This paper presents a multimodal conversation that engages the personal teaching and learning experiences of the authors, Berenike Jung (in London when the conversation started) and Derilene Marco (in Johannesburg). Critically reflecting and engaging through an audio recording and letters, Jung and Marco ask each other about the processes of doing and performing the labour of decolonising film teaching in their respective courses and from different global locations. Keeping in mind the impositions and complexities of the pandemic, Jung and Marco also reflect upon the ways in which colonial posturing occurs in film studies spaces, such as highly visible international film conferences. In doing so, they reflect on how engagements such as these keep many scholars and their scholarship confined to traditional Eurocentric and North American strategies, methods and endorsements of approval and relevance. The piece is conversational and self-aware in its self-referential tone. It is intended that readers listen to parts of the audio if they please, but that they are not compelled to do so to find meaning.
{"title":"De-marginalising and de-centring film studies in bodies, places and on screens","authors":"B. Jung, Derilene Marco","doi":"10.14324/fej.05.1.02","DOIUrl":"https://doi.org/10.14324/fej.05.1.02","url":null,"abstract":"\u0000This paper presents a multimodal conversation that engages the personal teaching and learning experiences of the authors, Berenike Jung (in London when the conversation started) and Derilene Marco (in Johannesburg). Critically reflecting and engaging through an audio recording and letters, Jung and Marco ask each other about the processes of doing and performing the labour of decolonising film teaching in their respective courses and from different global locations. Keeping in mind the impositions and complexities of the pandemic, Jung and Marco also reflect upon the ways in which colonial posturing occurs in film studies spaces, such as highly visible international film conferences. In doing so, they reflect on how engagements such as these keep many scholars and their scholarship confined to traditional Eurocentric and North American strategies, methods and endorsements of approval and relevance. The piece is conversational and self-aware in its self-referential tone. It is intended that readers listen to parts of the audio if they please, but that they are not compelled to do so to find meaning.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126500570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines the pedagogical and decolonial possibilities of teaching genre cinema through non-Western perspectives. As a sessional instructor teaching across multiple institutions in Vancouver, Canada, I elaborate on how I have taught genre cinema as a decolonial and pedagogical project. Through course design that recognises the way that the evolution of film theory in general, and genre theory in particular, has been encoded in Euro-Western-centrism and analysis, my teaching practice brings into conversation other knowledges and approaches to film-making and film studies that have often been excluded from film studies pedagogy. My pedagogical project is to decolonise film studies, including genre theory, as exemplified in such courses as: Re-Visioning Genre Theory, a fourth-year course at Emily Carr University of Art and Design; Genre Cinema: From Classical Hollywood to Global Contemporary, a third-year course at the University of British Columbia; and Refiguring Futurisms, a fourth-year film seminar at the University of British Columbia. Some of the questions explored in my research and teaching practice consider how genre cinema is adopted and subverted in contemporary non-Western films. In this paper, I use Latin American decolonial theory to focus on Brazilian cinema as an exemplar of non-Western and decolonial approaches to genre theory.
本文探讨了非西方视角下类型电影教学的教学和去殖民化可能性。作为一名在加拿大温哥华多家机构任教的讲师，我详细阐述了我是如何将类型电影作为一个非殖民化和教学项目来教授的。通过课程设计，认识到电影理论的演变，特别是类型理论，已经在欧洲-西方中心主义和分析中编码，我的教学实践带来了电影制作和电影研究的其他知识和方法，这些知识和方法经常被排除在电影研究教学法之外。我的教学项目是去殖民化电影研究，包括类型理论，例如在以下课程中:艾米丽卡尔艺术与设计大学的四年制课程《重新审视类型理论》;英属哥伦比亚大学三年级课程《类型电影:从经典好莱坞到全球当代》;以及英属哥伦比亚大学(University of British Columbia)四年级电影研讨会“重塑未来主义”(refigures Futurisms)。在我的研究和教学实践中探索的一些问题是关于类型电影在当代非西方电影中是如何被采用和颠覆的。在本文中，我使用拉丁美洲的非殖民化理论来关注巴西电影，将其作为非西方和非殖民化的类型理论方法的典范。
{"title":"A decolonising approach to genre cinema studies","authors":"S. Shamash","doi":"10.14324/fej.05.1.05","DOIUrl":"https://doi.org/10.14324/fej.05.1.05","url":null,"abstract":"\u0000This paper examines the pedagogical and decolonial possibilities of teaching genre cinema through non-Western perspectives. As a sessional instructor teaching across multiple institutions in Vancouver, Canada, I elaborate on how I have taught genre cinema as a decolonial and pedagogical project. Through course design that recognises the way that the evolution of film theory in general, and genre theory in particular, has been encoded in Euro-Western-centrism and analysis, my teaching practice brings into conversation other knowledges and approaches to film-making and film studies that have often been excluded from film studies pedagogy. My pedagogical project is to decolonise film studies, including genre theory, as exemplified in such courses as: Re-Visioning Genre Theory, a fourth-year course at Emily Carr University of Art and Design; Genre Cinema: From Classical Hollywood to Global Contemporary, a third-year course at the University of British Columbia; and Refiguring Futurisms, a fourth-year film seminar at the University of British Columbia. Some of the questions explored in my research and teaching practice consider how genre cinema is adopted and subverted in contemporary non-Western films. In this paper, I use Latin American decolonial theory to focus on Brazilian cinema as an exemplar of non-Western and decolonial approaches to genre theory.