Дисертації з теми "Motion pictures – Study and teaching – Canada"

This thesis explores the relationship between the National Film Board and its audiences, with particular attention to the ways in which the NFB has tried to respond to the needs of Canadians for media representations of themselves, through the Challenge for Change program (1967-1978) and Studio D (1974-). The focus of this work will be on the progressive aspects of NFB productions, which have frequently taken controversial stands against official government policy.<br>In the process, the place of the NFB within a politics of representation will be discussed, and its critical contribution to the constitution of a Canadian "national identity" will be examined. Finally, this study is part of an attempt to investigate characteristics of Canadian society, with respect both to the functioning of government and to the democratic use of film as a medium enabling culturally marginalized people to find their own voices.

This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely alike. Therefore, rather than following the leads of comparable national agencies, film policy makers in Canada and Australia need to concentrate on conditions specific to their own particular situation.

The Western settlement era is only one part of United States national history, but for many Americans it remains the most significant cultural influence. Conversely, the settlement of Canada's western territory is generally treated as a significant phase of national development, but not the defining phase. Because both nations view the frontier experience differently, they also have distinct perceptions of the role violence played in the settlement process, distinctions reflected in the historical record, literature, and films of each country. This study will look at the historical evidence and works of the imagination for both the American and Canadian frontier experience, focusing on the years between 1870 and 1930, and will examine the part that violence played in the development of each national character. The discussion will also illustrate the difference between the historical reality and the mythic version portrayed in popular literature and films by demonstrating the effects of the depiction of violence on the perception of American and Canadian history.

Acompanha: Ficha instrumental para o uso de filmes em sala de aula<br>O Cinema enquanto forma de representar e perceber o mundo e o homem, além de importante linguagem artística, tornou-se elemento determinante para a comunicação de massa do século XX. Como tal passou a se apropriar das diferentes áreas do conhecimento, no intuito de criar roteiros e narrativas que aproximassem a poética artística cinematográfica dos fenômenos cotidianos da natureza e da existência humana, aproximando a Arte Cinematográfica de uma suposta realidade. Essa relação permite a criação de filmes que, além do puro e simples entretenimento, possibilitam o seu uso nas mais diferentes formas de aprendizagem. A partir dessa perspectiva, essa pesquisa teve como principal objetivo, desenvolver e apresentar uma proposta, na qual o Cinema de entretenimento, se configure como um instrumental para o ensino de Física e da História da Ciência. Para tanto foram utilizados os filmes Anjos e Demônios (Angels & Demons - 2009) e O Nome da Rosa (The Name of the Rose - 1986), filmes de entretenimento, sucessos de público e que apresentam entre seus temas principais a História da Ciência e as relações entre Ciência e Religião. Cada um dos filmes trabalha narrativas que envolvem o Conhecimento Científico. Essa pesquisa propõe que o Cinema seja entendido em sala de aula como uma linguagem artística, com suas especificidades e não como uma simples forma complementar para um tema ou um conteúdo. Nossa proposta está centrada numa análise fílmica que apresenta a obra cinematográfica como um instrumento de aprendizagem da Ciência, em especial, da História da Ciência. Assim, metodologicamente, a pesquisa ocorreu a partir de dois eixos principais: a análise fílmica a partir da teoria apresentada por Erwin Panofsky em seu livro Significado nas Artes Visuais (2007), denominado metodologia panofyskiana, iconológico ou histórico social e o estudo historiográfico na História da Ciência, apresentado pelo professor Ubiratan D’Ambrósio (2004). A pesquisa contribui, de forma inédita, para que o Cinema ou filmes feitos para o Cinema, possam ser entendidos como linguagem artística que possibilita aos atores envolvidos num processo de Ensino e Aprendizagem, usufruir dos recursos dessa linguagem como instrumento didático pedagógico para as aulas de Física ou Ciências.<br>The Cinema as a way of represent and perceive the world and the man, besides important artistic language, became determining factor for mass communication of the twentieth century. As such, it started appropriate of the different areas of knowledge, in order to create scripts and narratives that approximate the cinematographic artistic poetics of the everyday phenomena of the nature and human existence, approaching the Cinematographic Art of a supposed reality. This relation allows the creation of movies that, besides of pure and simple entertaning, make it possible to use them in different forms of learning. From this perspective, this research had as a main purpose, develop and submit a proposal in wich the entertainment Cinema be an instrument of teaching Physics and the History of Science. For this purpose, the movies Angels and Demons (2009) and The Name of the Rose (1986), entertainment movies, audience hits that present among their main themes the History of Science and the relations between Science and Religion. Each one of the movies works narratives that involve the Scientific Knowledge. This research proposes that the Cinema be understood in the classroom as an artistic language, with their specificities and not as a simple complementary form to a theme or a content. Our proposal focuses on film analysis that present the cinematographic work as a Science learning tool, in particular, the History of Science. So, methodologically, the research occurred from two main axes: the film analysis from the presented theory by Erwin Panofsky in his book Meaning in the Visual Arts (2007), denominated Panofsky method, iconological or social history and the historiographic study in the History of Science, presented by the professor Ubiratan D’Ambrósio (2004). The research contributes, in a inedited way, so that the Cinema or movies made to the Cinema can be understood as an artistic language that make it possible to the subjects involved in the process of Teaching and Learning to use the resources of language as pedagogical and didactic instrument for the classes of Physics or Sciences.

