I thoroughly enjoyed perusing the readings this week. Sarah Susanka's ideas are fantastic and make so much sense to me on both a personal and professional level. In her book A Sacred Space, she discussed the need for adults to have a space of their own for self discovery. I can understand the notion of needing to have a place to think and experiment and feel safe to explore ideas. When I relate this to my students, the importance of the actual physical classroom environment becomes obvious. Students need sacred space as well. It is critical that the layout of a classroom be conducive to learning. I've seen classrooms where the desks are too small to be shared by large adolescents and where there is no visual stimuli on the walls. These two factors, combined with institutional paint colors and harsh florescent lighting, create anything but a sacred space.
Sarah also mentioned the habit that many people have of including multiple unused spaces in their homes. I personally hate wasted space and environments that lack personality. I believe that we should tailor homes and classrooms to our specific needs and that bigger areas are not necessarily better. I was able to tie this idea into my teaching practices in various ways as well. On a physical plane, I hate the idea of clutter, whether it be crowded seating that is rarely used or overloaded book shelves and window ledges. I'll admit that in an actual classroom, space is generally a comodity and used to the fullest. Unfortunately, this is not always the case for the school building as a whole. We have many rooms that are not fully utilized. Additionally, on an intellectual plane, I feel that as an educator, it my responsibility to distill the information and relay it to my students in a clear and concise manner. Furthermore, there is a need to take advantage of the many resources available but to use them in meaningful ways, and not just as a filler of sorts. Afterall, as Susanka stated, "it's the details that delight."
Sunday, February 21, 2010
Sunday, February 14, 2010
Stories that connect . . .
I love that my life has been made up of little stories that intersect with other people’s stories. Our society has always been focussed on story-telling, even from the earliest recordings of cave men illustrating famous tales on a rock wall. Whether they are spoken, written or visual stories, their purpose and impact cannot be questioned. As an English teacher, storytelling plays a large role in my daily classroom activities. I often read to my students and guide their study of various characters and plot lines. When I think about it, much of my life has been spent recounting my own or enjoying someone else’s story.
It was interesting having the opportunity to watch some of teh Superbowl commercials. I have to admit that I wasn't completely drawn to any of them, but after reading teh articles available, I could appreciate the intended nature and design elements of them all. I personally found that the story behind each one was what determined my connection adn reaction to the commercial. I could quickly judge whether I cared or not. I's imagine students are no more forgiving in the short span of time it takes them to decide how committed they are to listening during a lesson in class.
Having to create my own video this week has made me think about the anxiety my students feel when asked to create a story of their own. I now see that it is crucial to encourage them to give themselves permission to start with an abstract idea and then begin distilling the essence. I often focus my attention on their writing skills and editing skills, without highlighting the importance of allowing ideas to roam freely as Katalina Groh's advised. This concept changes the way I see the art and design of teaching as well as the experience of learning.
One of the articles focussed on the need to answer the question, “so what?” Many times I have heard students question the purpose of what they are learning in school. I think that it is vital to make their learning experiences relatable to the world in which they live. Students, like any audience, cannot be expected to care about something that in no way intersects with their experiences. I know that my school board has recently been pushing teachers to integrate curriculum into real life situations and draw examples from the world that students are living in.
Similarly, having an emotional punch line of some kind allows students to connect on a deeper lesson to what they are learning. When they are engaged, they will contribute, collaborate, and retain more. I know that I need to find innovative ways to keep my student’s attention. It can be difficult to get an adolescent audience to care about something, but if I can find a way to connect my story with theirs on some level, then it will eventually resonate with them. I liked the idea of being able to tell your story in two sentences. Perhaps if teachers used a more direct approach to teaching and learning, students would see a clear direction and hop on board earlier in the game.
It was interesting having the opportunity to watch some of teh Superbowl commercials. I have to admit that I wasn't completely drawn to any of them, but after reading teh articles available, I could appreciate the intended nature and design elements of them all. I personally found that the story behind each one was what determined my connection adn reaction to the commercial. I could quickly judge whether I cared or not. I's imagine students are no more forgiving in the short span of time it takes them to decide how committed they are to listening during a lesson in class.
Having to create my own video this week has made me think about the anxiety my students feel when asked to create a story of their own. I now see that it is crucial to encourage them to give themselves permission to start with an abstract idea and then begin distilling the essence. I often focus my attention on their writing skills and editing skills, without highlighting the importance of allowing ideas to roam freely as Katalina Groh's advised. This concept changes the way I see the art and design of teaching as well as the experience of learning.
