting, different camera angles, and certain framing choices. Another question that Golden encourages students to consider is whether or not the film uses only the natural sound at the time of the filming. Golden is careful to be sure that he blurs the line between fiction and documentaries so that no matter the type of film, students are able to consider the ways in which the producer of any film attempts to manipulate the thoughts of the audience.
Golden next breaks down nonfiction films into parts so that students are able to understand the differences in the film. The two main points that Golden makes are about the audio and the visual track of the film. Golden says that it is important for students to understand each and break them down. By breaking down each of these tracks, students become more aware of them. As students are more aware of these tracks, they are able to distinguish the effects that the producer is trying to make with each. Also, the text track which includes graphics is key in the understanding of the film maker's motives.
The next point that Golden makes is about the editing of nonfiction films. Golden says that teachers should ask students to question what was cut out of the film and whether or not they believe that the final product was representative of what actually took place. Golden suggests a class activity to demonstrate this to the students. Golden suggests that without informing the class about the actual intentions of the class, the teacher should ask four students to write down as much as they can about what happens in class the day before the activity is to take place. The students should write down as much as they possibly can, such as what students say, what events take place, the points that the teacher makes. The students should also write down things taking place in the room such as students on their phones, students off task, what the teacher does when the students aren't looking and what the students do when the teacher is not looking. The next day, the teacher should split the students into four groups, each with a different point of view on the class and they should find evidence in one of the four sources of information from the notes that were taken by the four students the day before. As these students create their point of view, the teacher should write what they say on the board. The different points of view created will allow students to see the way that the same events from the day before can be portrayed in four different ways to make four different points. This could be a powerful exercise to use when discussing the editing of film. This exercise could also be enhanced by the teacher setting up a camera in the classroom on the day before the activity and editing it in a way to make his or her own point about the class.
This article by Golden provided great insight into the world of documentary films. Golden provided many important questions that can be asked to both students and teachers when discussing the difference between documentaries and fiction films. The worksheets that Golden provided will be very useful as a teacher when talking to students about documentaries. The activity that Golden provided about film editing is one that I believe to be very helpful when teaching documentaries. One of my main concerns and questions after reading this article is whether or not all of this information about documentaries is important for students to know in an English class. Would this information be of better use in a film study college class? Should English teachers spend this much time teaching the elements of documentary films instead of focusing on the content in the documentary and helping students understand what is going on with the characters? Some of the information I believe to be very important, such as learning about the motives and biases of different film makers. Yet, there is other information, such as the different genres and methods of documentaries, that I do not believe to be essential for students in an English classroom.
When Golden asked students what they do in class while they watch a documentary and got the following answers the most: 1) nothing 2)sleep 3)take notes for a future quiz about the documentary 4)fill in the blanks on a prepared worksheet about the documentary. Golden states that students should be doing much more while they watch documentaries. It is essential for students to watch closely and understand how and why the film was made. This can be possible through prepared worksheets with fill in the blanks if the questions are geared towards the preparation of the documentary. However, it would be more beneficial to students if the worksheet was not fill in the blank but short answer. Short answer format would cause the students to think more in depth about the film and formulate their own ideas. Golden says that students should be knowledgable about the intended audience, intentions of the director, and the message that the film is trying to convey along with any bias that may be presented by the film.
The next key point in Golden's article is that documentaries and fiction films are very similar, despite the fact that they are believed to be opposites. Many people believe that documentaries are true stories that does not use scripts or double takes. However, fiction films can also be true stories and documentaries almost always use scripts and more than one take. Another common misconception about documentaries and fiction films is that documentaries are real people talking about their own experiences and fiction films use actors to portray scenes. It is common though, for documentaries to use actors to re-create real events and for actors to read voice overs during the documentary. Golden says that instead of distinguishing between fiction films and documentaries, it is better to discuss with students different genres of films such as expository, narrative, and so on. These genres allow for both fiction films and documentaries to be in the same category but allow for a distinct difference. Throughout this section of the article, Golden lays out questions for students to consider such as whether a film uses artificial lighting, different camera angles, and certain framing choices. Another question that Golden encourages students to consider is whether or not the film uses only the natural sound at the time of the filming. Golden is careful to be sure that he blurs the line between fiction and documentaries so that no matter the type of film, students are able to consider the ways in which the producer of any film attempts to manipulate the thoughts of the audience.
Golden next breaks down nonfiction films into parts so that students are able to understand the differences in the film. The two main points that Golden makes are about the audio and the visual track of the film. Golden says that it is important for students to understand each and break them down. By breaking down each of these tracks, students become more aware of them. As students are more aware of these tracks, they are able to distinguish the effects that the producer is trying to make with each. Also, the text track which includes graphics is key in the understanding of the film maker's motives.
The next point that Golden makes is about the editing of nonfiction films. Golden says that teachers should ask students to question what was cut out of the film and whether or not they believe that the final product was representative of what actually took place. Golden suggests a class activity to demonstrate this to the students. Golden suggests that without informing the class about the actual intentions of the class, the teacher should ask four students to write down as much as they can about what happens in class the day before the activity is to take place. The students should write down as much as they possibly can, such as what students say, what events take place, the points that the teacher makes. The students should also write down things taking place in the room such as students on their phones, students off task, what the teacher does when the students aren't looking and what the students do when the teacher is not looking. The next day, the teacher should split the students into four groups, each with a different point of view on the class and they should find evidence in one of the four sources of information from the notes that were taken by the four students the day before. As these students create their point of view, the teacher should write what they say on the board. The different points of view created will allow students to see the way that the same events from the day before can be portrayed in four different ways to make four different points. This could be a powerful exercise to use when discussing the editing of film. This exercise could also be enhanced by the teacher setting up a camera in the classroom on the day before the activity and editing it in a way to make his or her own point about the class.
This article by Golden provided great insight into the world of documentary films. Golden provided many important questions that can be asked to both students and teachers when discussing the difference between documentaries and fiction films. The worksheets that Golden provided will be very useful as a teacher when talking to students about documentaries. The activity that Golden provided about film editing is one that I believe to be very helpful when teaching documentaries. One of my main concerns and questions after reading this article is whether or not all of this information about documentaries is important for students to know in an English class. Would this information be of better use in a film study college class? Should English teachers spend this much time teaching the elements of documentary films instead of focusing on the content in the documentary and helping students understand what is going on with the characters? Some of the information I believe to be very important, such as learning about the motives and biases of different film makers. Yet, there is other information, such as the different genres and methods of documentaries, that I do not believe to be essential for students in an English classroom.
