Testimony and Narrative as a Political Relation: The Question of Ethical Judgment in Education

In this article, we explore the role of film in educational settings and argue that testimony and narrative are dependent upon each other for developing ethical judgments. We use the film 12 Angry Men to enhance our thesis that the emotional response that sometimes is intended in using film as testimonies in classrooms requires a specific listening; a listening that puts pupils at risk when they relate testimonies to their own life narratives. The article raises the importance of listening in training narrative ethos in relation to violence witnessed in film. The article contributes by enhancing an understanding of a relational dimension to testimony and narrative, which, in an Arendtian sense, is also put forward as a political relation.     

The Use of Television in Public Examinations

This paper analyses the use of a television film, David Leland's Flying into the Wind, in O Level English Literature examinations in 1986. This is the first use of television material in an examination of this kind. After studying the video as part of a two‐year course, candidates were shown part of the television film during the examination and asked to comment upon it. An analysis of candidates' responses suggests television is a suitable medium for use in public examinations, as well as a popular choice with the candidates themselves. Certain aspects of the candidates' responses suggest the importance of visual imagery, and this in turn may have implications for theories concerning how we understand television. Finally, the subsequent use of Flying into the Wind and the current use of Gregory's Girl in GCSE examinations, and the place of television in the new National Curriculum orders are briefly considered.     

The Production of Audio-Visual Materials and their Use in the Teaching of Modern Languages

Herr Lingsch began by giving an account of the present and planned productions of the Institute in Munich and touching on the considerations and views which led to their type of productions. The sequence of Film-picture-sound begins, in subjects such as Geography and Science, with the medium of the moving picture, which is so essential to them. In modern languages the acoustic media are the more important aids. A pioneering experiment in the use of film in modern language teaching took place in Austria in 1943. Annie Stucker-Krauszler used the silent puppet film The Race between the Hare and the Hedgehog for conversation exercises in teaching English. Without there being a direct connection, Gerald Fleming has been using the silent 8mm loop film for some years. In short cartoon films he presents brief episodes of everyday life in France. The 16mm sound film after the war can be categorized as follows:     

Numerical analysis of tensile bifurcation phenomenon of a film bonded to a substrate

To study the mechanical properties of the film/substrate structure, the finite element code ABAQUS v6.9-1 is adopted to simulate the tensile mechanical behavior of the nanoscale thin film bonded to a substrate. The bifurcation phenomenon of the structure under uniaxial tension is found: the single-neck deformation, the multiple-neck deformation and the uniform deformation. The substrate and the film are regarded as power-hardening materials obeying the J 2 deformation theory. Firstly, the influence of material hardening match on tensile bifurcation mode is analyzed under perfectly well-bonded interface condition. Then, the effects of interfacial stiffness and other superficial defects surrounding the imperfection on bifurcation mode are investigated. It is concluded that under the well-bonded interface condition, if the stress of the substrate is larger than the film, the film will uniformly deform with the substrate; if the stress of the substrate is smaller than the film, the film will form a single neck, except the case that a weakly-hardening film is bonded to a steeply-hardening substrate when multiple necks can be formed. With the decrease of interfacial stiffness, the uniform deformation mode can transform into the multiple-neck deformation mode, and further transform into the single-neck deformation mode. And other defects surrounding the imperfection can influence the wavelength of deformation and neck number.     

Jean Vigo’s Zéro de conduite and the spaces of revolt

In this article we will contribute to the contemporary theoretical debate about film by considering, from a history-of-education perspective, the film Zéro de conduite by Jean Vigo (1905–1934). This film is classified under the umbrella of “poetic realism”: a product of cinéma de gauche and an avant-gardist, surrealist and anarchist-catalogued film by a film-maker described by many as very talented and creative. The paper is divided into five parts. In the first part we sketch Vigo’s own biography and the social biography of the film. The second section documents the response to the film both at the time of its release and subsequently. In the third section we explore anarchist ideas about education both in theory and practice. In the fourth section we use this understanding to analyse the film. The final section returns to the question of film as an underused resource and the possibilities of bringing new elements into historical practice.     

Short animation movies as advance organizers in physics teaching: a preliminary study

Background : Advance organizers are instructional materials that help students use previous knowledge to make links with new information. Short animation movies are a possible format and are well suited for physics, as they can portray dynamic phenomena and represent abstract concepts.