Produção técnica disponível em: https://sites.google.com/site/actpormeiodefilmes/<br>A educação escolar deve ir além dos ensinamentos básicos, e é preciso que as escolas e universidades formem cidadãos capazes de compreender as relações sociais da ciência e da tecnologia. Por este motivo, o presente trabalho propõe a utilização de filmes para trabalhar com estudantes do ensino médio e técnico à luz dos pressupostos teóricos e filosóficos do enfoque CTS (Ciência Tecnologia e Sociedade). Sob uma abordagem metodológica qualitativa de natureza interpretativa, analisa-se e se interpretam o objeto de estudo: filmes como estratégia de ensino para a promoção da ACT (Alfabetização Cientifica e Tecnológica). A análise do objeto é analisado indutivamente. O estudo foi desenvolvido em duas etapas: 1- seleção de filmes, análise e elaboração do roteiro, que faz parte do produto pedagógico desta dissertação, elaborado pela pesquisadora; e 2- aplicação com professores participantes do PARFOR (O Plano Nacional de Formação dos Professores da Educação Básica) O ambiente imagético foi a fonte direta para a coleta de dados e o pesquisador foi o mediador. Utilizou-se o filme como texto, imagem e som e buscou-se apresentar os estudos que os justifiquem como estratégia de ensino e aprendizagem na sala de aula e que proporcionem reflexões sobre as relações sociais da ciência e da tecnologia. Os principais resultados evidenciaram que utilizar filmes de cinema é uma estratégia de ensino eficiente para trabalhar com o enfoque CTS.<br>School education must go beyond the basic teachings, and it is necessary for schools and universities to form citizens capable of understanding the social relations of science and technology. For this reason, this work proposes the use of films to work with high school students and technical staff in the light of the theoretical and philosophical approach STS (Science Technology and Society). From a qualitative approach of interpretive nature, we analyze and interpret the object of study: film as a teaching strategy for the promotion of ACT (Scientific and Technological Literacy) . The analysis of the object is analyzed inductively. The study was conducted in two stages: 1 - movie selection, analysis and preparation of the script, which is part of the educational product of this dissertation, prepared by the researcher , and 2 - application of the participating teachers PARFOR ( The National Teacher Training Basic Education ) the environment of the images was the direct source for the data collection and the researcher was the mediator . We used the film as text, image and sound, and sought to present the studies that justify as a strategy for teaching and learning in the classroom and providing reflections on the social relations of science and technology. The main results show that using feature films is an effective teaching strategy for working with the CTS approach.

Two years after Dutch émigré Andries Deinum was fired from the University of Southern California in 1955 for refusing to cooperate with the House Un-American Activities Committee, he moved to Portland, Oregon to teach film courses through the Portland Extension Center. By 1969 he had become integral to the local film community and had formed Portland State University's Center for the Moving Image (CMI), where he and Tom Taylor taught film history, criticism, and production for the next thirteen years. Although CMI was eliminated in 1981 as part of PSU's financial exigency, CMI's teachers and students have been a vital part of the thriving film community in Portland since its foundation. A key former student and figure in Portland's film community, Dr. Brooke Jacobson credits Deinum, Taylor, and CMI for laying the foundation for the Northwest Film Center (co-founded by Jacobson in 1971 as the Northwest Film Study Center). Through archival research and oral history methodology, this thesis pieces together Andries Deinum's role in the development of film education in the United States and the mark he left on Portland's cultural landscape, specifically the city's vital and thriving cinematic community.

These learning strategies have presented a theoretical framework for applying brain-based learning to EFL teaching. The model is based on the holistic principles of brain based learning rather than memorization of skills and knowledge as has been previously employed in EFL instruction.

Anthropological film and videomakers use their media for both research and education. In both cases, a formal technique of observational camerawork is required. In this thesis, appropriate continuity methods and a model of decision-making in camerawork are proposed, which are designed to deal with the certainties and uncertainties encountered in the observational type of ethnographic film. The ethnographic context of the research is the community in the Shixini area of the Transkei, where the author made video-recordings of a number of ritual and everyday events between 1981 and 1984. The model is tested on the case study of a "small event". There is an extensive amount of video material of a four-day mortuary ritual. The model is examined through a first-person account of the influences on decisions during shooting, and through formal analysis. Both of these examinations refer in detail to the unedited video material which accompanies the thesis, and assess how the decisions deal with time and space: with regard to the ritual markers and the continuity method. The thesis concludes that the model of camera work can be used to provide a coherent observation of the small event. The suitability of the model for editing is then tested. The unedited material of the case study is compared with an edited version. The ritual is represented in a narrative segment within a longer documentary, "Shixini December: Responses to Poverty in the Transkei". The complexity of editing operations is examined in detail by a variety of methods, and refers closely to the longer documentary. The fit between continuity in the unedited camera work and the edited version is established. A video copy of this documentary also accompanies the thesis. The unedited observational material is then tested for its use in research. An anthropologist screened the unedited material to ritual participants to elicit their responses, and with the results wrote a dissertation combining interpretation and ethnography. The detail of the ethnography and the consistency of the interpretation demonstrates the value of an observational video record. It does not conclusively demonstrate its validity for research, because the effect of video on memory needs further exploration. Instead of stimulating memory of off-camera action as may be expected, the video seems to anaesthetise it. Continuity methods can provide a clear but partial and fragmented observational record. This record has formal characteristics which are a necessary but not sufficient condition for editing into narrative. Continuity methods may provide a video record that is useful for research. If the video is used for reflexive validation, then a possible effect on the memory of off-camera events must be taken into account. The continuity characteristics of unedited video which result from in-camera editing can, but need not be, evident in subsequent texts based on them.