The Web of Textuality-Pirie
Pirie begins this article by showing two examples of classrooms in which different lenses were used to discuss create discussion in the English classroom. The first classroom is discussing the elements of a television program and the context clues that are available. In the second class, students are discussing a short story. Pirie says that the greatest difference that he notices in the two classes is that the television program class, which is supposedly comprised of average students, talks about the program as it is ficition, which it is. They realize that the things that occur in the program are different from real life because they are occurring on the television. The second class, the supposedly more gifted class, is not able to remove themselves from the short story. Everything that is discussed is as if they are in the story with the characters and they speak about the events as if they were there.
In the article, Pirie notices that the first class is able to understand that although the programs attempted to achieve a "realistic" show, they are still representations of events that could be real, however they are not. It does not seem that the second class has come to this conclusion. Pirie says that students in the second class seem to transport themselves into another world where the story occurs. One possible reasons for these differences according to Pirie is the fact that the first class was led by the teacher, while the teacher in the second class simply sits at the back and allows the students to take over the discussion. Another possible reason for these differences is the fact that students spend much more time watching television than they do reading.
Pirie next talks of textuality as a web. As a person fits into the social web of the world, each individual text has a place in the web of textuality. This web allows readers to put similar experiences and reactions together when they read a text. One example that Pirie gives is the connection between Rambo and Macbeth. Pirie says that these are connected because of the showdown between the individual and the collective. Pirie argues that it is the job of the English teacher to add to each students web.
The next point that Pirie makes is that as teachers of English, we do not have to force students to read classical literature in order to give them a good education. Pirie says that it is not these great works of literature that makes students educated and better people. Being able to understand literature and the motives of authors and the intended audience is much more important for the education of students.
The next aspect that Pirie discusses is the frame through which we are able to look at each media. For instance, students are able to learn something different about family life through comedies, movies, cartoons, paintings, textbooks, or novels. There is a certain window that each of these media are viewed through and those windows change the view that we have.
The next issue of textuality that Pirie discusses is audience. Pirie says that in the English classroom audience means something more in depth than it does outside the classroom. In the English classroom, Pirie says that audience consists of the demographics that partake of a certain media and the type of people that a certain media was intended to please. By understanding these two aspects of audience, students are able to understand a great deal about the media. Pirie states that different types of media and different stories are capable of being connected through the audience that they have drawn or the intended audience.
In conclusion, I find this article to a be a bit confusing. In my opinion, Pirie never fully explained textuality and what it meant. However, Pirie does give some examples of textuality and how it may be applied. In this article, I can see the examples of textuality and understand how they take place in the classroom but I do not understand how I should take this and apply it to my own classroom. Audience, frame, and linking texts are things that happen in English classrooms daily and in this article I do not see a unique approach to these techniques. In my opinion, there are many things that could be added to this article to create a more helpful article. Examples of how to apply these concepts in the classroom by perhaps using new media and technology would help this article be more beneficial to me.
In the article, Pirie notices that the first class is able to understand that although the programs attempted to achieve a "realistic" show, they are still representations of events that could be real, however they are not. It does not seem that the second class has come to this conclusion. Pirie says that students in the second class seem to transport themselves into another world where the story occurs. One possible reasons for these differences according to Pirie is the fact that the first class was led by the teacher, while the teacher in the second class simply sits at the back and allows the students to take over the discussion. Another possible reason for these differences is the fact that students spend much more time watching television than they do reading.
Pirie next talks of textuality as a web. As a person fits into the social web of the world, each individual text has a place in the web of textuality. This web allows readers to put similar experiences and reactions together when they read a text. One example that Pirie gives is the connection between Rambo and Macbeth. Pirie says that these are connected because of the showdown between the individual and the collective. Pirie argues that it is the job of the English teacher to add to each students web.
The next point that Pirie makes is that as teachers of English, we do not have to force students to read classical literature in order to give them a good education. Pirie says that it is not these great works of literature that makes students educated and better people. Being able to understand literature and the motives of authors and the intended audience is much more important for the education of students.
The next aspect that Pirie discusses is the frame through which we are able to look at each media. For instance, students are able to learn something different about family life through comedies, movies, cartoons, paintings, textbooks, or novels. There is a certain window that each of these media are viewed through and those windows change the view that we have.
The next issue of textuality that Pirie discusses is audience. Pirie says that in the English classroom audience means something more in depth than it does outside the classroom. In the English classroom, Pirie says that audience consists of the demographics that partake of a certain media and the type of people that a certain media was intended to please. By understanding these two aspects of audience, students are able to understand a great deal about the media. Pirie states that different types of media and different stories are capable of being connected through the audience that they have drawn or the intended audience.
In conclusion, I find this article to a be a bit confusing. In my opinion, Pirie never fully explained textuality and what it meant. However, Pirie does give some examples of textuality and how it may be applied. In this article, I can see the examples of textuality and understand how they take place in the classroom but I do not understand how I should take this and apply it to my own classroom. Audience, frame, and linking texts are things that happen in English classrooms daily and in this article I do not see a unique approach to these techniques. In my opinion, there are many things that could be added to this article to create a more helpful article. Examples of how to apply these concepts in the classroom by perhaps using new media and technology would help this article be more beneficial to me.
Monday, May 3, 2010
Dripping With Literacy-Don Zancanella
In this article by Don Zancanella, he procures the help of eight teachers, researchers, and writers to find out exactly what they believe that English could be. There are many limitations that are put on English in the classroom, but Zancanella wants these experts to point out the things that they believe that the English classroom could be and possibly should be.
The first explanation is given by Maja Wilson. Maja states that the English classroom should be about stories. She says that the ideal English classroom helps to remove students from the quantities, policies, and procedures of other classrooms within the school. Maja says that her goal and the goal of English teachers should be to remove themselves from the path that leads students to stories. These stories are not only the ones that students read, but are also the ones that they write. Teachers should give students the freedom that they need to read and think about stories, as well as the freedom to write without limitations and write to express themselves.
Scott Westerfield says that talking is the most important aspect of the successful English classroom. Scott makes the point that throughout the past, communication and books have become electronic, along with their reviews and the opinions of many other people about why or why not an individual should like a certain book. Westerfield says that rather than relying on these opinions of people online or in the media, it is more important to discuss books with friends in person. Westerfield says that electronic conversations are often void of the emotions of trust and closeness that personal conversations provide. Therefore, Westerfield says that the greatest key in the English classroom is to encourage students to interact and talk with other students in the classroom.