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126249177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Three practitioners – a film-maker, a photographer and a film curator, all working in higher education, teaching film production, photography and film studies – discuss their reflections on co-convening a decolonising pedagogy workshop–conference hosted in May 2019 at HDK-Valand, University of Gothenburg, Sweden. They draw from their unique geographical positions – South Africa, Sweden and the UK respectively – to reflect on the nuances and differences of how race and subjectivity shape classroom interactions with the curriculum, and the institutional challenges in developing transformational pedagogy practices. The conversation uses as its impetus this shared experience of co-convening and facilitating the ‘Decolonising pedagogy: Exploring processes in image-making’ workshop–conference, and leads to discussion of broader issues of historical conditions and the geopolitical contexts that have determined the subsequent impact and outcomes in their different universities.
{"title":"Perspectives: a round-table discussion on decolonial pedagogies","authors":"L. Dovey, N. Mangalanayagam, Jyoti Mistry","doi":"10.14324/fej.05.1.03","DOIUrl":"https://doi.org/10.14324/fej.05.1.03","url":null,"abstract":"\u0000Three practitioners – a film-maker, a photographer and a film curator, all working in higher education, teaching film production, photography and film studies – discuss their reflections on co-convening a decolonising pedagogy workshop–conference hosted in May 2019 at HDK-Valand, University of Gothenburg, Sweden. They draw from their unique geographical positions – South Africa, Sweden and the UK respectively – to reflect on the nuances and differences of how race and subjectivity shape classroom interactions with the curriculum, and the institutional challenges in developing transformational pedagogy practices. The conversation uses as its impetus this shared experience of co-convening and facilitating the ‘Decolonising pedagogy: Exploring processes in image-making’ workshop–conference, and leads to discussion of broader issues of historical conditions and the geopolitical contexts that have determined the subsequent impact and outcomes in their different universities.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132099924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research started as an effort to recover lost childhood memories. I (Emilio Bassail) used the film-making apparatus as a device that allowed me to excavate, elaborate and produce representations based on the small fragments of memory I had left. After creating an archive of reconstructed memories, I started questioning the images I had unearthed. This position allowed me to interrogate and challenge the discourses behind the images. What I discovered is that forgetfulness was in fact an effect of the suppression of potentially subversive discourses. I had not really forgotten, but rather I had chosen not to remember (since the hidden childhood memories defied the internalised discourses of power and structure). To be able to remember and therefore to create, first I had to debilitate the discourses of the power structures that prevented me from going forward in my research. Following Suely Rolnik’s (2019)
{"title":"Exploring memory through the essay film To Remember: An exercise into the decolonisation of the filmmaker’s unconscious","authors":"Emilio Reyes Bassail, Jyoti Mistry","doi":"10.14324/fej.05.1.06","DOIUrl":"https://doi.org/10.14324/fej.05.1.06","url":null,"abstract":"This research started as an effort to recover lost childhood memories. I (Emilio Bassail) used the film-making apparatus as a device that allowed me to excavate, elaborate and produce representations based on the small fragments of memory I had left. After creating an archive of reconstructed memories, I started questioning the images I had unearthed. This position allowed me to interrogate and challenge the discourses behind the images. What I discovered is that forgetfulness was in fact an effect of the suppression of potentially subversive discourses. I had not really forgotten, but rather I had chosen not to remember (since the hidden childhood memories defied the internalised discourses of power and structure). To be able to remember and therefore to create, first I had to debilitate the discourses of the power structures that prevented me from going forward in my research. Following Suely Rolnik’s (2019)","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"199 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134237219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Collaborative online international learning (COIL), also known as ‘telecollaboration’ or ‘virtual exchange’ among other terms, has been employed as a strategy for internationalisation of the curriculum in various disciplines for several years, but the COVID-19 pandemic has provided renewed impetus. This article argues that it can offer an effective means to decolonise approaches to teaching film studies through South–North collaborations. In brief, COIL is a pedagogical approach that holds that ‘learning takes place through a distributed network of connections to other people and their resources, and formal and informal educational assets in the public domain’ (Reo and Russell, 2015–North focus, partnering with a higher education institution in Latin America, would provide unique opportunities to decolonise the film curriculum, given the features of COIL. In 2020, two universities in Mexico, one in Brazil and one in Colombia founded the Latin American Network for COIL. To date, it comprises 135 institutional members, some of which have students from Indigenous backgrounds and are already actively engaged in decolonising the curriculum. Our article proposes ways to take this forward.