Acompanha: Ensinando história: produção de uma sequência didática sobre as representações do negro no Brasil<br>Este trabalho tem como objetivo principal apresentar a produção e a aplicação de uma sequência didática como produto educacional, para a apropriação do conhecimento de professores e de estudantes sobre as relações étnico-raciais no Brasil, no ensino de História. Os conceitos de representação, apropriação e práticas culturais da Nova História balizaram a construção deste objeto de análise. No que diz respeito às representações do negro, buscou-se, durante a aplicação do produto educacional, discutir as teorias raciais, construídas no século XIX, a fim de identificar mudanças e permanências dessas representações nos dias atuais. Buscou-se, também, discutir o processo de exclusão social dos ex-escravos, que gerou implicações para os afro-brasileiros, a fim de esclarecer as causas da pobreza que afeta mais a negros do que a brancos. Para tanto, os alunos analisaram e discutiram as representações do negro no cinema nacional, com base em filmes realizados em diferentes períodos da História do Brasil, buscando superar as visões estereotipadas e discriminatórias dessas representações. A pesquisa foi realizada em uma escola pública de Londrina/Paraná, com uma turma de trinta e cinco estudantes do terceiro ano do ensino médio. De natureza qualitativa, nesta pesquisa-ação, os dados foram coletados mediante atividades escritas, orais e por meio de videogravação das aulas. Para a elaboração dos planos de aula que compuseram a sequência didática, foram selecionados como documentos o quadro Redenção de Cã (1895), a música A favela vai abaixo (1928) e quatro filmes, sendo eles: O Despertar da Redentora (1942), um trecho de Orfeu do Carnaval (1959), um trecho de Rio Babilônia (1982) e o filme Besouro (2009). Antes da elaboração dos planos de aula, foi necessário revisar a literatura sobre as especificidades linguísticas desses documentos, para a elaboração do material didático em questão. A preparação dos planos de aula partiu do seguinte problema: como as sequências didáticas de História, desenvolvidas com base em diferentes linguagens, podem contribuir para a desconstrução do preconceito racial no ambiente escolar? O fulcro das atividades, portanto, foi desvelar as origens do racismo e as estereotipias sobre o negro, aprimorar o olhar crítico dos estudantes sobre os discursos fílmicos e promover a discussão e a leitura histórico-social da contribuição dos negros para a cultura brasileira. Os resultados da pesquisa permitiram observar o quanto é produtivo para a aprendizagem trabalhar de forma problematizada e com diferentes fontes, estabelecendo uma relação entre presente e passado. Os estudantes puderam identificar as permanências de teorias racistas, construídas ontem, nos dias atuais, estabeleceram relações entre a exclusão social dos escravos e as causas da pobreza no Brasil. Foram também capazes de identificar, de modo geral, os arquétipos pelos quais o negro é representado no cinema nacional, identificando também uma valorização da apresentação do negro e da sua cultura no filme Besouro.<br>This work aims to present the production and application of a didactic sequence as educational product for knowledge appropriation of both teachers and students on ethnic-racial relations in Brazil, happening while teaching History. The concepts of representation, appropriation and cultural practices of the New History were used as guidelines for the construction of this analysis. With regard to the issue about the representations of black people, it was sought, during the implementation of the educational product, to discuss the racial theories built in the nineteenth century in order to identify changes and continuities of these representations nowadays, as well as the social exclusion process of former slaves and its implications for Afro-Brazilians today, in order to clarify the causes of poverty that affects more black than white people; analyzing and discussing the representations of black people in the Brazilian cinema from films made in different periods of the Brazilian History, seeking to overcome the stereotypical and discriminatory views of these representations. The research was conducted in a public school in Londrina / Paraná, with a group of thirty-five students of the third year of high school. Being of qualitative nature, in this action-research data were collected through written and oral activities and video recording of classes. For the elaboration of the lesson plans that composed the didactic sequence, the painting Redenção de Cã (1895), the song “A favela vai abaixo” (1928) and four movies, namely: “O Despertar da Redentora” (1942), a section of “Orfeu do Carnaval” (1959), and “Rio Babilônia” (1982) and the movie “Besouro” (2009) were selected. Before the elaboration of the lesson plans, it was necessary to review the literature on linguistic specificities of these documents, to the elaboration of involved didactic material. The elaboration of the lesson plans came up from the following issue: How can didactic sequences of history, developed from different languages, contribute to the deconstruction of racial prejudice in school environment? The focus of activities was therefore uncovering the origins of racism and stereotypes about black people, improving the critical view of the students about the filmic discourse and promoting discussion and the socio-historical reading of black people´s contribution to Brazilian culture. The results of the research allowed observing how productive the work with different sources by a problematizing way is to the learning process, establishing a relationship between present and past. So, the students were able to identify permanence of racist theories built yesterday, nowadays. They established relationships between social exclusion of slaves and the causes of poverty in Brazil; and they were able to identify, in general, the archetypes by which black people are placed in the national cinema, also identifying an appreciation of the representation of black people and their culture in the movie Beetle.

Narrative point of view should be the initial place of focus in the study of prose fiction, but it is often difficult to understand or teach. This study proposes that stage or screen production of narrative fiction may be purposefully structured to enhance the understanding of narrative perspective. The study details grammatical analysis of narrative language and describes implications drawn from that language which influence production decisions. The thesis examines the techniques and technology of stage and screen production which may be manipulated to underscore narrative point of view, suggesting ways in which each medium can borrow from the techniques of the other for point of view production.