Arthur Applebee believes that students in the English classroom must learn different ways to communicate in a culture that is constantly changing. Applebee believes that students should learn new ways to communicate through new media that is always becoming available. Applebee also points out that students should not only master their words but those of others as well. As our culture grows electronically, students have more access to the words of other people and they should learn how to interpret these words and respond. There is no better place to learn this than in the English classroom.
Allowing students to bring their own opinions and heritage while connecting them to something that links their past to their present is the most important aspect of the English classroom according to Alfred Tatum. In Tatum's opinion, teachers must allow students to use their experiences and encounters in life to shape their opinions about literature. Teachers should also choose literature that helps students connect with their past and their culture. For instance, in a diverse classroom, teachers should choose literature that delves into the past of different heritages. Students must be helped to define their existence in the English classroom.
K.L. Going states that in the English classroom it is important for teachers to encourage students to keep journal and write freely about topics of their choice. However, Going says that teachers must focus on writing skills that students will use later in life. Going says that while it is important to encourage free writing, students will later in life need the writing skills that should be taught in the English classroom.
Kevin Leander states that the English classroom is often bracketed in three ways and the ideal English classroom must break from these brackets. First, he says that the English classroom is often bracketed by the five paragraph essay. Leander says that English teachers must value film and the ways in which it can be used in the classroom. Leander also points out that the English classroom is bracketed by America and Britain and cut off from the rest of the world. In order to fully engage students and give them an overall perspective of literature, teachers must broaden the English classroom to include the entire world. The third bracket that must be escaped is the bracket of only writing for the classroom. In order to be completely successful, teachers must acknowledge that students often write for their own purposes, such as Facebook or eBay. Leander says that in order to create the ideal English classroom, teachers must break away from these brackets.
This was a very useful article that contained opinions that I agreed with and those that I did not. The two teacher opinions that I believed to contain the most benefit were those of Mr. Leander and Maja Wilson. These opinions were strong and provided great insight into ways to create an ideal English classroom. There were very few writers in this article that stated media as an essential aspect of the ideal classroom. However, I believe media to be one of the most important aspects of my ideal classroom. Along with the ideas of Wilson and Leander I believe that media is essential. My greatest question from this article is even those these writers are professionals, why is there still a lack of knowledge about the importance of current media in the classroom.
The first explanation is given by Maja Wilson. Maja states that the English classroom should be about stories. She says that the ideal English classroom helps to remove students from the quantities, policies, and procedures of other classrooms within the school. Maja says that her goal and the goal of English teachers should be to remove themselves from the path that leads students to stories. These stories are not only the ones that students read, but are also the ones that they write. Teachers should give students the freedom that they need to read and think about stories, as well as the freedom to write without limitations and write to express themselves.
Scott Westerfield says that talking is the most important aspect of the successful English classroom. Scott makes the point that throughout the past, communication and books have become electronic, along with their reviews and the opinions of many other people about why or why not an individual should like a certain book. Westerfield says that rather than relying on these opinions of people online or in the media, it is more important to discuss books with friends in person. Westerfield says that electronic conversations are often void of the emotions of trust and closeness that personal conversations provide. Therefore, Westerfield says that the greatest key in the English classroom is to encourage students to interact and talk with other students in the classroom.
Arthur Applebee believes that students in the English classroom must learn different ways to communicate in a culture that is constantly changing. Applebee believes that students should learn new ways to communicate through new media that is always becoming available. Applebee also points out that students should not only master their words but those of others as well. As our culture grows electronically, students have more access to the words of other people and they should learn how to interpret these words and respond. There is no better place to learn this than in the English classroom.
Allowing students to bring their own opinions and heritage while connecting them to something that links their past to their present is the most important aspect of the English classroom according to Alfred Tatum. In Tatum's opinion, teachers must allow students to use their experiences and encounters in life to shape their opinions about literature. Teachers should also choose literature that helps students connect with their past and their culture. For instance, in a diverse classroom, teachers should choose literature that delves into the past of different heritages. Students must be helped to define their existence in the English classroom.
K.L. Going states that in the English classroom it is important for teachers to encourage students to keep journal and write freely about topics of their choice. However, Going says that teachers must focus on writing skills that students will use later in life. Going says that while it is important to encourage free writing, students will later in life need the writing skills that should be taught in the English classroom.
Kevin Leander states that the English classroom is often bracketed in three ways and the ideal English classroom must break from these brackets. First, he says that the English classroom is often bracketed by the five paragraph essay. Leander says that English teachers must value film and the ways in which it can be used in the classroom. Leander also points out that the English classroom is bracketed by America and Britain and cut off from the rest of the world. In order to fully engage students and give them an overall perspective of literature, teachers must broaden the English classroom to include the entire world. The third bracket that must be escaped is the bracket of only writing for the classroom. In order to be completely successful, teachers must acknowledge that students often write for their own purposes, such as Facebook or eBay. Leander says that in order to create the ideal English classroom, teachers must break away from these brackets.
This was a very useful article that contained opinions that I agreed with and those that I did not. The two teacher opinions that I believed to contain the most benefit were those of Mr. Leander and Maja Wilson. These opinions were strong and provided great insight into ways to create an ideal English classroom. There were very few writers in this article that stated media as an essential aspect of the ideal classroom. However, I believe media to be one of the most important aspects of my ideal classroom. Along with the ideas of Wilson and Leander I believe that media is essential. My greatest question from this article is even those these writers are professionals, why is there still a lack of knowledge about the importance of current media in the classroom.
Sunday, May 2, 2010
Classroom Strategies-Buckingham
In the article "Classroom Strategies" from Buckingham, six key features of media educators are outlined. These techniques are textual analysis, contextual analysis, case studies, translations, simulations, and production. Through the article, Buckingham outlines the key features of each of these techniques and the most effective ways for teachers to use them.
The first technique that Buckingham discusses is textual analysis. Buckingham says the most important feature of textual analysis is "making the familiar strange." When using textual analysis, teachers most often take short passages and ask students to study them deeply and provide evidence for all assumptions that they make. Textual analysis focuses more on the depth of study rather than a wide range of studies. Buckingham says that there is a set process for textual analysis. This process begins with description then moves to meaning and finishes with judgments. In the description, students should focus on details and write what they see. In the meaning phase, students should focus on particular images, lighting, or setting and how that interacts with the details that they wrote down in the first phase. In the judgments phase, will put together what they learned in the first two phases to make their judgments that they will be able to support with evidence that they collected during the description and meaning phase of their textual analysis.
