Filmic Pedagogies in the Teaching of History: Research on and Recommendations for Using Video Feature Films in the Classroom (original) (raw)
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Using feature film in the teaching of history: The practitioner decision-making dynamic
Historical feature film can engage and motivate today’s visually orientated students and provide a bridge between the school and life world of a youth culture habituated to communication via numerous electronic portals. It is not surprising that international scholarship suggests that these multi-modal recreations of the past are being used as teaching resources in many history classrooms. However, the use of historical filmic narratives is not without its difficulties for the history teacher. These films are made with no obligation to adhere to evidentiary records and, the limitations of the art form and commercial imperatives, can lead to compression and manipulation of the narrative and the inclusion of fictionalized elements. History educators are faced with the dilemma how best to harness the engagement of film and test its historical representation. This paper reports on an Australian research project that explored the decision-making dynamic of history teachers in regard to the use of feature films. It found that the dynamic was governed by a complex interplay of factors in relation to teaching context, learning community perceptions and practitioner understandings and strategies, and concluded that teacher disciplinary perceptions were a major contributing factor in the decision-making process.
The use of films on history education in primary schools: Problems and suggestions
Procedia - Social and Behavioral Sciences, 2010
The use of films has a very important place among the alternative teaching tools, which can be used for achieving effective learning by helping to gather students' interest for the learning material. For the effective use of films on history education as an additional tool and avoiding possible harmful effects on students by the misuse, primarily the teachers should be educated for efficiency on the use of films as an educational tool. In this frame, teachers should be able to both reinforce learning and enhance critical thinking skills of their students by additional learning activities carried out before and after the film use.
In the Archive of Cinematic Memories: Teaching Documentary Film History
Screen education, 2007
It is not surprising that film and media students often think of documentary film as a platform for expressing political opinions, dissent or frustrations with important, contemporary social issues. This overview of documentary film history provides a list of the essential films and filmmakers and notes that might help educators in choosing the most relevant and appropriate film texts for their classroom practice.
Learning History through Historical Movies: Bringing Living History into Classroom
Proceedings of the International Conference on Teacher Training and Education 2017 (ICTTE 2017), 2017
Learning history would be done in various ways. In traditional learning, history learned by reading a book or hearing a story about the past or simulates the past with role-playing. In the digital era, history learned by the student with digital forms, such as multimedia learning, mobile learning and historical movies. At this time, there is a trend to revive the feeling of the past in the present day known as living history. Implementing living history is really difficult in terms of cost and time to get it into the classroom. Thus, historical movies are alternative ways of conveying the historical atmosphere in the classroom. This paper will distinguish a learning model design that uses historical movies as an instructional medium to bringing living history into the classroom. The literature referenced in this paper used to analyze implementing living history through historical movies to bring it into the classroom. The conclusion in this paper is the living history would be to learn through historical movies.
At the Movies: A Continuing Dialogue on the Challenges of Teaching with Film
International Studies Perspectives, 2002
As part of ISP’s ongoing effort to provide a scholarly venue for the exchange of ideas on a variety of topics, this issue’s ISP Forum presents one set of reactions to the February 2001 article by Lynn Kuzma and Patrick Haney titled “And Action . . . ! Using Film to Learn About Foreign Policy” (February 2001:33-50). Vincent Pollard’s comments represent what we hope will be the first in a series of comments on teaching international studies with film. Profs. Kuzma and Haney in their rejoinder urge for an ongoing discussion of the topic, as they see the use of film growing in the field. More broadly, the Editors of ISP invite readers to submit their own comments and reactions on this and other pieces that appear within the pages of ISP. Please note that all submissions undergo a peer review process.
Cinema Journal Vol. 41, No. 1 (Autumn 2001), pp. 110-114, 2001
An introductory survey course in international film history is potentially laden with practical and intellectual difficulties: how to cover every nation or movement in one term, the difficulty of selecting representative canonical and/or noncanonical (or even anticanonical) film texts, and the choice of a methodology by which to investigate history. This essay will focus on the latter problem--what kind of history we teach--in an effort to establish that different professors, textbooks, assignments, and lesson plans all emphasize different approaches to the study of cinema history. Indeed, the methodological terrain can be divided into five paradigms: (1) aesthetic/textual history, (2) technological history, (3) film industry/economic history, (4) sociocultural history, and (5) historiography. When only one approach is selected as the primary paradigm, that initial determination often structures most subsequent curricular decisions and thus proffers a one-note viewpoint on a highly complex subject. As a result, students are limited to seeing the cinema and its history as a one-dimensional field of inquiry.
The Councilor: A Journal of the Social Studies, 2015
This article discusses the use of feature films in the collegiate history classroom.
Pedagogical use of cinematographic productions
II Jornadas Nacionales del Profesorado de Inglés. Facultad de Humanidades, UNMDP. 19 y 20 de agosto de 2016, 2016
Literary works lend themselves to a variety of interpretations with the meaning depending on the reader's own social and historical perspective (Eagleton 1988). The same can be stated about cinematographic productions since different viewers, depending on their cultural, social, religious backgrounds, negotiate their own meanings. In fact, viewing, as well as reading, is not a passive task since viewers establish different links as they work out meanings in the texts. When these individual interpretations are shared in class, when the individual experience becomes a collective experience, meanings are negotiated, modified, re-signified. This presentation aims at sharing with the audience considerations about the conversations in the classroom that lead to new interpretations and the generation of new questions in the EIL Teacher Education Program. The role of the instructor as mediator between viewers and audiovisual texts with the purpose of stimulating the negotiation of meanings will also be discussed.