Acompanha: Epidemias na escola? Só em filmes: possibilidades de contaminação na aprendizagem significativa<br>Essa pesquisa surgiu da busca por uma metodologia de ensino que valorizasse o conhecimento científico com o uso de um recurso pedagógico atrativo - filmes comerciais -, que motivasse a aprendizagem significativa. Para tanto, apresenta uma análise de como os estudantes estabelecem relações do conhecimento científico com as imagens fílmicas e as possibilidades de contextualização acerca do tema “epidemia”. A metodologia de pesquisa envolve uma abordagem qualitativa, com alguns dados quantitativos das impressões dos estudantes em relação aos filmes de modo geral e sobre eles e a aprendizagem. Na pesquisa qualitativa, utilizou-se a categorização segundo Bardin (2011), para organizar as unidades contextuais produzidas pelos estudantes nas atividades educativas, e fazer a análise com base nos pressupostos da Teoria de Ausubel (2003) e Ausubel, Novak e Hanesian (1980). A partir da exibição do filme intitulado “Contágio”, utilizado como organizador prévio, buscou-se, nas dúvidas apresentadas pelos estudantes, identificar os conhecimentos prévios sobre o assunto. Por meio dessas dúvidas emergiram os subtemas, que foram categorizados em: epidemia, agente causador, incubação, transmissão, sintomas, prevenção e imunidade. Essas categorias serviram de elementos para a análise de indícios de aprendizagem levando a concluir que as narrativas fílmicas ajudam na formação de pontes cognitivas colaborando com a aprendizagem subordinada derivativa e correlativa, diferenciação progressiva e reconciliação integrativa, promovendo a assimilação e a retenção dos conhecimentos científicos. No referencial teórico utilizado para investigar os filmes como recurso pedagógicos é apresentado as considerações dos autores Rosália Duarte , Milton Almeida, Maria da Graça Setton, Marcos Napolitano, José Manuel Moran, entre outros. Como produto dessa pesquisa, elaborou-se um guia com outras propostas pedagógicas possíveis de trabalhar o tema “epidemia” utilizando filmes comerciais como organizadores prévios e para contextualização. O guia também apresenta uma linha do tempo sobre cinema e educação e um catálogo com filmes e seriados abordam o tema “epidemia”.<br>This research arose when searching for a teaching methodology that would value scientific knowledge with the use of an alluring pedagogical resource – commercial movies – to encourage meaningful learning. To this end, it provides an analysis of how students establish relations of scientific knowledge with movie images, and the possibilities of contextualization on the topic of “epidemics”. The research methodology comprehends a qualitative approach, including some quantitative data of the students’ impressions regarding movies in general, and about the movies and learning. The categorization according to Bardin (2011) was used in the qualitative research to organize the contextual units produced by the students in the educational activities, and to conduct an analysis based on the assumptions of Ausubel’s Theory (2003) and Ausubel, Novak and Hanesian’s Theory (1980). From the showing of the movie entitled “Contagion”, used as an advance organizer, we tried to identify prior knowledge on the subject through questions raised by the students. Those same questions brought up the subtopics, categorized as epidemics, causative agent, incubation, transmission, symptoms, prevention and immunity. These categories served as elements for the analysis of learning evidence, leading to the conclusion that movie narratives help in the creation of cognitive bridges while contributing to derivative and correlative subordinate learning, progressive differentiation and integrative reconciliation, as well as promoting assimilation and retention of scientific knowledge. The theoretical background used to investigate the movies as a pedagogical resource presents the considerations of authors such as Rosália Duarte, Milton Almeida, Maria da Graça Setton, Marcos Napolitano, José Manuel Moran, among others. As a product of this research, a guide with other pedagogical proposals that make it possible to work with the topic of “epidemics” was developed by using commercial movies as advance organizers and for contextualization. The guide also shows a timeline of cinema and education, as well as a catalog with movies and series that deal with the topic of “epidemics”.

Acompanha: Guia didático: cine animação na escola<br>Este trabalho apresenta a análise e os resultados de um estudo desenvolvido com alunos de uma turma de 7º ano de um colégio estadual público de São João do Triunfo - PR, Brasil, em relação ao tema Cinema e Ensino. O objetivo da pesquisa foi verificar as contribuições de se ensinar Ciências (conteúdo de vírus e bactérias) em um enfoque CTS - Ciência, Tecnologia e Sociedade; visando a Alfabetização Científica e Tecnológica - ACT, utilizando como estratégia didática a produção de Cinema de Animação com a técnica Stop Motion. O Stop Motion é um processo de animação onde é feita a captação de fotograma a fotograma, usando uma máquina fotográfica e uma fonte de luz. A abordagem metodológica foi qualitativa de natureza descritiva com observação participante. Durante o estudo os alunos e a professora de Ciências da turma, participaram de aulas de Ciências com enfoque CTS, pesquisas sobre os temas abordados e oficinas de produção dos vídeos. Os alunos criaram personagens a partir de materiais como massa de modelar, desenhos, recortes de revistas e pequenos objetos, para dar vida e movimento nas animações. Os principais autores que fundamentam esse estudo são: Lorenzetti (2000), Gowdak; Martins (2015), Bazzo (2014), Silveira (2005), Santos e Auler (2011), Chassot (2011), Delizoicov (2015), Fresquet (2013) e Duarte (2009). Ao final do estudo, observou-se que a pesquisa trouxe contribuições para a Educação em Ciências e a promoção da Alfabetização Científica e Tecnológica. Os alunos demostraram mais segurança para falar sobre o tema abordado, mostrando interesse e motivação. Também se percebeu que os alunos analisaram os assuntos discutidos durante as aulas de Ciências de forma mais crítica, fazendo questionamentos e relacionando o conteúdo estudado com suas próprias vidas. Os estudantes se preocuparam com questões como: o surgimento das vacinas, as doenças negligenciadas no país, bactérias na produção de plástico, alimentos que ajudam na imunidade do corpo, entre outros assuntos de relevância para o processo de reflexão e desenvolvimento do senso crítico dos mesmos.<br>This paper presents the results the study developed with students of the secondary education in a group of the 7th grade of a public school in São João do Triunfo - PR, Brazil, in relation to the theme Cinema and Teaching. The aim of of the research was to verify the contributions of teaching Science (content virus and bacteria) in a STS approach - Science, Technology and Society, aiming at the Scientific and Technological Literacy, using as a didactic strategy the production of Animation Cinema with the Stop Motion technique. Stop Motion is an animation process where frame-by-frame capture is performed using a camera and a light source. The methodological approach was qualitative of a descriptive nature with participant observation. During the study the students and the classroom science teacher participated in science classes with a STS approach, Research on the topics covered and workshops for the production of videos.The students created characters from materials like modeling mass, drawings, magazine clippings and small objects, to give life and movement in the animations.The main authors that base this study are: Lorenzetti (2000), Gowdak, Martins (2015), Bazzo (2014), Silveira (2005), Santos and Auler (2011), Chassot (2011), Delizoicov (2015), Fresquet (2013) and Duarte (2009). At the end of the study, it was observed that the research brought contributions to Science Education and the promotion of Scientific and Technological Literacy. The students demonstrated more confidence to talk about the topic addressed, showing interest and motivation. It was also noticed that the students analyzed the subjects discussed during the science classes in a more critical way, questioning and relating the content studied with their own lives. Students are concerned with issues such as: the emergence of vaccines, diseases neglected in the country, bacteria in the production of plastic, foods that help immunity of the body, among other issues of relevance to the process of reflection and development of the critical sense of the same.