The next technique that Buckingham discusses is contextual analysis. The most important aspect of contextual analysis, unlike textual analysis, is to focus on the context. Another important aspect that teachers should stress in contextual analysis is focusing on elements of a text that might usually be ignored. The idea of contextual analysis can help students understand the motives and agendas of the producers of a product. Investigation in contextual analysis can take place in several modes of media. For instance, film and CDs are often useful forms to study. By looking at the company that produced the piece and the agendas of that corporation, along with researching how the piece was produced and distributed can help students understand the way that a product was put together to influence the thinking of the audience. Contextual analysis helps students remove themselves from what is going on in the text and look at what is happening to make the piece happen and why it was put together.
Case studies are the next technique discussed in the article. Case studies are project in which students conduct in-depth research into a media topic of their choice. There are four different types of case studies. The first type of case study focuses on production, marketing, and consumption of a particular text. This is the most basic form of a case study. The next type focuses on a cross-media investigation of a particular issue. In this type, students could focus on the use of sex in advertising, or go a different path and focus on the coverage of a political event. Investigating media audiences is the next type of case study. This type often involves using questionaires or other methods to investigate what type of people consume certain products. In the final type of case study, students investigate the work of a single media company or organization. When participating in this type of case study, students would investigate the products and methods of an individual corporation.
The next technique discussed by Buckingham is translations. Translations investigates the differences when an issue or sources is portrayed by different media or for different audiences. Examples of tranlations are different film depictions of the same text or how a factual event in depicted in the fictional and nonfictional form. The most important aspect of this, which has also been dealt with in previous techniques, is to determine why these differences occur in different depictions. Students can practice translations by studying a short story or news article and translating it into a story board or play script. The method of tranlating a text can help students understand their methods and motives.
Simulations, or role plays, are Buckingham's next technique. Simulations allow students to be put in the shoes of media producers. These simulations allow students to delve further into the modes and motives of producers and force students to make the same decisions that high paid producers make. Students can choose any media to participate in simulations. For instance, students can perform simulations in film, music, television, or other media. If teachers choose to make simulations a lengthy project, students can carry out their simulations to full production.
Production is the final technique that Buckingham discusses. Production is a way for students to see their hard work be put to action and can often cause of a feeling of confidence in students. Often times, production is a successful alternative for students that struggle in traditional classroom methods such as discussion or tests. Production allows these students to apply different skills and become involved and interested in their topic. However, Buckingham points out that production in itself is not an end all in the media education of students. Buckingham says that production must be accompanied by reflection and evaluation.
These techniques outlined by Buckingham are six techniques that I believe would be very successful in a classroom. Assignments that help students become involved with what they are doing and investigate things that are of interest to them will help students become involved and interested. Buckingham's six techniques allow students to participate in activites that give them freedom to choose topics that are interesting to them. This freedom allows students to find things they are interested in, which will help them perform better in the classroom. The only questions I would have about this article is about where to get more information about these techniques and more ideas for their application. I believe these techniques to be very helpful and nearly essential for teachers. I believe that textual and contextual analysis may be the most troubling for students to become interested in, while production and simulation would be the most intriguing for students.
The first technique that Buckingham discusses is textual analysis. Buckingham says the most important feature of textual analysis is "making the familiar strange." When using textual analysis, teachers most often take short passages and ask students to study them deeply and provide evidence for all assumptions that they make. Textual analysis focuses more on the depth of study rather than a wide range of studies. Buckingham says that there is a set process for textual analysis. This process begins with description then moves to meaning and finishes with judgments. In the description, students should focus on details and write what they see. In the meaning phase, students should focus on particular images, lighting, or setting and how that interacts with the details that they wrote down in the first phase. In the judgments phase, will put together what they learned in the first two phases to make their judgments that they will be able to support with evidence that they collected during the description and meaning phase of their textual analysis.
The next technique that Buckingham discusses is contextual analysis. The most important aspect of contextual analysis, unlike textual analysis, is to focus on the context. Another important aspect that teachers should stress in contextual analysis is focusing on elements of a text that might usually be ignored. The idea of contextual analysis can help students understand the motives and agendas of the producers of a product. Investigation in contextual analysis can take place in several modes of media. For instance, film and CDs are often useful forms to study. By looking at the company that produced the piece and the agendas of that corporation, along with researching how the piece was produced and distributed can help students understand the way that a product was put together to influence the thinking of the audience. Contextual analysis helps students remove themselves from what is going on in the text and look at what is happening to make the piece happen and why it was put together.
Case studies are the next technique discussed in the article. Case studies are project in which students conduct in-depth research into a media topic of their choice. There are four different types of case studies. The first type of case study focuses on production, marketing, and consumption of a particular text. This is the most basic form of a case study. The next type focuses on a cross-media investigation of a particular issue. In this type, students could focus on the use of sex in advertising, or go a different path and focus on the coverage of a political event. Investigating media audiences is the next type of case study. This type often involves using questionaires or other methods to investigate what type of people consume certain products. In the final type of case study, students investigate the work of a single media company or organization. When participating in this type of case study, students would investigate the products and methods of an individual corporation.
The next technique discussed by Buckingham is translations. Translations investigates the differences when an issue or sources is portrayed by different media or for different audiences. Examples of tranlations are different film depictions of the same text or how a factual event in depicted in the fictional and nonfictional form. The most important aspect of this, which has also been dealt with in previous techniques, is to determine why these differences occur in different depictions. Students can practice translations by studying a short story or news article and translating it into a story board or play script. The method of tranlating a text can help students understand their methods and motives.
Simulations, or role plays, are Buckingham's next technique. Simulations allow students to be put in the shoes of media producers. These simulations allow students to delve further into the modes and motives of producers and force students to make the same decisions that high paid producers make. Students can choose any media to participate in simulations. For instance, students can perform simulations in film, music, television, or other media. If teachers choose to make simulations a lengthy project, students can carry out their simulations to full production.
Production is the final technique that Buckingham discusses. Production is a way for students to see their hard work be put to action and can often cause of a feeling of confidence in students. Often times, production is a successful alternative for students that struggle in traditional classroom methods such as discussion or tests. Production allows these students to apply different skills and become involved and interested in their topic. However, Buckingham points out that production in itself is not an end all in the media education of students. Buckingham says that production must be accompanied by reflection and evaluation.
These techniques outlined by Buckingham are six techniques that I believe would be very successful in a classroom. Assignments that help students become involved with what they are doing and investigate things that are of interest to them will help students become involved and interested. Buckingham's six techniques allow students to participate in activites that give them freedom to choose topics that are interesting to them. This freedom allows students to find things they are interested in, which will help them perform better in the classroom. The only questions I would have about this article is about where to get more information about these techniques and more ideas for their application. I believe these techniques to be very helpful and nearly essential for teachers. I believe that textual and contextual analysis may be the most troubling for students to become interested in, while production and simulation would be the most intriguing for students.
