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.
Monday, April 26, 2010
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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