Explains how media law and ethics courses can generate student involvement through the use of fictitious congressional representatives and hearings. (MM)

Argues that copywriting students should be taught to recognize and create an advertising concept before learning to write advertising copy. Outlines a teaching method for creating advertising concepts, and discusses criteria for evaluating them. (MM)

Argues that there is a direct relationship between a teacher's conception of lesson planning and the quality of experiences the teacher provides for students in the classroom. Describes a framework for engaging in the kind of lesson planning which will lead to more successful teaching. (GEA)

Describes 10 units in a course on "film noir," a cinema that tells stories of alienation linked to issues of social and sexual power. Includes units on visual and narrative style, space, classic detective tradition, and emotional solitude.(PD)

Describes the use of a case study in a business communication course to teach students empathy and identification or how to see things from someone else's point of view. (PD)

Social work practice is defined, the objectives and content of beginning practice courses are outlined, and suggestions for organizing course content are presented, focusing on the essential difference between the classroom and the field, the conceptual vs. the concrete. (MSE)

Described is the design and administration of a large two-semester course in principles of economics that permits both students and faculty some choice of both subject matter and meeting times. Students complete a standardized nine-week core and are then allowed to select topical modules. Advantages and disadvantages are discussed. (Author/RM)

A professional scriptwriter describes a semester course he teaches in which students are required to write 12 scripts. (PD)

The psychological issues discussed in the course are outlined and the readings used are listed. Students' evaluations of the course varied. (RM)

Examines how movies have formed history by (1) analyzing theories of history; (2) comparing historical perspectives in certain films; and (3) exploring how film language and techniques reflect history. Focuses on films from the United States, Europe, Japan, or Brazil. (PD)

Argues that teachers must bring works of the Holocaust to the classroom and focus discussion around its revelations. (FL)

Details useful and interesting extra credit exercises that maintain student interest in a media ethics course. (CRH)

Argues that by exposing students to basic techniques of graphics, the technical writing teacher can encourage them to include simple illustrations and diagrams in their reports, and that more advanced students may enhance their works by hiring professional artists or photographers to do these tasks. (FL)

Describes a course that uses the "people are implicit social scientists and rhetoricians" metaphor to weave together topics now standard for interpersonal texts: perception, language, self-concept, nonverbal communication, conflict, etc. (PD)

Presents a course in film planning (preproduction made up of the following units: (1) evaluating the concept; (2) preparing the script; (3) budgeting; and (4) financing. Includes readings for each unit. (PD)