Film as Film-Valerie Miller
In her article, "Film as Film," Valerie Miller discusses the importance of using film in the classroom, so that teachers are able to help their students obtain "textual intelligence." Miller discusses the impact of film in the technologically advanced society that we now live in. Students are using more technology each year and as teachers, we must remain advanced in our knowledge and our teaching. The main article of Miller's article is that as teachers we must present film as film and not as an alternative or substitute for text.
The first argument that Miller makes in her article is that as teachers, we must teach film as film. Miller says that teaching film as a text has its advantages. These advantages include allowing a level playing field because students have different levels of reading comprehension, yet most students have little or no experience in film analysis. Other than this advantage, Miller points out that the positives of teaching film as film far outweigh those of teaching film as literature. Miller says that when students learn film as literature, they are not exposed to the unique narrative that a film produces instead of a text. Another aspect of film that students are not exposed to when they simply see the film as the literature story is the differing opinions of different directors. In each film, there is a director that has shaped the film based on his or her opinion. These opinons are important for students while watching films. Miller later points out that it is often difficult for teachers to teach film as film because they are experts of literature and not of film. However, Miller says that with a basic understanding of film techniques, teachers can apply this knowledge with the knowledge of literature to challenge students intellectually and help them reach their maximum "textual intelligence" as well as "film intelligence."
Miller goes on to point out that teaching films as films and teaching students about critical thinking skills and cinematic techniques will help students understand film and the decisions made by the director about the movie even more. In made for television movies, students are able to sense when the movie is about to break away to commercial by the music or the action. Also, students can sense when something scary or dramatic is going to happen by the music playing in the background. As we have discussed, each director has biases and interprets a work of literature and portrays it as they wish in a movie. Picking up on these biases and changes made can allow students to question these changes and challenge the beliefs of the director or challenge their own beliefs.
As the article continues, Miller reiterates the fact that despite the possible lack of cinematic knowledge of English teachers, they must encourage students to look at the cinematic techniques of a film and not get caught up in the story that it tells. After explaining this for a second time, Miller gives a lists of resources that will help English teachers understand cinematic techniques and film better.
After this, Miller goes on to lay out a short unit for how to teach "Moby Dick" through literary theory and using film as film. Miller says that teachers should begin the year with a short unit on film techniques so that students have a base of knowledge for learning film as film later in the year.
I have very few questions about this reading from Valerie Miller. I find this reading useful in some cases but also see faults in Miller's theories. I believe that film taught as film is certainly a key concept for students to learn. However, film as literature is still a concept that students must understand. Focusing an entire class on one aspect of understanding, such as film as film, limits students by only allowing them to focus on one concept instead of challenging their minds.
The first argument that Miller makes in her article is that as teachers, we must teach film as film. Miller says that teaching film as a text has its advantages. These advantages include allowing a level playing field because students have different levels of reading comprehension, yet most students have little or no experience in film analysis. Other than this advantage, Miller points out that the positives of teaching film as film far outweigh those of teaching film as literature. Miller says that when students learn film as literature, they are not exposed to the unique narrative that a film produces instead of a text. Another aspect of film that students are not exposed to when they simply see the film as the literature story is the differing opinions of different directors. In each film, there is a director that has shaped the film based on his or her opinion. These opinons are important for students while watching films. Miller later points out that it is often difficult for teachers to teach film as film because they are experts of literature and not of film. However, Miller says that with a basic understanding of film techniques, teachers can apply this knowledge with the knowledge of literature to challenge students intellectually and help them reach their maximum "textual intelligence" as well as "film intelligence."
Miller goes on to point out that teaching films as films and teaching students about critical thinking skills and cinematic techniques will help students understand film and the decisions made by the director about the movie even more. In made for television movies, students are able to sense when the movie is about to break away to commercial by the music or the action. Also, students can sense when something scary or dramatic is going to happen by the music playing in the background. As we have discussed, each director has biases and interprets a work of literature and portrays it as they wish in a movie. Picking up on these biases and changes made can allow students to question these changes and challenge the beliefs of the director or challenge their own beliefs.
As the article continues, Miller reiterates the fact that despite the possible lack of cinematic knowledge of English teachers, they must encourage students to look at the cinematic techniques of a film and not get caught up in the story that it tells. After explaining this for a second time, Miller gives a lists of resources that will help English teachers understand cinematic techniques and film better.
After this, Miller goes on to lay out a short unit for how to teach "Moby Dick" through literary theory and using film as film. Miller says that teachers should begin the year with a short unit on film techniques so that students have a base of knowledge for learning film as film later in the year.
I have very few questions about this reading from Valerie Miller. I find this reading useful in some cases but also see faults in Miller's theories. I believe that film taught as film is certainly a key concept for students to learn. However, film as literature is still a concept that students must understand. Focusing an entire class on one aspect of understanding, such as film as film, limits students by only allowing them to focus on one concept instead of challenging their minds.
Monday, April 26, 2010
Film and Reading Strategies
In this article, the John Golden begins by explaining that text and film should go hand in hand. The author's reasoning for this is because text and film share many common elements and strategies to maintain the audience's attention throughout. The author goes on to make the argument that it is a good idea to use film to introduce reader-response theory. By allowing students to practice the response skills on a film first, it is then easier for them to use the theory on text. It is the theory that if students practice their prediction skills and reader-response theory skills on a film they will be better prepared to apply these skills to text.
The first skill that this article talks about is predicting. The author talks about using the first few minutes of a film or the first few pages of a text to predict what will happen over the next severl pages of the text or hours of the films. Golden talks about using short pieces of a movie to encourage students to look for clues to help them predict what will happen in the rest of the movie. Golden gave a few examples of movies that he showed the beginning of in his class and then gave students three or four questions to consider as they predicted what would happen throughout the rest of the movie. Golden next recommends doing the same thing with novels. He suggests that teachers give students one or two paragraphs at the beginning of a novel and allow them to make some predictions about the novel. Golden says that it is a good idea to use novels that the students will be reading in class so that students may assess their predictions at some point.
