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…

This paper highlights the results of a project, in which a group of students, who were enrolled in an African American film criticism course at a large university in Southern California, participated in a community engagement project that incorporated visual and media literacy skills acquired in the classroom setting. The parameters of the project…

This article synthesises an investigation of the making of a didactic programme as a consequence of the excess of consumption of audiovisual messages and the non critical and non-thoughtful attitude the youngsters have towards it. As an answer to this problem, the authors have produced a didactical programme about cinema and its language, the main…

The author describes how he instructs students in his introductory film course to show how one can reveal a film's ideological dimensions in teaching. In this article, the author traces the progress of his student's arc of learning, from their relative lack of awareness of film's influence on the construction of identity to a more sophisticated…

Designed as an introduction to the intelligent and active appreciation of films, this book provides an anecdotal discussion of current and past movies. Among the subjects discussed are the origins of the industry, the process of filmmaking, the role of the spectator, the development of various film genres, the debate over sex and violence, and the…

This student manual is part of a kit that is designed to teach the use of visual language as a means of communication and self-expression. It provides space for note-taking and information the student needs to execute the practice projects assigned by the teacher. Three appendices in it offer a glossary of terms, bibliography, and brainstorming…

Three conceptual frameworks for examining the cognitive response to film are reviewed. It is suggested that a phenomenological rather than atomistic conception of the film-viewer interaction will be most useful for the generation of further studies in this area. (Author/RM)

Offers suggestions on how to make a film study course challenging and enjoyable, through using a variety of films, defining visual literacy, choosing films with cinematic and literary value, and deciding on a specific approach for the course. (FL)

Suggests that older feature-length films can be uplifting, relevant to the curriculum, and inexpensive. Offers tips on how to select and use them and a list of ten such films. (FL)

The purpose of film study is defined here in the words of D. W. Griffiths: "My goal is above all to make you see." This book is intended to be used as a text in a film study course. It traces the development of films from a scientific curiosity through silent films to modern wide screen productions. A comic strip is used to demonstrate the effect…

The art of the motion picture is explored through a step-by-step study of the medium's development as a new art form. The book attempts to provide insight into creative film expression and to present an historical overview of the medium's artistic development. It is divided into three sections. The first is largely an account of the efforts made…

A summary of uses of films with children. (CH)

A structuralist-semiotic study of film theory. (CH)

This paper is divided into three parts, the first discussing the necessary conditions for an adequate response to Godard and Gorin's film "Vent d'Est." It is suggested that the film demands both cinematic and political sophistication on the part of the viewer and that the audience must accept the flatness, the "deconstruction" of the cinematic…