{"title":"Decolonising the film curriculum through South–North collaborative online international learning (COIL) initiatives","authors":"Armida de la Garza, Cliona Maher","doi":"10.14324/fej.05.1.04","DOIUrl":"https://doi.org/10.14324/fej.05.1.04","url":null,"abstract":"\u0000Collaborative online international learning (COIL), also known as ‘telecollaboration’ or ‘virtual exchange’ among other terms, has been employed as a strategy for internationalisation of the curriculum in various disciplines for several years, but the COVID-19 pandemic has provided renewed impetus. This article argues that it can offer an effective means to decolonise approaches to teaching film studies through South–North collaborations. In brief, COIL is a pedagogical approach that holds that ‘learning takes place through a distributed network of connections to other people and their resources, and formal and informal educational assets in the public domain’ (Reo and Russell, 2015–North focus, partnering with a higher education institution in Latin America, would provide unique opportunities to decolonise the film curriculum, given the features of COIL. In 2020, two universities in Mexico, one in Brazil and one in Colombia founded the Latin American Network for COIL. To date, it comprises 135 institutional members, some of which have students from Indigenous backgrounds and are already actively engaged in decolonising the curriculum. Our article proposes ways to take this forward.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115163831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the possibility of combining educational approaches to film and theatrical drama to enhance teachers’ confidence in creative, transmedia and multidisciplinary approaches to learning. A detailed case study is explored – a short teacher training event which utilised certain media literacy resources to inspire and familiarise teachers with the language of images, while seeking to demonstrate how simple media devices can be used to connect film- and theatre-based pedagogies. Overall, the article considers ways in which teachers can obtain the confidence within a short time to integrate approaches inspired by film-making into their teaching in connection with their students’ enthusiasm for, and expertise in, digital media.
{"title":"Learning from film to theatre and from theatre to film","authors":"Maria Leonida","doi":"10.14324/fej.04.2.05","DOIUrl":"https://doi.org/10.14324/fej.04.2.05","url":null,"abstract":"\u0000This article explores the possibility of combining educational approaches to film and theatrical drama to enhance teachers’ confidence in creative, transmedia and multidisciplinary approaches to learning. A detailed case study is explored – a short teacher training event which utilised certain media literacy resources to inspire and familiarise teachers with the language of images, while seeking to demonstrate how simple media devices can be used to connect film- and theatre-based pedagogies. Overall, the article considers ways in which teachers can obtain the confidence within a short time to integrate approaches inspired by film-making into their teaching in connection with their students’ enthusiasm for, and expertise in, digital media.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123311044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When teenagers are given access to digital media equipment, their teachers and film club leaders may hope that they will take the opportunity to make films of personal significance. Instead, young people often choose to engage in a parodic dialogue with popular culture, in a process which feels more familiar and/or comfortable to them, providing as it does a creative space unburdened by expectations of sincere expression. From a survey of numerous short films made in Scotland, it is evident that the use of pastiche and parody facilitates both progressive and reactionary perspectives, often within the same film. Exploring a series of detailed case studies of films made by young people in Scotland in the early 2000s, this article argues that parody can provide for young people an aesthetic distance from personal expression, which, ironically, is unexpectedly revealing of generalised teenage sociocultural attitudes.