The next thing that Golden talks about is students responding to a text or film by answering short questions. Golden says that one of the best ways to do this is to have students keep a viewing/reading log. In this log, Golden asks students to answer the following questions: things I liked, things that it reminded me of, and things that confused me. Golden says that this exercise should be similar to the prediction exercise and focus mainly on the skills necessary to be an involved reader/viewer. Golden states that in his classroom he uses a mixture of film and text with the response exercises. Golden states that he starts with a popular film clip so that students are interested and have a fairly easy time with their response. Golden then moves to a popular text excerpt for the same reason. After students have been introduced to the exercise, and both film and text Golden introduces a film clip that is more difficult to interpret and then moves on to a more difficult text excerpt. An example of questions that Golden might ask are "what part of the story made you laugh the most," or "what would you have done if you were in the character's shoes."
According to Golden, the step that comes after responding to the text is questioning the text. During this step of the process, instead of answering questions that the teacher asks about the text or film, students are coming up with their own questions about the material. Once students begin asking questions instead of always answering them, it is easier for the students to take ownership of the text or film. Golden states that there are three types of questions that he learned from two teachers in California. These types of questions are questions of fact, questions of interpretation, and questions beyond the text. Questions of fact are simply questions that answer facts about the text or movie, such as what is the main characters name. Questions of interpretation are when students go past the basic facts and try to interpret them, such as what motivated the main character. Finally, questions beyond the text make connections to the real world, such as do you think the main character would be your friend or do you believe in revenge.
The next aspect of interpreting text that Golden discusses is storyboarding. Golden sees storyboarding as an essential aspect for students to understand text and take ownership of it. Golden stresses that students must not be great artist to storyboard, because unlike when it is done by directors for movies, these are just for the understanding of the students. The idea of storyboarding is for students to read a short passage of text that creates an image and then for students to take these images and draw them as they see them. Golden uses the example of "The Fall of the House of Usher". In this activity, Golden has students dreaw the house as they see it and then draw the face of the narrator as he or she sees the house. Storyboarding can also be done in groups. When storyboarding is done in groups, it is usually over an entire chapter rather than for just a short passage.
This article by Golden demonstrates many good ideas and techniques for using film and text together in the classroom. There are not many things in this article that I question. Most of the techniques that Golden discusses I have either used or see great logic in using. The only technique that I would slightly question is storyboarding. Storyboarding may cause some students to withdraw because they do not believe they are good artist and will be hesitant to draw things that they believe others will see and could possibly make fun of them for. I know as a student I was always reluctant to draw things in class because I did not feel I was a good artist and did not want anyone else to witness anything that I drew. However, I also see the good points of storyboarding and believe that in the right manner, maybe allowing students to draw their storyboards at home or in a space where they feel safe could allow them to feel more comfortable drawing their boards. Other than the storyboards I feel that all of the techniques that Golden discusses have very few drawbacks if any.
The first skill that this article talks about is predicting. The author talks about using the first few minutes of a film or the first few pages of a text to predict what will happen over the next severl pages of the text or hours of the films. Golden talks about using short pieces of a movie to encourage students to look for clues to help them predict what will happen in the rest of the movie. Golden gave a few examples of movies that he showed the beginning of in his class and then gave students three or four questions to consider as they predicted what would happen throughout the rest of the movie. Golden next recommends doing the same thing with novels. He suggests that teachers give students one or two paragraphs at the beginning of a novel and allow them to make some predictions about the novel. Golden says that it is a good idea to use novels that the students will be reading in class so that students may assess their predictions at some point.
The next thing that Golden talks about is students responding to a text or film by answering short questions. Golden says that one of the best ways to do this is to have students keep a viewing/reading log. In this log, Golden asks students to answer the following questions: things I liked, things that it reminded me of, and things that confused me. Golden says that this exercise should be similar to the prediction exercise and focus mainly on the skills necessary to be an involved reader/viewer. Golden states that in his classroom he uses a mixture of film and text with the response exercises. Golden states that he starts with a popular film clip so that students are interested and have a fairly easy time with their response. Golden then moves to a popular text excerpt for the same reason. After students have been introduced to the exercise, and both film and text Golden introduces a film clip that is more difficult to interpret and then moves on to a more difficult text excerpt. An example of questions that Golden might ask are "what part of the story made you laugh the most," or "what would you have done if you were in the character's shoes."
According to Golden, the step that comes after responding to the text is questioning the text. During this step of the process, instead of answering questions that the teacher asks about the text or film, students are coming up with their own questions about the material. Once students begin asking questions instead of always answering them, it is easier for the students to take ownership of the text or film. Golden states that there are three types of questions that he learned from two teachers in California. These types of questions are questions of fact, questions of interpretation, and questions beyond the text. Questions of fact are simply questions that answer facts about the text or movie, such as what is the main characters name. Questions of interpretation are when students go past the basic facts and try to interpret them, such as what motivated the main character. Finally, questions beyond the text make connections to the real world, such as do you think the main character would be your friend or do you believe in revenge.
The next aspect of interpreting text that Golden discusses is storyboarding. Golden sees storyboarding as an essential aspect for students to understand text and take ownership of it. Golden stresses that students must not be great artist to storyboard, because unlike when it is done by directors for movies, these are just for the understanding of the students. The idea of storyboarding is for students to read a short passage of text that creates an image and then for students to take these images and draw them as they see them. Golden uses the example of "The Fall of the House of Usher". In this activity, Golden has students dreaw the house as they see it and then draw the face of the narrator as he or she sees the house. Storyboarding can also be done in groups. When storyboarding is done in groups, it is usually over an entire chapter rather than for just a short passage.
This article by Golden demonstrates many good ideas and techniques for using film and text together in the classroom. There are not many things in this article that I question. Most of the techniques that Golden discusses I have either used or see great logic in using. The only technique that I would slightly question is storyboarding. Storyboarding may cause some students to withdraw because they do not believe they are good artist and will be hesitant to draw things that they believe others will see and could possibly make fun of them for. I know as a student I was always reluctant to draw things in class because I did not feel I was a good artist and did not want anyone else to witness anything that I drew. However, I also see the good points of storyboarding and believe that in the right manner, maybe allowing students to draw their storyboards at home or in a space where they feel safe could allow them to feel more comfortable drawing their boards. Other than the storyboards I feel that all of the techniques that Golden discusses have very few drawbacks if any.
Friday, April 16, 2010
To View Or Not To View? Carol Jago
In this article, Carol Jago makes the argument that viewing films has absolutely no place in the English classroom. She supports her argument throughout the article by saying that it takes time away from the reading, writing, listening, and speaking that is supposed to go on in the classroom. She also says that watching the film of many novels is equivalent to stupid reading cliffnotes because the majority of films are an abbreviation of the actual novel. The only concession that Jago makes are Shakespeare plays. She does say that Shakespeare plays can be used in the classroom but should not be shown before the students read the play or before they do their assignments on the play. She says if students know they are going to be shown the video then they will not read and wait for the video to get them by.
