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A common refrain heard from instructors in offices across the world is that students have a hard time producing quality written discourse. This is no different in the world of film studies, where many undergraduate students struggle to cogently discuss the films they watch in class. How can film instructors help students become better writers? This book answers this question by, first, uncovering the disciplinary expectations we have for students, and then offering strategies to explicitly teach those expectations in the classroom. This book examines and identifies the disciplinary conventions of professional film studies discourse along with the expectations we have for student writing in undergraduate film courses. What becomes clear from this analysis is that the pedagogical expectations we have for students are aligned with, and shaped by, professional writing in the discipline. It helps to uncover the argument types instructors take for granted and helps those teaching undergraduate students not only to know what those expectations are, but also how to use that knowledge to foster better student writing.
As the online world of creative writing teaching, learning, and collaborating grows in popularity and necessity, this book explores the challenges and unique benefits of teaching creative writing online. This collection highlights expert voices who have taught creative writing effectively in the online environment, to broaden the conversation regarding online education in the discipline, and to provide clarity for English and writing departments interested in expanding their offerings to include online creative writing courses but doing so in a way that serves students and the discipline appropriately. Interesting as it is useful, Theories and Strategies for Teaching Creative Writing Online offers a contribution to creative writing scholarship and begins a vibrant discussion specifically regarding effectiveness of online education in the discipline.
What is understanding and how does it differ from knowledge? How can we determine the big ideas worth understanding? Why is understanding an important teaching goal, and how do we know when students have attained it? How can we create a rigorous and engaging curriculum that focuses on understanding and leads to improved student performance in today's high-stakes, standards-based environment? Authors Grant Wiggins and Jay McTighe answer these and many other questions in this second edition of Understanding by Design. Drawing on feedback from thousands of educators around the world who have used the UbD framework since its introduction in 1998, the authors have greatly revised and expanded their original work to guide educators across the K-16 spectrum in the design of curriculum, assessment, and instruction. With an improved UbD Template at its core, the book explains the rationale of backward design and explores in greater depth the meaning of such key ideas as essential questions and transfer tasks. Readers will learn why the familiar coverage- and activity-based approaches to curriculum design fall short, and how a focus on the six facets of understanding can enrich student learning. With an expanded array of practical strategies, tools, and examples from all subject areas, the book demonstrates how the research-based principles of Understanding by Design apply to district frameworks as well as to individual units of curriculum. Combining provocative ideas, thoughtful analysis, and tested approaches, this new edition of Understanding by Design offers teacher-designers a clear path to the creation of curriculum that ensures better learning and a more stimulating experience for students and teachers alike.
Rachel Ritterbusch’s Practical Approaches to Teaching Film is a collection of essays focusing on the use of film in settings ranging from an introductory film class to an upper-division Women’s Studies course. Drawing on their experience in the classroom, contributors to this anthology show how movies can be used to promote critical thinking, create an awareness of the male gaze, challenge dominant ideology, and unmask the constructedness of film. This volume treats a wide variety of film texts, from box-office hits like The Da Vinci Code to underappreciated art films such as Susan Streitfeld’s Female Perversions; from Pépé le Moko and other French classics to more contemporary francophone works like Chaos and Rosetta; from self-reflexive films that interrogate the act of filmmaking itself to those that draw attention to the phallocentric nature of cinematic apparatus. Common to all these essays is the belief that, if used judiciously, film can be a valuable pedagogical tool. Aimed both at those currently teaching film and those wishing to do so, this volume provides practical support in the form of sample syllabi, assignments, and a glossary of film terms.
The Handbook of Research on Teaching Literacy Through the Communicative and Visual Arts, Volume II brings together state-of-the-art research and practice on the evolving view of literacy as encompassing not only reading, writing, speaking, and listening, but also the multiple ways through which learners gain access to knowledge and skills. It forefronts as central to literacy education the visual, communicative, and performative arts, and the extent to which all of the technologies that have vastly expanded the meanings and uses of literacy originate and evolve through the skills and interests of the young. A project of the International Reading Association, published and distributed by Routledge/Taylor & Francis. Visit http://www.reading.org for more information about Internationl Reading Associationbooks, membership, and other services.