{"title":"Excitement lies elsewhere: Teenage film-makers and popular culture","authors":"R. Shand","doi":"10.14324/fej.04.2.08","DOIUrl":"https://doi.org/10.14324/fej.04.2.08","url":null,"abstract":"\u0000When teenagers are given access to digital media equipment, their teachers and film club leaders may hope that they will take the opportunity to make films of personal significance. Instead, young people often choose to engage in a parodic dialogue with popular culture, in a process which feels more familiar and/or comfortable to them, providing as it does a creative space unburdened by expectations of sincere expression. From a survey of numerous short films made in Scotland, it is evident that the use of pastiche and parody facilitates both progressive and reactionary perspectives, often within the same film. Exploring a series of detailed case studies of films made by young people in Scotland in the early 2000s, this article argues that parody can provide for young people an aesthetic distance from personal expression, which, ironically, is unexpectedly revealing of generalised teenage sociocultural attitudes.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"167 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127311025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Against the backdrop of the century-long stigma associated with film in America’s English classroom, which persists despite its codification in the English Language Arts (ELA) standards, this study investigated the question: How do American high-school English teachers make sense of and instruct with film? Employing semi-structured interviews with 12 high-school English teachers who instruct with film, from suburban, urban, rural and private school settings, the findings suggest that the stigma staining film in America’s English classroom is systemic. Participants shared their view that film is not an inherently passive medium, and when purposefully and actively facilitated, it possesses unique and efficacious pedagogic promise. Employing strategies typically associated with teaching printed texts, maintaining high classroom expectations, and integrating twenty-first-century pedagogic technologies when teaching with film may allow instructors to fulfil film’s remarkable learning potential, and consequently subvert misperceptions of, malpractices with, and the stigma surrounding film in America’s English classroom.
{"title":"The English Language Arts hundred years’ war: Subverting the stigma of film in America’s English classroom","authors":"J. Goldberg","doi":"10.14324/fej.04.2.04","DOIUrl":"https://doi.org/10.14324/fej.04.2.04","url":null,"abstract":"\u0000Against the backdrop of the century-long stigma associated with film in America’s English classroom, which persists despite its codification in the English Language Arts (ELA) standards, this study investigated the question: How do American high-school English teachers make sense of and instruct with film? Employing semi-structured interviews with 12 high-school English teachers who instruct with film, from suburban, urban, rural and private school settings, the findings suggest that the stigma staining film in America’s English classroom is systemic. Participants shared their view that film is not an inherently passive medium, and when purposefully and actively facilitated, it possesses unique and efficacious pedagogic promise. Employing strategies typically associated with teaching printed texts, maintaining high classroom expectations, and integrating twenty-first-century pedagogic technologies when teaching with film may allow instructors to fulfil film’s remarkable learning potential, and consequently subvert misperceptions of, malpractices with, and the stigma surrounding film in America’s English classroom.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117001085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Co-authored by Scottish secondary school teacher Kerry Abercrombie and film education practitioner Jamie Chambers, this article explores School of Media, a specialist pathway within a Scottish secondary school in which young people are able to engage with film education potentially throughout their entire experience of high school. First exploring how School of Media seeks to reconcile aspects of film education with Scotland’s national ‘Curriculum for Excellence’, this essay subsequently adopts a chronological perspective, detailing specific aspects of School of Media’s approach within each of the six years of secondary school. The essay concludes by emphasising the importance of enabling and empowering teacher-led approaches to film education within Scottish classrooms.
{"title":"Six years of School of Media: Exploring specialist pathways for film education throughout students’ experiences of Scottish secondary school","authors":"Kerry Abercrombie, Jamie Chambers","doi":"10.14324/fej.04.2.01","DOIUrl":"https://doi.org/10.14324/fej.04.2.01","url":null,"abstract":"\u0000Co-authored by Scottish secondary school teacher Kerry Abercrombie and film education practitioner Jamie Chambers, this article explores School of Media, a specialist pathway within a Scottish secondary school in which young people are able to engage with film education potentially throughout their entire experience of high school. First exploring how School of Media seeks to reconcile aspects of film education with Scotland’s national ‘Curriculum for Excellence’, this essay subsequently adopts a chronological perspective, detailing specific aspects of School of Media’s approach within each of the six years of secondary school. The essay concludes by emphasising the importance of enabling and empowering teacher-led approaches to film education within Scottish classrooms.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122472622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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