The first argument that Jago makes is that showing films in class takes away from the reading, writing, listening, and speaking going on in the classroom. Jago argues that there are already too many things to do in a semester in the English classroom and the standard of viewing films pushes it over the top. Jago says that if for example a teacher shows five films throughout the year that the average film would take three days to show in the classroom and at that rate that would be fifteen classroom days used to view films instead of learn about the other aspects of language arts. Jago, however, says that she believes film can be of use, just not in the language arts classroom. She believes that there should be a separate class set aside for viewing these films.
Jago next points out that films should not be shown or at the least not be shown until after students have read the text because they will then be forced to form their own opinion and create their own interpretation. Jago points out that a film often takes away from powerful pieces of prose in which students are forced to use their imagination and create their own picture of what is happening and not just what the creator or the film chooses to project. Also, Jago points out that all films are an interpretation of a text from the point of view of the director. When students read a text for themselves, they are forced to interpret the text as they read it without the input from an outside source (a director). Another problem with showing the film even after the students have read the text is that if their interpretation differs from that shown in the film, students assume that their interpretation must be wrong. It is common for students to believe that their opinions and interpretations are below that of people in power, such as a director.
As Jago concludes she reinforces her point that films have no place in the English classroom. She reiterates the fact that students should be left to form their own opinion and interpretation of the text and not be forced to question that opinion by a different interpretation shown in a film.
I have many problems with this article by Carol Jago. The first major problem I have is encouraging students to enroll in another class just to be able to watch the films that she does not want to show in her classroom. At many high schools, there is a strict curriculum for students that allows for very few elective classes. For these elective classes, many students wish to take classes such as physical education or computer classes. Also, I believe students will lose the power that a film can bring while being viewed during or before a reading of the text. If the students take the film class one or two semesters later they will have lost the power that the text could have carried the first time. It is my opinion that films are powerful tools that should be used in the classroom at every opportunity. They provide students with something that they conceive as interesting and can become excited about. In my experience with Shakespeare and early literature, I have become much more excited once I have seen a performance of the story.
The first argument that Jago makes is that showing films in class takes away from the reading, writing, listening, and speaking going on in the classroom. Jago argues that there are already too many things to do in a semester in the English classroom and the standard of viewing films pushes it over the top. Jago says that if for example a teacher shows five films throughout the year that the average film would take three days to show in the classroom and at that rate that would be fifteen classroom days used to view films instead of learn about the other aspects of language arts. Jago, however, says that she believes film can be of use, just not in the language arts classroom. She believes that there should be a separate class set aside for viewing these films.
Jago next points out that films should not be shown or at the least not be shown until after students have read the text because they will then be forced to form their own opinion and create their own interpretation. Jago points out that a film often takes away from powerful pieces of prose in which students are forced to use their imagination and create their own picture of what is happening and not just what the creator or the film chooses to project. Also, Jago points out that all films are an interpretation of a text from the point of view of the director. When students read a text for themselves, they are forced to interpret the text as they read it without the input from an outside source (a director). Another problem with showing the film even after the students have read the text is that if their interpretation differs from that shown in the film, students assume that their interpretation must be wrong. It is common for students to believe that their opinions and interpretations are below that of people in power, such as a director.
As Jago concludes she reinforces her point that films have no place in the English classroom. She reiterates the fact that students should be left to form their own opinion and interpretation of the text and not be forced to question that opinion by a different interpretation shown in a film.
I have many problems with this article by Carol Jago. The first major problem I have is encouraging students to enroll in another class just to be able to watch the films that she does not want to show in her classroom. At many high schools, there is a strict curriculum for students that allows for very few elective classes. For these elective classes, many students wish to take classes such as physical education or computer classes. Also, I believe students will lose the power that a film can bring while being viewed during or before a reading of the text. If the students take the film class one or two semesters later they will have lost the power that the text could have carried the first time. It is my opinion that films are powerful tools that should be used in the classroom at every opportunity. They provide students with something that they conceive as interesting and can become excited about. In my experience with Shakespeare and early literature, I have become much more excited once I have seen a performance of the story.
Sunday, April 4, 2010
Using Film To Increase Literacy Skills
Film can be one of the most powerful tools that a teacher can use. The popularity of film in modern culture is as great as that of any other form of entertainment. As teachers, we must capitalize on this popularity and use it to help students learn. As film is being taken out of schools because many people see it as taking away from learning true literacy, it is a challenge for all teachers to find a way to incorporate film in their lesson plans. One of the best ways that teachers can do this is to create the film as a critical thinking activity. Also, taechers can have students create journals to follow the film, or use the film to accompany and reinforce a lesson plan.
One of the most important points in this reading is that even with the No Child Left Behind program in place, film can be used in the classroom if it is taught as literature. This can be done by teaching the film by examining the language that is used and by determining exactly what the characters are trying to say by going deeper than just what is on the surface. Viewing films in the classroom is a great way for teachers to include critical viewing skills into the classroom to go along with critical thinking skills. As teachers, it is our job to prepare students for what they will face in the world. In my opinion, there is no better way for students to learn to think critically in the world and to analyze situations that they are presented with than to give them practice by critically viewing films in the classroom.
In this article, the author, Vetrie, use the term schemata to refer to tapping into what students have experienced. Vetrie says that just as with any good lesson plan, teachers must choose films that tap into students' schemata. It is known that students learn better when they are able to apply what is going on in the classroom to their own lives. If a teacher chooses documentaries and films to show in the classroom to support a print text or to encourage critical viewing, the activity will be much more beneficial if the film is applicable to the students. For example, for a classroom at an inner city school it would probably be a better idea to show a documentary about Martin Luther King Jr. than to show one about Barbara Walters. A documentary about Martin Luther King Jr. would tap into much more of the class schemata than would the other documentary.
The last point that Vetrie makes is that once teachers have students engaged, they must then transfer that engagement into writing and discussion. Vetrie also says that the discussions and the writing are much more productive and successful when students are viewing films that tap into their schemata and creates a great deal of interest in them. Once students are interested and discussing and writing, the only job for the teacher that remains is to continue to focus this energy and urge the students to go even further into their thoughts. Vetrie says that he shows R-rated films in his classroom and that his class basically relies on these films. In his opinion, these films are the ones that best tap into the schemata of his inner city students because it is the language and violence that surrounds them on a daily basis.