One of the articles focussed on the need to answer the question, “so what?” Many times I have heard students question the purpose of what they are learning in school. I think that it is vital to make their learning experiences relatable to the world in which they live. Students, like any audience, cannot be expected to care about something that in no way intersects with their experiences. I know that my school board has recently been pushing teachers to integrate curriculum into real life situations and draw examples from the world that students are living in.
Similarly, having an emotional punch line of some kind allows students to connect on a deeper lesson to what they are learning. When they are engaged, they will contribute, collaborate, and retain more. I know that I need to find innovative ways to keep my student’s attention. It can be difficult to get an adolescent audience to care about something, but if I can find a way to connect my story with theirs on some level, then it will eventually resonate with them. I liked the idea of being able to tell your story in two sentences. Perhaps if teachers used a more direct approach to teaching and learning, students would see a clear direction and hop on board earlier in the game.
Sunday, February 7, 2010
Week 2: Film and Televison as a Compelling Experience
I thoroughly enjoyed this weeks reading and radio broadcast. I found Katalina Groh's advice in, The Film Maker as a Storyteller to start with an absurd idea, very interesting. I think as an educator, I need to be open to all new ideas. I need to encourage myself, as well as my students, to think outside of the box. To start with an idea, no matter how absurd and to then begin 'distilling the essence'. When teaching creative writing, I often have to help my students to edit their work and be okay with having many drafts before their final product is complete. I encourage them to have a clear purpose, but I hadn't thought of emphasizing the importance of having an emotional punchline. And yet, what better way exists when attempting to make your ideas effective?
I also really enjoyed the Katalina Groh's discussion of the importance of having a single protagonist. As an English teacher, literature read in class often centers on the story of the protagonist and the obstacles that they face. I had never considered that it is perhaps a stronger choice for a writer to include one primary Protagonist. I thought it was a compelling argument raised by Stalin who once said, "The death of one person is a tragedy. The death of a million people is a statistic." I think that this is true in many ways. The death or story of one person, is more personal and as Vastfjall, Peters and Slovic proved through their study with Swedish students, more sympathy and support is shown to individuals as opposed to a group. This idea is one that I could use when discussing world issues and writing with my students. We often talk about how the news almost desensitizes people with teh vast number of tragedies covered each hour.
Another reading that resonated with me was the radio broadcast done by NPR "Behind the Scenes with Film Editor Walter Murch". I have always admired the work done in highly effective movies, but hadn't realized the extent to which they pay close attention to the details. I loved the discussion on the use of silence and how to manipulate the effect by including the tiniest of sounds. The idea of working with no sound initially and then turning it on after the images are in place was also very compelling. The tedious work put in while viewing hours of film and then assembling the film second by second is truly amazing. I wonder if I could make better use of silence and pauses when discussing various elements in my own classes. I already know that viual stimulation can create incredible impact for my students but perhaps now I will try harder to find the most effective stimuli to use when emphasizing a point.
I also really enjoyed the Katalina Groh's discussion of the importance of having a single protagonist. As an English teacher, literature read in class often centers on the story of the protagonist and the obstacles that they face. I had never considered that it is perhaps a stronger choice for a writer to include one primary Protagonist. I thought it was a compelling argument raised by Stalin who once said, "The death of one person is a tragedy. The death of a million people is a statistic." I think that this is true in many ways. The death or story of one person, is more personal and as Vastfjall, Peters and Slovic proved through their study with Swedish students, more sympathy and support is shown to individuals as opposed to a group. This idea is one that I could use when discussing world issues and writing with my students. We often talk about how the news almost desensitizes people with teh vast number of tragedies covered each hour.
Another reading that resonated with me was the radio broadcast done by NPR "Behind the Scenes with Film Editor Walter Murch". I have always admired the work done in highly effective movies, but hadn't realized the extent to which they pay close attention to the details. I loved the discussion on the use of silence and how to manipulate the effect by including the tiniest of sounds. The idea of working with no sound initially and then turning it on after the images are in place was also very compelling. The tedious work put in while viewing hours of film and then assembling the film second by second is truly amazing. I wonder if I could make better use of silence and pauses when discussing various elements in my own classes. I already know that viual stimulation can create incredible impact for my students but perhaps now I will try harder to find the most effective stimuli to use when emphasizing a point.
Week 2: Film and Television- My Best Friend's Wedding
This week I had the opportunity to examine a scene from a movie that I really enjoyed watching. I am very familiar with the scene chosen from "My Best Friend's Wedding". Though I thoroughly enjoyed the movie,I found the scene a little annoying as I watched it a few times closely. In regards to the nature of my experience, I noticed that I was leaning in while watching it, and I did feel somewhat anxious as I watched Julianne cringe as each facticious detail of her supposed relationship was revealled. It was quite entertaining to watch the delight on Rupert Everette's face as he improvised every detail, relishing the attention he was getting from everyone at the table.