Purpose : The study aimed to determine guidelines for the construction of an instructional short animation movie, with the role of an advance organizer. A film was created in order to evaluate the effectiveness of the approach, making part of a physics lesson and concerning the subject ‘moment of a force’.

Sample : The study took place in a Brazilian school in the city of Arapoti, in the south region of the country. Thirty-eight students participated, having an average age of 16 and following the third year of high school.

Design and methods : Criteria drawn from a literature review directed the construction of the movie and the lesson. Data were collected using pre- and post-tests; registers of oral comments were also done during the class. The post-test included open-ended questions, allowing students to write remarks concerning the lesson and the animation.

Conclusions : The article describes steps and guidelines to orient the process of designing an animation movie with the role of advance organizer. Data indicated that the movie facilitated the construction of links between pre-existent knowledge and the new information presented in the lesson. The proposed methodology can be considered a valid framework to derive similar approaches.     

‘Words of Wisdom’: Text,Voice and Justice in I,Daniel Blake

The film, I, Daniel Blake, has received critical acclaim for its portrayal of the experiences of those attempting to navigate the bureaucracy of the British welfare state system. In this article, I use the depiction of literacy in the film as a lens through which I examine both the role of literacy in compounding the challenge for those already made vulnerable by their circumstances, as well as the creative, collaborative and resourceful ways in which individuals use literacy practices to navigate everyday lives. The release of I, Daniel Blake comes at a time when the threat to social justice posed by austerity politics is becoming an acute reality for many in Britain, and across the globe. I argue for the continued importance, therefore, of the critical examination of the relationship between literacy, inequalities and justice.     

Mental Models of Text and Film: a multidimensional scaling analysis

Abstract Following a brief review of research using multidimensional scaling as a measure of literary perception, it is proposed that the technique provides one possible route to an illumination of Bransford & Johnson's (1973) idea that when people understand a text they create a model within which events described in the text might reasonably occur. Two hypotheses are proposed and tested. First, that models are constructed, in memory, of the inter‐relationships and cross‐relationships of character attributions made in accordance with those themes understood in reading a piece of work of novel length. Secondly, that similar models are constructed from viewing a feature length film. Orwell's (1945) Animal Farm, the book and the film (Halas & Bachelor, 1955), were selected as content because of their known distinctive structures. Results support both hypotheses. They also support the earlier work of Bisanz (Bisanz, La Porte, Vesonder & Voss, 1978) concerning the validity of multidimensional scaling for representing mental organisations of the thematic structure of short stories, extending their results to the reading and viewing, respectively, of a novel length book and film. Two related issues concerning the possible effects of medium of communication on modelling and the educational implications of modelling are discussed.     

Annotations on a Scandal: Desire,Transgression, and the Filmic Fantasy of Pedagogy

From Socrates to Jean Brodie, we have become accustomed to teachers serving as placeholders for transgressive and powerful desires in our cultural imaginary. Evidenced by recent scholarship on teachers in film, however, as well as by the 2006 film Notes on a Scandal, the way we ought to feel about teachers acting on their transgressive motivations, realizing the cultural fantasies that shadow desire and break from social norms, is less clear. In this article James Stillwaggon and David Jelinek frame the problematic erotics of school films in terms of the fantasy of the subject presumed to know and the transgressive bliss of jouissance. Stillwaggon and Jelinek analyze Notes on a Scandal as a breakdown and reversal of the tradition of school films to which it is indebted and work from it toward an understanding of the unrecognized and often conflicted cultural commitments that shape teaching.     

Film as a ‘thoughtful’ medium for teaching history

This collective case study of teachers and students in two ninth-grade US history classes examines the role that films can play as a ‘thoughtful’ medium for teaching history. Specifically, the study focuses on the nature and range of authentic intellectual work that students are engaged in with film in the classroom (Newmann, F., B. King, and D. Carmichael. 2007. Authentic instruction and assessment: Common standards for rigor and relevance in teaching academic subjects. Des Moines, IA: Iowa Department of Education. http://centerforaiw.com/resources/center-aiw-materials). The findings contribute to the literature by challenging and extending current notions of pedagogy with a film, in particular, Hobbs' (2006. Non-optimal uses of video in the classroom. Learning, Media and Technology 31: 35–50) findings of ‘non-optimal’ use of video. In addition to using a film as simply a historical ‘text’ or visual textbook, students in these classes are engaged with the medium of film in developing conceptual knowledge and historical empathy and in the deliberation of controversial issues or historical events. The study also reveals a continued lack of critical analysis of films as a source and reveals the tension between ideology of ‘educational’ media and teacher practice with media.     

