This article explains the importance of including critical media literacy practices in skills-based classrooms in film education. Students continue to use methods of filmmaking that are inherently biased because they continue to be taught an age-old set of skills that do not engage in critical analysis. With the convergence of contemporary film…

A film appreciation exercise for use in the foreign language class is outlined. The questions involve analysis of viewer reactions, film characteristics, visual and aural production specifications, and other technical aspects of the film. (MSE)

Ways in which instructional design specifications for television production may be extended into a more precise domain, where forms of representation may be cataloged and culturally defined, are suggested in this study. Differences between film and television are discussed, and a distinction is made between format codes (i.e., culturally and…

Four different principles of visual manipulation constitute a minimal list of what a visually "literate" viewer should know about, but certain problems exist which are inherent in measuring viewers' awareness of each of them. The four principles are: (1) paraproxemics, or camera work which derives its effectiveness from an analogy to the…

This document highlights the findings of a committee formed by The National Council of Teachers of English (NCTE) to assess the status of film at all levels in American education. The introduction by the editor, William Costanzo, stresses that film is best understood in relation to the language arts--not as a "visual aid" but as an…