The aim of this study was to gather information on whether or not the director’s commentary feature on a DVD could develop teachers’ Film Study knowledge and skills. This mini-dissertation was directed by the following research question: can the additional information on DVDs enhance teachers’ knowledge and potential for effective teaching of Film Study? In an attempt to answer the above question a literature review was conducted to establish the importance of Professional Development and Film Study. The director’s commentary feature was then investigated as a possible development resource. By means of a qualitative Case Study that used an open-ended questionnaire and focus group interviews, data was collected from nine respondents from two different East Rand High Schools. These findings were analysed, coded and written up. The literature study also incorporates a discussion on three different types of literacy, Film Study and Film Theory. This led to the director’s commentary feature being presented as a development resource for Film Study teachers. Research indicates that Film Study is viewed as important and is valued as a part of the South African Language curriculum. This research recognises that there is a need to develop Film Study teachers in South Africa. The director’s commentary feature found on DVDs was provided as a possible solution as a Film Study development resource. Literature findings state that a director is the person responsibility for a film’s decision making process. This highlights the importance of the director and the value of the director’s commentary. However, field research could not generate a definite result some respondents found the commentary useful, whereas others did not. Whilst certain conclusions can be made regarding the director’s commentary feature, literature and field research did not correlate. Thus, the director’s commentary feature as a Film Study development resource is open for further exploration.<br>Mrs. Catherine van der Merwe Mr. David Robinson