The song was definitely both unexpected and catchy. I found myself remembering the segment in the article "Percussive editing" that speaks about the difference between theatre and film. In theatre audiences are willing to suspend their disbelief, whereas in film, people constantly judge what they are seeing against their perception of reality. I found that I could suspend my disbelief but I bet others found the scene difficult to digest and too unbelieveable in a sense to enjoy. I do think that it's a somewhat 'cheesy' element of the movie, but I was able to accept it when it was introduced by Rupert Everette's character. He seemed to possess enough 'flare' to make it work!
As for the design aspects, I think that they cast the characters beautifully. Each one had a distinct personality and commitment during the scene that really allowed me as a viewer to feel like I was a part of the conversation. The quick camera cuts showing each character's expressions were fantastic! They really added to the comedic energy and anxiety building beneath the surface for some of the characters. It was like watching a ping-pong tournament of reactions that kept a steady rhythm right up until Rupert's dramatic pause, followed by the first verse! I couldn't help but be reminded of Walter Murch's use of silence in the movie Jar Head. Having only the faint hum of movement in the background, really emphasized how quiet everyone at the table had become while waiting breathlessly for Dion's apparent comment. This technique really worked to elevate the tension and seemed to give reason to let yourself get carried away in the liveliness of the song that followed.
In addition, the lighting and costuming were both bright and cheerful and coaxed the audience to get swept up in the momentum. The writers definitely created a compelling script that offered the actors a lot to play with. The camera angles varied from close-ups to wide angle shots that allowed the viewer to watch how infectious the song had become and the way that even static characters in the background were suddenly involved in the song. It is definitely a compelling and memorable scene, despite the fact that it might not be appealing to all viewers.
I enjoyed my group's debate over whether something that is memorable is therefore, compelling. For me compelling idicates a more intense expereince than simply something I'd find memorable. It would be something that engaged me on multiple levels; some sensory, others intellectual. It is for me be an experience that I'd expect to be more involved with on some levels other than passively observing. In any case, it's interesting to think about. The dictionary defines compelling as 'arousing strong interest.' With this definition in mind, the scene would be compelling to some but others may not have felt engaged by it to the same extent.
The song was definitely both unexpected and catchy. I found myself remembering the segment in the article "Percussive editing" that speaks about the difference between theatre and film. In theatre audiences are willing to suspend their disbelief, whereas in film, people constantly judge what they are seeing against their perception of reality. I found that I could suspend my disbelief but I bet others found the scene difficult to digest and too unbelieveable in a sense to enjoy. I do think that it's a somewhat 'cheesy' element of the movie, but I was able to accept it when it was introduced by Rupert Everette's character. He seemed to possess enough 'flare' to make it work!
As for the design aspects, I think that they cast the characters beautifully. Each one had a distinct personality and commitment during the scene that really allowed me as a viewer to feel like I was a part of the conversation. The quick camera cuts showing each character's expressions were fantastic! They really added to the comedic energy and anxiety building beneath the surface for some of the characters. It was like watching a ping-pong tournament of reactions that kept a steady rhythm right up until Rupert's dramatic pause, followed by the first verse! I couldn't help but be reminded of Walter Murch's use of silence in the movie Jar Head. Having only the faint hum of movement in the background, really emphasized how quiet everyone at the table had become while waiting breathlessly for Dion's apparent comment. This technique really worked to elevate the tension and seemed to give reason to let yourself get carried away in the liveliness of the song that followed.
In addition, the lighting and costuming were both bright and cheerful and coaxed the audience to get swept up in the momentum. The writers definitely created a compelling script that offered the actors a lot to play with. The camera angles varied from close-ups to wide angle shots that allowed the viewer to watch how infectious the song had become and the way that even static characters in the background were suddenly involved in the song. It is definitely a compelling and memorable scene, despite the fact that it might not be appealing to all viewers.
I enjoyed my group's debate over whether something that is memorable is therefore, compelling. For me compelling idicates a more intense expereince than simply something I'd find memorable. It would be something that engaged me on multiple levels; some sensory, others intellectual. It is for me be an experience that I'd expect to be more involved with on some levels other than passively observing. In any case, it's interesting to think about. The dictionary defines compelling as 'arousing strong interest.' With this definition in mind, the scene would be compelling to some but others may not have felt engaged by it to the same extent.
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