From the frozen wilderness to the moody sea: rural space,girlhood and popular pedagogy

This paper turns to debates in post-critical public pedagogy to focus on how a small body of films might potentially work as vehicles for teaching and learning about youth, gender and space. It is argued that representations of the rural shape what is possible for girlhood, being both enabling and constraining for the subject. Framed by discourses around the politics of representing the rural, a range of popular Australian films will be analysed to think about how popular film might use representations of the rural to educate spectators about girls as ‘successful’, ‘in crisis’ and/or as girls asserting ‘girlpower’. The films include four key Australian ‘coming of age’ films about girls growing up in rural/rural coastal locales: Peaches set in a sleepy town on the banks of the Murray River, Somersault set in the frozen wilderness of Jindabyne in the Snowy Mountains, Caterpillar Wish set in the coastal town full of secrets and lies, and in Indigenous film maker Ivan Sen's Beneath Clouds, showing the Country passed through during a rural New South Wales road trip.     

“Darker than any prison,hotter than any human flame”: Punishment,choice, and culpability in A Clockwork Orange

Contemporary textbooks in criminal justice use A Clockwork Orange to illustrate issues of correctional and sentencing practices. This article challenges criminal justice faculty and students to use the film to explore the political and social realities of punishment, in particular the examination of the moral question of “voluntariness” and the implications for “treatment” as a mechanism of social control. This paper explores the moral questions of state sponsored social control and using the film satire invites the student to examine their beliefs about the political and social realities of punishment and rehabilitation.     

The Pimp and the Happy Whore: “Doing Gender” in Film Talk in a School Setting

The present paper concerns the use of film for eliciting discussions of fundamental values in an upper secondary school setting. In this case, Lilya 4‐ever, a feature film about sex trafficking, is used. The present paper contributes some empirical knowledge about how young people are “doing gender” in a natural setting—an educational context—that celebrates equality values. The examples from a group discussion between pupils reveal a balance between performing the school task, discussing the questions on the sheet the teacher provided, and working on their private identities, which here includes social interplay that among teenagers could involve rejecting an academic identity. The analysis concerns how pupils use discourses drawn from a film in that balancing act. The paper explores how discourses on sex are used to gain power in conversation, to challenge male sexuality, and to reject victimization.     

Popular Media Portrayals of Inequity and School Reform in The Wire and Waiting for “Superman”

Two popular media forms are examined—the documentary film Waiting for “Superman” and the HBO television series, The Wire—that present distinct, and at times conflicting, depictions of how to address educational inequity. Qualitative media content analysis was used to analyze the two media documents and to situate them within broader popular media representations of school failure. Waiting for “Superman” depicted school choice and dismantling unions as one way to address school failure. The Wire, in contrast, suggested a more complex and uncomfortable portrayal of school failure where blame is not directed at teachers and schools exclusively, but instead encompasses a complex web of inequity due to bureaucracy, economics, culture, politics, and media coverage. The analysis suggests that media sources such as film and television can play a role informing the public on issues of school reform and should be critically examined as pieces of the larger puzzle of improving schools and addressing school inequity.     

“Springing from a sense of wonder”: classroom film and cultural learning in the 1930s

Abstract

This article makes an “exercise in the archaeology of education” and focuses on the City of Birmingham (UK) in the year 1935 where the Education Committee allowed an experiment on the use of classroom film in senior elementary schools. Arrangements were made to provide projectors, films, operators, and screens for a series of exhibits at 80 schools. The aim of the experiment was to test the value of cinema for class teaching purposes. This article argues that this experiment with sound film could equally be considered an experiment in cultural learning. The first section describes the experiment and the local context in which it took place. The second section broadens the perspective by providing context beyond the local level that puts the experiment in time and place. The third and final section picks up on some of the findings of the first two sections and considers contemporary sources, mainly articles published in the British Film Institute’s film magazine Sight and Sound, as well as recent scholarship on both educational and documentary film in order to discuss the notions of “background” and “excursive” film and to show that the experiment was a genuine adventure in cultural learning.     