Tsang, Chung-yan.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.<br>Filmography: p. 182-183.<br>Includes bibliographical references (leaves 184-189).<br>Abstracts in English and Chinese ; appendix also in Chinese.<br>ABSTRACT --- p.2<br>論文摘要 --- p.3<br>ACKNOWLEDGEMENTS --- p.4<br>CONTENTS --- p.6<br>Chapter Chapter 1 --- Introduction<br>Chapter 1.1 --- Empirical Puzzles and Theoretical Concerns --- p.10<br>Chapter 1.2 --- Overview of The Thesis --- p.17<br>Chapter 1.3 --- Literature Review --- p.17<br>Chapter 1.3.1 --- Understanding the Image Construction of the Minorities through Films<br>Chapter 1.3.2 --- How the Images of the Blacks Get Represented - Blacks' Imagesin Films<br>Chapter 1.3.3 --- How Women Get Represented under the Male Gaze 一 Gender Representations in Films<br>Chapter 1.3.4 --- Childhood ´ؤ A Socially Constructed Concept<br>Chapter 1.3.5 --- How the Child Images are Constructed? - Literature Related to the Construction of Child Images<br>Chapter 1.4 --- Theoretical Framework - Foucauldian Concepts in Understanding Child Images --- p.33<br>Chapter 1.4.1 --- Double Marginalization - Children as Victims<br>Chapter 1.4.2 --- Disciplinary Power over Children - Children as Moral Agents<br>Chapter 1.4.3 --- The Multiple Network of Power - Children as Anonymous Objects<br>Chapter 1.4.4 --- Care of the Children - Children as Protagonists<br>Chapter CHAPTER 2 --- Methodological Design and An Overview of the Hong Kong Film Industry<br>Chapter 2.1 --- Casing the Films ´ؤ Introduction to Methodological Design --- p.44<br>Chapter 2.1.1 --- Content Analysis<br>Chapter 2.1.2 --- Ideological Approach<br>Chapter 2.2 --- The Development of the Hong Kong Film Industry and Its Relatedness with the Changes of the Child Images --- p.51<br>Chapter 2.2.1 --- Formative and Developing 50s Film Industry - Time for Exploration<br>Chapter 2.2.2 --- The Golden Year of the 60s Film Industry - Time for Early Harvest<br>Chapter 2.2.3 --- Discontinuity of the Prosperity of the Film Industry in the 70s - Time for Reconstruction<br>Chapter 2.2.4 --- Golden Years in Both 80s to 90s - Time For Innovation and Globalization<br>Chapter CHAPTER 3 --- Double Marginalization - Children as Victims<br>Chapter 3.1 --- Subordinating to the Adults ´ؤ Child Images as Sufferers in the Social Margin --- p.59<br>Chapter 3.1.1 --- Great Devotion (1961) - Children in Extreme Poverty<br>Chapter 3.1.2 --- Father is Back (1962) -Two Siblings Struggled for Survival without Parental Care<br>Chapter 3.1.3 --- A Lily in the Storm (1962) ´ؤ A Boy Who was Mistreated by His Stepmother<br>Chapter 3.2 --- Acceptance for Children as a Separate Entity? ´ؤ An analysis of the Child Images in the Subordinating Context in Films --- p.66<br>Chapter 3.3 --- Absence of Child Images in the 70s - A Turn of the Child Images --- p.74<br>Chapter 3.4 --- Concluding Remarks --- p.78<br>Chapter CHAPTER 4 --- Disciplinary Power over Children - Children as Moral Agents<br>Chapter 4.1 --- Sacrifice and Respect - The Typical Child Images in the1960s Melodramas --- p.81<br>Chapter 4.1.1 --- Filial Piety (1960) - Children Sacrificing Themselves for the Family<br>Chapter 4.1.2 --- Filial Piety that Moves Heaven (1960) 一 Children Saved Their Parents through Adventurous Experience<br>Chapter 4.1.3 --- The Seven Kids (1961) - Appropriate Training for the Children to Become Independent<br>Chapter 4.1.4 --- Little Artists (1962) - Showing Respect and Gratitude to the Teacher<br>Chapter 4.2 --- Child Images as Moral Agents under the Influence of the Disciplinary Power --- p.87<br>Chapter 4.3 --- "The Recurrence in the 1980s and Unapparent ""Moral Occult"" in the 90´ةs" --- p.94<br>Chapter 4.3.1 --- Daughter and Father (1981) - Repaying the Indebtedness to the Adoptive Father<br>Chapter 4.4 --- Social Context for the Rise of the Child Image as Moral Agents --- p.98<br>Chapter CHAPTER 5 --- Victimization and Objectification - Children as Anonymous Objects<br>Chapter 5.1 --- "Defining Objectification - Children were Objects Portrayed as ""Something""" --- p.101<br>Chapter 5.1.1 --- Goodbye Mammie (1986) - How Orphans Led Their Life in the Orphanage<br>Chapter 5.1.2 --- All about Ah Long (1989) - An Dilemma for Children who were Placed between Parents<br>Chapter 5.1.3 --- The Story of my Son (1990) 一 To Show the Extreme Suffering of the Children<br>Chapter 5.1.4 --- The Son on the Run (1991) - A Child was Born without Father or Mother<br>Chapter 5.2 --- Objectification of Child Images 一 Hidden Power over the Fate of Children --- p.114<br>Chapter 5.3 --- Concluding Remarks --- p.122<br>Chapter CHAPTER 6 --- Weapons of the Weak - Children as Protagonists<br>Chapter 6.1 --- Introduction to the Films Selected --- p.124<br>Chapter 6.1.1 --- Siu Chong Yuen (1961 - The Child who Judged the Critical Moment<br>Chapter 6.1.2 --- "Little Detective (1963) - Adult Mind, Child Body"<br>Chapter 6.1.3 --- "Daddy, Father, Papa (1991) - The Hong Kong Version of Home Alone"<br>Chapter 6.2 --- How Children Empower Themselves? --- p.135<br>Chapter 6.2.1 --- Sporadic Show Time for Children<br>Chapter 6.3 --- "Room for Having Dialogue, Resistance and Subversion ´ؤ How Children were Portrayed as Protagonists" --- p.140<br>Chapter 6.3.1 --- A Protagonist - Direct Dialogue and Resistance to Redefine the Boundary<br>Chapter 6.4 --- Concluding Remarks - Complex Relational Network of Power --- p.144<br>Chapter CHAPTER 7 --- Conclusion<br>Chapter 7.1 --- Four Categories - How Children were Getting Represented in the Hong Kong Films --- p.147<br>Chapter 7.1.1 --- Children as Victims<br>Chapter 7.1.2 --- Children as Moral Agents<br>Chapter 7.1.3 --- Children as Anonymous Objects<br>Chapter 7.1.4 --- Children as Protagonists<br>Chapter 7.2 --- What is More? --- p.151<br>Chapter 7.2.1 --- A Possible Supplement for the Foucauldian Framework<br>Chapter 7.2.2 --- Theorizing the Construction of Child Images ´ؤ A Reconsideration of the Hong Kong Cultural Studies for Adding in the Age Dimension<br>Chapter 7.2.3 --- A Call for Reconsideration - The Predicament of the Current Hong Kong Cultural Studies<br>Chapter 7.2.4 --- The Need for Inserting the Age Dimension in Cultural Studies<br>APPENDICE --- p.162<br>FILMOGRAPHY --- p.181<br>REFERENCES --- p.183

Thesis (M.A.)--Indiana University, 2007.<br>Title from screen (viewed on June 6, 2007) Department of World Languages and Cultures, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 74-79)

Prior to 1986, there was no media studies of any type prescribed at secondary schools in the Transvaal. However, individual teachers and schools have recognised the need for children to receive instruction in the media. This saw the introduction of varying forms of informal media studies into the classroom.<br>Thesis (M.A.)-University of Natal, Durban.

