English Teaching and the Moving Image

English Teaching and the Moving Image

English Teaching and the Moving Image

English Teaching and the Moving Image

Synopsis

Andrew Goodwyn's straightforward approach to teaching about the moving image de-mystifies this topic and shows how it can be easily incorporated into classroom practice. The first of its kind, this book builds on teachers' knowledge of teaching about advertising, newspapers and visual adaptations of literary texts, and provides practical advice and guidance on: * Adaptations: not just the film of the book * Teaching film * Teaching television * Practical work * New technologies and the moving audience. This jargon-free book will be a stimulating and useful guide to teachers and student teachers looking to improve their knowledge of the moving image and its recent arrival in secondary school teaching.

Excerpt

English teaching has paid some attention to the moving image since the 1930s but in the year 2000, this attention became a curricular requirement for the first time. This book aims to help teachers make the most of this belated opportunity. Although English teachers have incorporated aspects of Media Education into their teaching over the past decade or so, its presence is by no means firmly established or consistent. There are a variety of reasons for this but a very significant one has been the prescriptive and somewhat reductive nature of the National Curriculum for English in the last years of the twentieth century, burdened by an even more cumbersome and uninspiring assessment framework. The rather sudden appearance of the idea that pupils should be taught about the moving image might be viewed as just one more demand on an overwhelmed profession.

This book argues that, whatever the mixed motives for this focus on the moving image, 2000 will have been a defining moment for the subject of English. Teachers of English have always been very clear about engaging with the real lives of their pupils without allowing the grim nature of much of reality to constrain them from the exploration of our emotional and aesthetic lives. The moving image is at the centre of a rapidly developing, multi-modal culture, it plays an absolutely central role in the lives of young people; it is a genuinely exciting time. Children and young people provide plenty of evidence of their intelligent engagement with this culture. It is a consumer culture but these young consumers seem more than a match for its designs on them; they have designs of their own and in a culture where technology is providing them with creative ways to engage with cultural resources they are becoming producers in their own right.

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