"[O]f great interest to anyone working in a field of education which deals with cinema either directly or indirectly. . . . [P]rovides some essential advice in preparing for classes that involve an audio-visual aspect. . . .Full marks to the editors for being so practical in their advice. . . . [Turim's essay] emerges as a concise and invaluable literature review for those who teach film in a feminist context. . . . [O]ne of the strengths of the book [is] that many of its writers constantly discuss resources and access to the films themselves. . . . [T]he editors have declared a philosophy of teaching that resonates through this worthwhile project." Alexis Bennet, Music, Sound, and the Moving Image
Teaching Filmby Lucy Fischer
Film studies has been a part of higher education curricula in the United States almost since the development of the medium. Although the study of film is dispersed across a range of academic departments, programs, and scholarly organizations, film studies has come to be recognized as a field in its own right. In an era when teaching and scholarship are increasingly… See more details below
Film studies has been a part of higher education curricula in the United States almost since the development of the medium. Although the study of film is dispersed across a range of academic departments, programs, and scholarly organizations, film studies has come to be recognized as a field in its own right. In an era when teaching and scholarship are increasingly interdisciplinary, film studies continues to expand and thrive, attracting new scholars and fresh ideas, direction, and research.
Given the dynamism of the field, experienced and beginning instructors alike need resources for bringing the study of film into the classroom. This volume will help instructors conceptualize contemporary film studies in pedagogical terms. The first part of the volume features essays on theory and on representation, including gender, race, and sexuality. Contributors then examine the geographies of cinema and offer practical suggestions for structuring courses on national, regional, and transnational film. Several essays focus on interdisciplinary approaches, while others describe courses designed around genre (film noir, the musical), mode (animation, documentary, avant-garde film), or the formal elements of film, such as sound, music, and mise-en-scène. The volume closes with a section on film and media in the digital age, in which contributors discuss the opportunities and challenges presented by access to resources, media convergence, and technological developments in the field.
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