Ng Wai Chuen.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2002.<br>Includes bibliographical references (leaves 123-126).<br>Abstracts in English and Chinese.<br>ABSTRACT (English version)<br>ABSTRACT (Chinese version)<br>ACKNOWLEDGMENTS<br>Chapter CHAPTER 1 --- INTRODUCTION<br>Chapter 1.1 --- Overview --- p.1<br>Chapter 1.2 --- Significance of the study --- p.3<br>Chapter 1.3 --- Organization of the thesis --- p.4<br>Chapter CHAPTER 2 --- LITERATURE REVIEW<br>Chapter 2.1 --- Introduction --- p.5<br>Chapter 2.2 --- Theory: Video and L2 acquisition --- p.5<br>Chapter 2.3 --- Selection and preparation of lesson materials --- p.8<br>Chapter 2.4 --- Film in the L1 classroom --- p.10<br>Chapter 2.5 --- Film in the L2 classroom --- p.11<br>Chapter 2.5.1 --- Listening comprehension --- p.11<br>Chapter 2.5.2 --- Oral skills --- p.14<br>Chapter 2.5.3 --- Writing --- p.15<br>Chapter 2.5.4 --- Critical thinking --- p.17<br>Chapter 2.5.5 --- "Language: Vocabulary, idioms, slang" --- p.21<br>Chapter 2.5.6 --- Communicative performance --- p.22<br>Chapter 2.5.7 --- Cross-cultural issues --- p.24<br>Chapter 2.5.8 --- Complementing literary works --- p.25<br>Chapter 2.5.9 --- Movie tie-in novels --- p.26<br>Chapter 2.6 --- The Hong Kong context --- p.27<br>Chapter 2.7 --- Conclusion: The need for further study --- p.30<br>Chapter CHAPTER 3 --- METHODOLOGY<br>Chapter 3.1 --- Research design: The case study approach --- p.33<br>Chapter 3.2 --- Research questions --- p.34<br>Chapter 3.3 --- Subjects --- p.35<br>Chapter 3.3.1 --- The course ELT 3104 --- p.35<br>Chapter 3.3.2 --- Instructor A --- p.37<br>Chapter 3.3.3 --- The students --- p.37<br>Chapter 3.4 --- Data collection --- p.38<br>Chapter 3.4.1 --- Questionnaire survey --- p.38<br>Chapter 3.4.2 --- Semi-structured interviews --- p.39<br>Chapter 3.4.3 --- Naturalistic classroom observation --- p.40<br>Chapter 3.4.4 --- Text analysis --- p.41<br>Chapter 3.5 --- The pilot study --- p.41<br>Chapter 3.5.1 --- Classroom observation --- p.42<br>Chapter 3.5.2 --- Pilot questionnaire survey --- p.43<br>Chapter 3.6 --- Conclusion --- p.44<br>Chapter CHAPTER 4 --- RESULTS<br>Chapter 4.1 --- Questionnaire survey --- p.45<br>Chapter 4.1.1 --- Pre-course questionnaire --- p.45<br>Chapter 4.1.2 --- Post-course questionnaire --- p.47<br>Chapter 4.2 --- Interviews --- p.48<br>Chapter 4.2.1 --- Instructor A's interviews --- p.48<br>Chapter 4.2.2 --- Brief student profiles and interview summaries --- p.50<br>Chapter 4.3 --- Classroom observation --- p.55<br>Chapter 4.4 --- Text analysis --- p.57<br>Chapter 4.4.1 --- Course syllabus and schedule --- p.57<br>Chapter 4.4.2 --- Lecture handouts --- p.57<br>Chapter 4.4.3 --- Presentation handouts --- p.58<br>Chapter 4.4.4 --- Final term paper --- p.59<br>Chapter 4.5 --- Conclusion --- p.59<br>Chapter CHAPTER 5 --- ANALYSIS AND DISCUSSION<br>Chapter 5.1 --- Revised research questions --- p.60<br>Chapter 5.2 --- Film and ESL: Students' past experience --- p.61<br>Chapter 5.2.1 --- Authentic and natural language --- p.62<br>Chapter 5.2.2 --- Benefits of using English captions --- p.63<br>Chapter 5.2.3 --- "Listening, speaking, and conversation" --- p.65<br>Chapter 5.2.4 --- Doorway to other cultures --- p.65<br>Chapter 5.2.5 --- Analytical and critical thinking --- p.67<br>Chapter 5.3 --- The course ELT 3104: Factors affecting the learning process --- p.68<br>Chapter 5.3.1 --- The instructor --- p.69<br>Chapter 5.3.1.1 --- "Personality, interest, philosophy, and approach" --- p.69<br>Chapter 5.3.1.2 --- The role of the facilitator --- p.70<br>Chapter 5.3.1.3 --- Students' views of Instructor A --- p.71<br>Chapter 5.3.2 --- The students --- p.73<br>Chapter 5.3.2.1 --- Cinematic sophistication --- p.73<br>Chapter 5.3.2.2 --- English proficiency --- p.74<br>Chapter 5.3.2.3 --- Personal interests --- p.75<br>Chapter 5.3.2.4 --- Grouping --- p.77<br>Chapter 5.3.2.5 --- Motivation --- p.80<br>Chapter 5.3.3 --- Student-centered approach --- p.83<br>Chapter 5.3.4 --- Choice of film --- p.86<br>Chapter 5.3.5 --- Cultural differences --- p.90<br>Chapter 5.3.6 --- Film knowledge covered --- p.94<br>Chapter 5.3.7 --- Workload and other classroom factors --- p.98<br>Chapter 5.3.7.1 --- Assignments --- p.98<br>Chapter 5.3.7.2 --- Classroom atmosphere --- p.99<br>Chapter 5.3.7.3 --- Lesson time --- p.100<br>Chapter 5.4 --- The effectiveness of the course --- p.102<br>Chapter 5.4.1 --- Students' self-assessment --- p.103<br>Chapter 5.4.2 --- Instructor A's comments --- p.107<br>Chapter 5.4.3 --- Students' term papers --- p.110<br>Chapter 5.5 --- Conclusion --- p.114<br>Chapter CHAPTER 6 --- IMPLICATIONS & CONCLUSION<br>Chapter 6.1 --- Summary of research questions and findings --- p.115<br>Chapter 6.2 --- Pedagogical implications --- p.116<br>Chapter 6.3 --- Limitations of the present study --- p.118<br>Chapter 6.4 --- Recommendations for further studies & conclusion --- p.121<br>BIBLIOGRAPHY --- p.123<br>APPENDICES --- p.127

