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Expanding Teacher's Literacy: Playing with Digital Text and Media in School - JOLLE 2013

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Kathy Garland
Kathy Garland

This document discusses three methods for analyzing film adaptations of novels: visual thinking strategies, media literacy education, and critical media literacy. It provides examples of how visual thinking strategies can guide students to analyze details in images. It also explains key concepts in media literacy education like film language, and discusses how critical media literacy involves analyzing representations and ideologies in media. The document aims to expand teachers' literacy skills for having students critically examine film versions of books.

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Expanding Teachers Literacy: Playing with Digital Text and Media in School JOLLE 2013 Kathy Garland, Ph.D. Florida State University
Have you ever been disappointed by the film version of a book?
Three methods support in-depth analysis of film renditions of novels. VISUAL THINKING MEDIA LITERACY STRATEGIES EDUCATION CRITICAL MEDIA LITERACY
Visual Thinking Strategies These strategies were 1) Whats going on with created in order to this picture? help students develop 2) What do you see that and support makes you say that? interpretations of art and 3) What more can you find in there? other visual images (Housen, 2001).
Visual Thinking Strategies Whats going on with this picture? What do you see that makes you say that? What more can you find that makes you say that?
Visual Thinking Strategies Whats going on with this picture? What do you see that makes you say that? What more can you find in there?
What differences do you notice?
Media Literacy Education Is the ability to access, analyze, evaluate and create media texts, such as popular culture (Aspen Institute Leadership Conference, 1992).
Film Language John Golden (2001) MOST COMMON SHOTS Medium Close-up Long VARIATIONS OF SHOTS Two-shot Extreme close-up Over-the-shoulder-shot Point-of-view shot
Medium Shot Most common and natural of framing shots, because humans see each other in relation to personal space issues Offers viewers some choice, so attention can be called to what is happening around object Humans are usually shown from waist up Neutral shot because it does not force viewer to see one object nor does it offer a huge variety of sights to see Seldom does it generate a WOW! like long or close shots can do
The Close-Up Shot Object or subject takes up 80% of frame, so appears to be large Can direct viewers attention to a detail, like a clue, to a facial expression Forces viewer to look only at what director intended Deprives viewer of overall context Is intimate and revealing, although intrusive and authoritative
Extreme Close-Up Shot Extreme close-up possess shock value by calling attention to a characters facial expression and cannot be used often or they lose their potency
The Long Shot Object is in the distance, if of a person usually the whole body is shown Can establish the scene Can show separation Gives viewer a sense of time and place Allows viewer choice of where to look since there is so much in frame
Two-Shot Two people are framed comfortably, a lot like a medium shot
Point of View Shot Shows a view from the subject's perspective. This shot is usually edited in such a way that it is obvious whose POV it is.
What shots do you notice? Think about what happens in each scene. Why do you think the director would choose to film these shots? How do the specific shots convey or enhance the directors message?
Critical Media Literacy recognition of the construction of media and communication as a social process as opposed to accepting texts as isolated neutral or transparent conveyors of information; some type of semiotic textual analysis that explores the languages, genres, codes, and conventions of the text; an exploration of the role audiences play in actively negotiating meanings; problematizing the process of representation to uncover and engage issues of ideology, power, and pleasure; examination of the production and institutions that motivate and structure the media industries as corporate profit seeking businesses. (Kellner & Share, 2007)
Critical Media Literacy Film Version Book Version I am! She tossed me the glass ball. Just look at her in the glass. Never look at her directly (Riordan, 2005, p. 182).
Handout, Rationale, Resources, and Questions According to NCTEs 21st Century Curriculum and Assessment Framework (2008), there are six components that support a literate person in the 21st Century. Common Core State Standards suggest sixth through 12th grade students critique and/or analyze film versions of novels and other literature. There are several online resources that you can introduce your students to in order to get started.

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Expanding Teacher's Literacy: Playing with Digital Text and Media in School - JOLLE 2013

  • 1. Expanding Teachers Literacy: Playing with Digital Text and Media in School JOLLE 2013 Kathy Garland, Ph.D. Florida State University
  • 2. Have you ever been disappointed by the film version of a book?
  • 3. Three methods support in-depth analysis of film renditions of novels. VISUAL THINKING MEDIA LITERACY STRATEGIES EDUCATION CRITICAL MEDIA LITERACY
  • 4. Visual Thinking Strategies These strategies were 1) Whats going on with created in order to this picture? help students develop 2) What do you see that and support makes you say that? interpretations of art and 3) What more can you find in there? other visual images (Housen, 2001).
  • 5. Visual Thinking Strategies Whats going on with this picture? What do you see that makes you say that? What more can you find that makes you say that?
  • 6. Visual Thinking Strategies Whats going on with this picture? What do you see that makes you say that? What more can you find in there?
  • 7. What differences do you notice?
  • 8. Media Literacy Education Is the ability to access, analyze, evaluate and create media texts, such as popular culture (Aspen Institute Leadership Conference, 1992).
  • 9. Film Language John Golden (2001) MOST COMMON SHOTS Medium Close-up Long VARIATIONS OF SHOTS Two-shot Extreme close-up Over-the-shoulder-shot Point-of-view shot
  • 10. Medium Shot Most common and natural of framing shots, because humans see each other in relation to personal space issues Offers viewers some choice, so attention can be called to what is happening around object Humans are usually shown from waist up Neutral shot because it does not force viewer to see one object nor does it offer a huge variety of sights to see Seldom does it generate a WOW! like long or close shots can do
  • 11. The Close-Up Shot Object or subject takes up 80% of frame, so appears to be large Can direct viewers attention to a detail, like a clue, to a facial expression Forces viewer to look only at what director intended Deprives viewer of overall context Is intimate and revealing, although intrusive and authoritative
  • 12. Extreme Close-Up Shot Extreme close-up possess shock value by calling attention to a characters facial expression and cannot be used often or they lose their potency
  • 13. The Long Shot Object is in the distance, if of a person usually the whole body is shown Can establish the scene Can show separation Gives viewer a sense of time and place Allows viewer choice of where to look since there is so much in frame
  • 14. Two-Shot Two people are framed comfortably, a lot like a medium shot
  • 15. Point of View Shot Shows a view from the subject's perspective. This shot is usually edited in such a way that it is obvious whose POV it is.
  • 16. What shots do you notice? Think about what happens in each scene. Why do you think the director would choose to film these shots? How do the specific shots convey or enhance the directors message?
  • 17. Critical Media Literacy recognition of the construction of media and communication as a social process as opposed to accepting texts as isolated neutral or transparent conveyors of information; some type of semiotic textual analysis that explores the languages, genres, codes, and conventions of the text; an exploration of the role audiences play in actively negotiating meanings; problematizing the process of representation to uncover and engage issues of ideology, power, and pleasure; examination of the production and institutions that motivate and structure the media industries as corporate profit seeking businesses. (Kellner & Share, 2007)
  • 18. Critical Media Literacy Film Version Book Version I am! She tossed me the glass ball. Just look at her in the glass. Never look at her directly (Riordan, 2005, p. 182).
  • 19. Handout, Rationale, Resources, and Questions According to NCTEs 21st Century Curriculum and Assessment Framework (2008), there are six components that support a literate person in the 21st Century. Common Core State Standards suggest sixth through 12th grade students critique and/or analyze film versions of novels and other literature. There are several online resources that you can introduce your students to in order to get started.