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Offers a fresh overview of teaching with film to effectively enhance social studies instruction.
Teaching Difficult History through Film explores the potential of film to engage young people in controversial or contested histories and how they are represented, ranging from gender and sexuality, to colonialism and slavery. Adding to the education literature of how to teach and learn difficult histories, contributors apply their theoretical and pedagogical expertise and experiences to a variety of historical topics to show the ways that film can create opportunities for challenging conversations in the classroom and attempts to recognize the perspectives of historically marginalized groups. Chapters focus on translating research into practice by applying theoretical frameworks such as critical race theory, auto-ethnography or cultural studies, as well as more practical pedagogical models with film. Each chapter also includes applicable pedagogical considerations, such as how to help students approach difficult topics, model questions or strategies for engaging students, and examples from the authors’ own experiences in teaching with film or in leading students to develop counter-narratives through filmmaking. These discussions of the real considerations facing classroom teachers and professors are sure to appeal to experienced secondary teachers, pre-service teacher education programs, graduate students, and academic audiences within education, history, and film studies. Part and chapter discussion guides, full references of the films included in the book, and resources for teachers are available on the book’s companion website www.teachingdifficulthistory.com.
Teaching and learning through Hollywood, or commercial, film productions is anything but a new approach and has been something of a mainstay in the classroom for nearly a century. Purposeful and effective instruction through film, however, is not problem-free and there are many challenges that accompany classroom applications of Hollywood motion pictures. In response to the problems and possibilities associated with teaching through film, we have collaboratively developed a collection of practical, classroom-ready lesson ideas that might bridge gaps between theory and practice and assist teachers endeavoring to make effective use of film in their classrooms. We believe that film can serve as a powerful tool in the social studies classroom and, where appropriately utilized, foster critical thinking and civic mindedness. The College, Career, and Civic Life (C3) framework, represents a renewed and formalized emphasis on the perennial social studies goals of deep thinking, reading and writing. We believe that as teachers endeavor to digest and implement the platform in schools and classrooms across the country, the desire for access to structured strategies that lead to more active and rigorous investigation in the social studies classroom will grow increasingly acute. Our hope is that this edited book might play a small role in the larger project of supporting practitioners, specifically K-12 teachers of United States history, by offering a collection of classroom-ready tools based on the Hollywood or History? strategy and designed to foster historical inquiry through the careful use of historically themed motion pictures. The book consists of K-5 and 6-12 lesson plans addressing the following historical eras (Adapted from: UCLA, National Center for History in Schools).
How ed tech was born: Twentieth-century teaching machines--from Sidney Pressey's mechanized test-giver to B. F. Skinner's behaviorist bell-ringing box. Contrary to popular belief, ed tech did not begin with videos on the internet. The idea of technology that would allow students to "go at their own pace" did not originate in Silicon Valley. In Teaching Machines, education writer Audrey Watters offers a lively history of predigital educational technology, from Sidney Pressey's mechanized positive-reinforcement provider to B. F. Skinner's behaviorist bell-ringing box. Watters shows that these machines and the pedagogy that accompanied them sprang from ideas--bite-sized content, individualized instruction--that had legs and were later picked up by textbook publishers and early advocates for computerized learning. Watters pays particular attention to the role of the media--newspapers, magazines, television, and film--in shaping people's perceptions of teaching machines as well as the psychological theories underpinning them. She considers these machines in the context of education reform, the political reverberations of Sputnik, and the rise of the testing and textbook industries. She chronicles Skinner's attempts to bring his teaching machines to market, culminating in the famous behaviorist's efforts to launch Didak 101, the "pre-verbal" machine that taught spelling. (Alternate names proposed by Skinner include "Autodidak," "Instructomat," and "Autostructor.") Telling these somewhat cautionary tales, Watters challenges what she calls "the teleology of ed tech"--the idea that not only is computerized education inevitable, but technological progress is the sole driver of events.
Reflective practice is at the heart of effective teaching, and this book will help you develop into a reflective teacher of history. Everything you need is here: guidance on developing your analysis and self-evaluation skills, the knowledge of what you are trying to achieve and why, and examples of how experienced teachers deliver successful lessons. The book shows you how to plan lessons, how to make the best use of resources and how to assess pupils′ progress effectively. Each chapter contains points for reflection, which encourage you to break off from your reading and think about the challenging questions that you face as a history teacher. The book comes with access to a companion website, where you will find: - Videos of real lessons so you can see the skills discussed in the text in action - Transcripts from teachers and students that you can use as tools for reflection - Links to a range of sites that provide useful additional support - Extra planning and resource materials. If you are training to teach history, citizenship or social sciences this book will help you to improve your classroom performance by providing you with practical advice, and also by helping you to think in depth about the key issues. It provides examples of the research evidence that is needed in academic work at Masters level, essential for anyone undertaking an M-level PGCE. Ian Phillips is course leader for PGCE History (and Teaching and Learning Fellow) at Edge Hill University.