Within Spanish cultural studies, urban studies have become increasingly popular in the last twenty years. While this literature covers a wide range of Spanish locales and historical periods, there are still few comprehensive analyses of the production of Madrid's urban space between the Civil War and the economic boom of the 1960s. This dissertation contributes to the field through the examination of the symbolic production and use of Madrid during the first decades of the Franco dictatorship. I argue that the disciplining of Madrid's urban space was a means of organizing the capital's citizens into ordered subjects during a time of transition. This process was carried out primarily through the creation of expectations of how the spaces around the urban subject were best lived. My analytical approach is based on case studies and close readings of films, novels, and official documents such as speeches, maps, laws, and urban policies that were produced during the 1940s and 50s. It is an interdisciplinary study of the disciplining of Madrid and its inhabitants. The dissertation is organized spatially; each chapter focuses on a different aspect of Madrid's urban fabric, which extends outward in a series of concentric circles. My first chapter, "Home Life: Domestic Struggles in Comedic Film," deals with the most intimate human space, the home. Four films, Esa pareja feliz (dir. Juan Antonio Bardem and Luis García Berlanga, 1951), El inquilino (dir. José Antonio Nieves Conde, 1957), La vida por delante (dir. Fernando Fernán Gómez, 1958), and El pisito (dir. Marco Ferreri, 1959) illustrate how pressures of ownership transformed the home into a powerful tool of control and homogenization by blurring the lines between public and private space. In Chapter 2, "A Wandering Man: Fragmentation and Discipline in La colmena," I show that this tension spread to the city streets portrayed in Camilo José Cela's novel (1951), where fragmentation and separation worked to break down the threat of collective action and caused individuals to search for a productive role in society. In the 1950s, the push of hunger and the pull of industrialization drew migrants to Madrid in search of jobs and material comforts, only to find themselves displaced to the periphery of the capital, reinforcing their marginal status. This demographic transformation forms the basis for my third chapter, "No Limits! The City in Surcos and Los golfos," in which I analyze two key films from the decade, José Antonio Nieves Conde's Surcos (1951) and Carlos Saura's Los golfos (1959). Finally, Chapter Four, "'Ya se aburren de tanta capital': Leisure, Language, and Law in El Jarama" examines Rafael Sánchez Ferlosio's novel (1956) to explore how citizens looking for relief from the pressures of city life in the surrounding countryside only found that this leisure space was under the control of its own disciplinary forces. The novels and films that I include in this study demonstrate how the discipline of the Spanish capital extended to all of the city's zones to create a model of urban citizenship that blurred the lines between pubic and private space and between individual and collective subjects.

Indiana University-Purdue University Indianapolis (IUPUI)<br>This thesis discusses the use of film in the composition classroom. It is divided into four chapters: The Argument, The Audience, Film as a Pedagogical Tool, and The Future. Chapter One (the Argument) discusses the different ideas about using media in the classroom, and how it is good practice to do so. New ideas on teaching from education expert Ken Bain (What the Best College Teachers Do) are presented. Bain suggests that as long as the instructor is confident in his or her subject, any innovative thing they do in class is all right. Malcolm Gladwell’s ideas from The Tipping Point are applied to the classroom: the Law of the Few, Connectors, Mavens, Salesmen, the Stickiness Factor, and the Power of Context. Presentations couched within a Gladwell frame can prove to be extraordinarily effective. Chapter Two (the Audience) analyzes the Millennial students, and discusses their views on learning and media. These students see learning as a commodity and view modern media with a bit of contempt. Therefore, to use media in the classroom the instructor must be innovative. Chapter Three (Film as a Pedagogical Tool) examines various different applications of film use in the classroom. It also looks in depth at using David Mamet’s films in the classroom, especially Glengarry Glen Ross, The Edge, and The Verdict, which use classical structure to persuade and argue. Chapter Four (The Future) looks at the work of Howard Gardner and his theory five minds: the Disciplined Mind, the Synthesizing Mind, the Creative Mind, the Respectful Mind, and the Ethical Mind and how we must prepare to teach to them all. In the conclusion I posit that the students of today and the students of tomorrow will require new and innovative techniques to be taught effectively, and that film is versatile and flexible enough to do it.

This study explored film as a supplementary aid in teaching adults about HIV/AIDS in the Igueben area of Edo State (Nigeria). It drew on the theory and practice of film to enhance the awareness of HIV/AIDS campaign strategies in ways that are not possible with other teaching aids. The findings of the study supported the literature, which indicates that unlike film,reading materials are not accessible to illiterate adults in rural communities. Two hundred (200) participants were used in the first approach (quantitative), while fifteen (15) illiterate adults were purposively selected from the area to participate in the second approach (qualitative). The research was undertaken within an interpretivist framwork in the sense that it was a communal process informed by participating illiterate adults, and was sensitive to the role of context (Alvermann, D.E., & Mallozzi, C.A. 2010). The study confirmed the role of film, particularly Nigerian movies, in promoting information and education on HIV/AIDS. The findings highlighted the need for on-going education about HIV/AIDS and its treatment, especially among the rural illiterate. The study, in summary established that the programmes offered by HIV/AIDS organisers (governmental and nongovernmental) would be more effective if film is included in the campaign against the disease.<br>Curriculum and Instructional Studies<br>D. Ed. (Didactics)