‘Experience is Our Great and Only Teacher’: A Peircean Reading of Wim Wenders' Wings of Desire

Wim Wenders' film Wings of Desire tells the story of an angel who wishes to become mortal in order to know the simple joy of human life. Told from the angel's point of view, the film is shot in black and white. But at the very instant the angel perceives the realities of human experience, the film blossoms into colour. In this article, I use this film to illustrate and explore Peirce's notion of experience and his claim that ‘experience is our great and only teacher’. In his 1903 Harvard lectures, Peirce placed phenomenology at the heart of his philosophy, while outlining a notion of ‘experience’ that clearly integrates his semiotics, phenomenology and pragmatism. To Peirce, experience is a ‘brutally produced conscious effect’ that comes ‘out of practice’ and is a ‘forcible modification of our ways of thinking’. But as this modification is generated by the actions and flows of signs, it is pertinent to read Peirce's notion of experience in relation to his notion of semiosis. Consequently, a Peircean reading of Wings of Desire not only helps to explore how experience teaches, but also the ways in which the rudeness of experience cannot be fully understood without considering the sign's action.     

Reel music teaching: a classroom music teacher reflects on the portrayal of music teaching in Mr Holland's Opus

The commercially successful movie Mr Holland's Opus tells the story of a high school music teacher throughout his thirty year career. It offers the general public a picture of what it is to be a music educator. This article outlines a critical reading of the film from the perspective of a practising high school music teacher. Three broad themes emerged in this teacher's viewing of Mr Holland's Opus: (i) general issues about teaching were identified that were not specific to music education, (ii) issues specifically about music education were critiqued as being unrealistic, and (iii) it is difficult being a musician if you are a music teacher. The themes suggest the movie has numerous possibilities for teacher reflection, as well as exposing myths about teaching which are portrayed in the mass media.     

Neoliberalism is not a theory of everything: a Bourdieuian analysis of illusio in educational research

Despite the frequency with which the concept of neoliberalism is employed within academic literature, its complex and multifaceted nature makes it difficult to define and describe. Indeed, data reported in this article suggest that there is a tendency in educational research to make extensive use of the word ‘neoliberalism’ (or its variants neoliberal, neo-liberal and neo-liberalism) as a catch-all for something negative but without offering a definition or explanation. The article highlights a number of key risks associated with this approach and draws on the Bourdieuian concept of illusio to suggest the possibility that when as educational researchers we use the word ‘neoliberalism’ in this way, rather than interrupting the implementation of neoliberal policies and practices, we may, in fact, be further entrenching the neoliberal doxa. That is to say, we are both playing the neoliberal game and inadvertently demonstrating our belief that it is a game worth being played. In so doing, this article seeks to extend understandings of what illusio means within the context of educational research.     

From Book to Screen: Adopting Cinematic Adaptations of Literature in the EFL Classroom to Hone Students’ Critical Thinking Skills

In light of the paramount value placed on critical thinking (CT) in higher education and the scarcity of research into the use of cinematic adaptations to this end, this study investigated the incorporation of film into the source literature to hone students’ cognitive skills in the areas of analysis, inference, evaluation, induction, and deduction. Participants were 50 third-year students of English as a foreign language (EFL) enrolled in a university in eastern Algeria for academic year 2015–2016. During the fall semester, the treatment group (n = 24) and the control group (n = 26) took a regular literature course. In the spring semester, the treatment group took a film-literature course and the control group, a reading-only course that drew on Facione's IDEAS critical thinking model. The California Critical Thinking Skills Test (CCTST) was used as a pretest and posttest. Empirical findings indicated that both groups performed on par in all cognitive areas of CT with the exception of inference, wherein the film group outperformed the reading-only group in this dimension.     

Variability as a Measure of Competitive Behavior

Two problems stemming from the use of direct factor analysis of sociometric choices to identify group boundaries are that: (a) the use of sociometric choices to identify group boundaries is reliant on the subjective evaluation of the researcher; and (b) the method can classify individuals as belonging to the same clique without them necessarily choosing each other. A solution to the two problems is discussed, and data are presented to show the usefulness of this method in isolating large numbers of natural groups.