This edited volume examines the implications of COVID-19 on distance and online learning, discussing how the move to online teaching and learning modes proved to be a source of immense institutional, organizational, and educational challenges. With chapters grounded in theoretical and methodological approaches pertinent to education and pedagogy, the book explores the relevance of theory to the educational situation brought about by the pandemic and highlights the specific issues and challenges that distance learning has to account for in crisis situations. Key topics discussed include innovations and best practices in online learning, research, and management; developments in computer-supported collaborative learning, training, and research; the use of intelligent tutoring and mentoring systems in times of crisis; the role of university leadership and users’ perceptions and attitudes to online teaching and learning. The book offers fresh insights into the specificity of distance learning in a pandemic and its effects in established working patterns. It will be highly relevant reading for academics, researchers, and post-graduate students in the fields of online learning, distance learning, educational technology, and pedagogy, as well as university administrators and those directly involved in online teaching.
Creativity and Writing Pedagogy: Linking Creative Writers, Researchers, and Teachers offers a unique view of creative practices and pedagogy in writing from the perspective of writing teachers, creativity researchers and scholars, and writers themselves. The volume, collected and edited by a poet and a scholar who are both involved in the teaching of writing, seeks to bridge between the creative writing and the academic writing communities in building a case for creativity as central to all writing programs and showcasing creative practices in writing. With this goal in mind, the book combines a practical emphasis on creativity in writing pedagogy and curriculum with research and reflections on writing practices. Part 1 frames the collection by providing the editors' perspectives, followed by five chapters in Part 2 which take research perspectives on creativity in writing. Part 3 offers four views of writers' creative practices, and Part 4 offers two reflections on creative writing pedagogy. Part 5 broadens the coverage on writing and creativity to include travel, testing, and curriculum development in an international context. Creativity and Writing Pedagogy is unusual in linking research and practice in writing and the teaching of writing, as well as creative writing and academic writing orientations. The collection should be of interest to all writers and teachers of writing who want to expand their knowledge of creativity and creative practices in writing and the teaching of writing.
The Challenge of Educating Lawyers "This volume, under the presidency of Lee Shulman, is intended primarily to foster appreciation for what legal education does at its best. We want to encourage more informed scholarship and imaginative dialogue about teaching and learning for the law at all organizational levels: in individual law schools, in the academic associations, in the profession itself. We also believe our findings will be of interest within the academy beyond the professional schools, as well as among that public concerned with higher education and the promotion of professional excellence." --From the Introduction "Educating Lawyers is no doubt the best work on the analysis and reform of legal education that I have ever read. There is a call for deep changes in the way law is taught, and I believe that it will be a landmark in the history of legal education." --Bryant G. Garth, dean and professor of law, Southwestern Law School and former director of the American Bar Foundation "Educating Lawyers succeeds admirably in describing the educational programs at virtually every American law school. The call for the integration of the three apprenticeships seems to me exactly what is needed to make legal education more 'professional,' to prepare law students better for the practice of law, and to address societal expectations of lawyers." --Stephen Wizner, dean of faculty, William O. Douglas Clinical Professor of Law, Yale Law School
The rise of Creative Writing has been accompanied from the start by two questions: can it be taught, and should it be taught? This scepticism is sometimes shared even by those who teach it, who often find themselves split between two contradictory identities: the artistic and the academic. Against Creative Writing explores the difference between ‘writing’, which is what writers do, and Creative Writing, which is the instrumentalisation of what writers do. Beginning with the question of whether writing can or ought to be taught, it looks in turn at the justifications for BA, MA, and PhD courses, and concludes with the divided role of the writer who teaches. It argues in favour of Creative Writing as a form of hands-on literary education at undergraduate level and a form of literary apprenticeship at graduate level, especially in widening access to new voices. It argues against those forms of Creative Writing that lose sight of literary values – as seen in the proliferation of curricular couplings with non-literary subjects, or the increasing emphasis on developing skills for future employment. Against Creative Writing, written by a writer, is addressed to other writers, inside or outside the academy, at undergraduate or graduate level, whether ‘creative’ or ‘critical’.