This article by Vetrie is a very helpful article on how to choose films and the benefits that can be received from showing films in the classroom. However, I question his methods on showing R-rated films in his classroom. I understand the language, violence, and culture that his students see every day but he says that he must get each students' parent or guardian to sign a waiver before showing these films in class. I wonder what happens when there is an objection by a parents. Does that student not receive the same experience that other students in the class do? Is that student asked to step outside the classroom or go to the library during the R-rated films? Does the entire class miss out on that learning opportunity because one students' parents do not want their children watching R-rated films? These are all questions that bother me as a teacher because if there is an objection, which eventually there will be, how is that handled.
One of the most important points in this reading is that even with the No Child Left Behind program in place, film can be used in the classroom if it is taught as literature. This can be done by teaching the film by examining the language that is used and by determining exactly what the characters are trying to say by going deeper than just what is on the surface. Viewing films in the classroom is a great way for teachers to include critical viewing skills into the classroom to go along with critical thinking skills. As teachers, it is our job to prepare students for what they will face in the world. In my opinion, there is no better way for students to learn to think critically in the world and to analyze situations that they are presented with than to give them practice by critically viewing films in the classroom.
In this article, the author, Vetrie, use the term schemata to refer to tapping into what students have experienced. Vetrie says that just as with any good lesson plan, teachers must choose films that tap into students' schemata. It is known that students learn better when they are able to apply what is going on in the classroom to their own lives. If a teacher chooses documentaries and films to show in the classroom to support a print text or to encourage critical viewing, the activity will be much more beneficial if the film is applicable to the students. For example, for a classroom at an inner city school it would probably be a better idea to show a documentary about Martin Luther King Jr. than to show one about Barbara Walters. A documentary about Martin Luther King Jr. would tap into much more of the class schemata than would the other documentary.
The last point that Vetrie makes is that once teachers have students engaged, they must then transfer that engagement into writing and discussion. Vetrie also says that the discussions and the writing are much more productive and successful when students are viewing films that tap into their schemata and creates a great deal of interest in them. Once students are interested and discussing and writing, the only job for the teacher that remains is to continue to focus this energy and urge the students to go even further into their thoughts. Vetrie says that he shows R-rated films in his classroom and that his class basically relies on these films. In his opinion, these films are the ones that best tap into the schemata of his inner city students because it is the language and violence that surrounds them on a daily basis.
This article by Vetrie is a very helpful article on how to choose films and the benefits that can be received from showing films in the classroom. However, I question his methods on showing R-rated films in his classroom. I understand the language, violence, and culture that his students see every day but he says that he must get each students' parent or guardian to sign a waiver before showing these films in class. I wonder what happens when there is an objection by a parents. Does that student not receive the same experience that other students in the class do? Is that student asked to step outside the classroom or go to the library during the R-rated films? Does the entire class miss out on that learning opportunity because one students' parents do not want their children watching R-rated films? These are all questions that bother me as a teacher because if there is an objection, which eventually there will be, how is that handled.
Thursday, March 25, 2010
Reading Reel Nonfiction
This article discusses possible uses for documentaries in the classroom. There are not many specific examples of which documentaries to use in the classroom and how to use those certain ones because the article focuses on the ways in which the nonfiction films may be shown and used in the classroom. However, there is a list at the end of the article about some of the documentaries that the authors mention throughout the article or suggest. The article points out that many people think of nonfiction work as boring or dull, however many students find them intriguing and very informative. The difference between these two opinions boils down to the documentaries that are shown. One example pointed out by the authors is the story of Emmitt Till. This documentary is very interesting and contains many twists. The story of Emmitt Till will likely hold students' attention and keep them interested. As a teacher, one must be careful in selecting nonfictional material to be shown in the classroom, so that it is appropriate yet interesting.
The major point that the authors make in the article is how to use documentaries in the classroom. One tactic that is used by one of the authors in his own classroom is to show the class a quote from Richard Schickel that says “A documentary is an arrangement (or, if it includes historical footage, a rearrangement) of nonfictional film, structured to support the pre-existing
ideas of the filmmaker. Only the terminally stupid or the childishly innocent imagine that anyone making a documentary film aspires to objective truth." The author goes on to explain that he uses this quote to explain that there are almost no documentaries that are made to tell the whole truth of the story. They are all created to make a point that the author wants to make. Documentaries are often a good way for teachers to help students learn about persuasive writing. Documentaries use many techniques including pictures, words, music, and interviews to prove a point.
One of the most important aspects of teaching documentaries is helping students understand and interpret what they actually see. It has often been said that a picture is worth a thousand words and this statement is proven often in documentaries. As a teacher, one must help students look for facial expressions and body language that helps them understand exactly what point the author or producer is trying to make.
There are also several things that teachers can do during or after the viewing of the documentary to help students understand better. It is often helpful to stop the documentary occassionally throughout the viewing to talk about especially meaningful passages or scenes. It is also important to debrief students after watching the film. One technique that I believe to be especially helpful is to allow students to write a couple of paragraphs about what they believe to be important in the film. The teacher should have them include images and phrases and once they have finished this, have a class discussion about what the entire class believes to be the most important things and compile a class list.
The major point that the authors make in the article is how to use documentaries in the classroom. One tactic that is used by one of the authors in his own classroom is to show the class a quote from Richard Schickel that says “A documentary is an arrangement (or, if it includes historical footage, a rearrangement) of nonfictional film, structured to support the pre-existing
ideas of the filmmaker. Only the terminally stupid or the childishly innocent imagine that anyone making a documentary film aspires to objective truth." The author goes on to explain that he uses this quote to explain that there are almost no documentaries that are made to tell the whole truth of the story. They are all created to make a point that the author wants to make. Documentaries are often a good way for teachers to help students learn about persuasive writing. Documentaries use many techniques including pictures, words, music, and interviews to prove a point.
One of the most important aspects of teaching documentaries is helping students understand and interpret what they actually see. It has often been said that a picture is worth a thousand words and this statement is proven often in documentaries. As a teacher, one must help students look for facial expressions and body language that helps them understand exactly what point the author or producer is trying to make.
There are also several things that teachers can do during or after the viewing of the documentary to help students understand better. It is often helpful to stop the documentary occassionally throughout the viewing to talk about especially meaningful passages or scenes. It is also important to debrief students after watching the film. One technique that I believe to be especially helpful is to allow students to write a couple of paragraphs about what they believe to be important in the film. The teacher should have them include images and phrases and once they have finished this, have a class discussion about what the entire class believes to be the most important things and compile a class list.
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