Popular media has become a common means by which students understand both the present and the past. Consequently, more teachers are using various forms of popular culture as pedagogical tools in the history classroom. Science fiction is one of the most popular genres of contemporary film, a genre that permeates much of the current culture. In order to facilitate the use of science fiction films as learning tools, teachers of history need a dependable resource. Teaching History with Science Fiction Films is a guide for teaching U.S. and world history. In addition to covering key themes and concepts, the volume provides • an era-by-era overview of significant issues and related films, • a tutorial in using film in historical methodology, • user guides for 10 key science fiction films, and • sample exercises and assignments for direct classroom use. Among the films covered in this book are staples of American cultural literacy, including Things to Come, The Day the Earth Stood Still, Soylent Green, and Independence Day. Covering conceptual topics such as geopolitics, environmental consciousness, imperialism, immigration, gender roles, and technological innovation across the decades, Teaching History with Science Fiction Films will enable classroom teachers to effectively use movies to examine key social and cultural issues, concepts, and influences in their historical context. With a list of more than 90 recommended films, this volume will be an invaluable asset to any teacher of history.
Film studies has been a part of higher education curricula in the United States almost since the development of the medium. Although the study of film is dispersed across a range of academic departments, programs, and scholarly organizations, film studies has come to be recognized as a field in its own right. In an era when teaching and scholarship are increasingly interdisciplinary, film studies continues to expand and thrive, attracting new scholars and fresh ideas, direction, and research. Given the dynamism of the field, experienced and beginning instructors alike need resources for bringing the study of film into the classroom. This volume will help instructors conceptualize contemporary film studies in pedagogical terms. The first part of the volume features essays on theory and on representation, including gender, race, and sexuality. Contributors then examine the geographies of cinema and offer practical suggestions for structuring courses on national, regional, and transnational film. Several essays focus on interdisciplinary approaches, while others describe courses designed around genre (film noir, the musical), mode (animation, documentary, avant-garde film), or the formal elements of film, such as sound, music, and mise-en-scène. The volume closes with a section on film and media in the digital age, in which contributors discuss the opportunities and challenges presented by access to resources, media convergence, and technological developments in the field.
The Flickering Mind, by National Magazine Award winner Todd Oppenheimer, is a landmark account of the failure of technology to improve our schools and a call for renewed emphasis on what really works. American education faces an unusual moment of crisis. For decades, our schools have been beaten down by a series of curriculum fads, empty crusades for reform, and stingy funding. Now education and political leaders have offered their biggest and most expensive promise ever—the miracle of computers and the Internet—at a cost of approximately $70 billion just during the decade of the 1990s. Computer technology has become so prevalent that it is transforming nearly every corner of the academic world, from our efforts to close the gap between rich and poor, to our hopes for school reform, to our basic methods of developing the human imagination. Technology is also recasting the relationships that schools strike with the business community, changing public beliefs about the demands of tomorrow’s working world, and reframing the nation’s systems for researching, testing, and evaluating achievement. All this change has led to a culture of the flickering mind, and a generation teetering between two possible futures. In one, youngsters have a chance to become confident masters of the tools of their day, to better address the problems of tomorrow. Alternatively, they can become victims of commercial novelties and narrow measures of ability, underscored by misplaced faith in standardized testing. At this point, America’s students can’t even make a fair choice. They are an increasingly distracted lot. Their ability to reason, to listen, to feel empathy, is quite literally flickering. Computers and their attendant technologies did not cause all these problems, but they are quietly accelerating them. In this authoritative and impassioned account of the state of education in America, Todd Oppenheimer shows why it does not have to be this way. Oppenheimer visited dozens of schools nationwide—public and private, urban and rural—to present the compelling tales that frame this book. He consulted with experts, read volumes of studies, and came to strong and persuasive conclusions: that the essentials of learning have been gradually forgotten and that they matter much more than the novelties of technology. He argues that every time we computerize a science class or shut down a music program to pay for new hardware, we lose sight of what our priority should be: “enlightened basics.” Broad in scope and investigative in treatment, The Flickering Mind will not only contribute to a vital public conversation about what our schools can and should be—it will define the debate.
The challenges of teaching history are acute where we consider the world history classroom. Generalized world history courses are a part of many, if not most, K-12 curricular frameworks in the United States. While United States history tends to dominate the scholarship and conversation, there are an equally wide number of middle-level and secondary students and teachers engaged in the study of world history in our public schools. And the challenges are real. In the first place, if we are to mark content coverage as a curricular obstacle in the history classroom, generally, then we must underscore that concern in the world history classroom and for obvious reasons. The curricular terrain to choose from is immense and forever expanding, dealing with the development of numerous civilizations over millennia and across a wide geographic expanse. In addition to curricular concerns, world historical topics are inherently farther away from most students’ lives, not just temporally, but often geographically and culturally. Thus the rationale for the present text, Hollywood or History? An Inquiry-Based Strategy for Using Film to Teach World History. The reviews of the first volume Hollywood or History? An Inquiry-Based Strategy for Using Film to Teach Untied States History strategy have been overwhelmingly positive, especially as it pertains to the application of the strategy for practitioner. Classroom utility and teacher practice have remained our primary objectives in developing the Hollywood or History? strategy and we are encouraged by the possibilities of Volume II and the capacity of this most recent text to impact teaching and learning in world history. We believe that students’ connection to film, along with teachers’ ability to use film in an effective manner, will help alleviate some of the challenges of teaching world history. The book provides 30 secondary lesson plans (grades 6-12) that address nine eras in world history.