1. Expanding Teachers Literacy: Playing with Digital Text and
Media in SchoolJOLLE 2013 Kathy Garland, Ph.D.Florida State
University 2. Have you ever been disappointed bythe film version of
a book? 3. Three methods support in-depth analysis of
filmrenditions of novels.VISUAL THINKINGMEDIA LITERACYSTRATEGIES
EDUCATION CRITICAL MEDIA LITERACY 4. Visual Thinking
StrategiesThese strategies were1) Whats going on withcreated in
order to this picture?help students develop2) What do you see
thatand support makes you say that?interpretations of art and 3)
What more can youfind in there?other visual images(Housen, 2001).
5. Visual Thinking Strategies Whats going on with this picture?
What do you see that makes you say that? What more can you find
that makes you say that? 6. Visual Thinking Strategies Whats going
on with this picture? What do you see that makes you say that? What
more can you find in there? 7. What differences do you notice? 8.
Media Literacy EducationIs the ability to access, analyze, evaluate
andcreate media texts, such as popular culture(Aspen Institute
Leadership Conference, 1992). 9. Film LanguageJohn Golden (2001)
MOST COMMON SHOTS Medium Close-up Long VARIATIONS OF SHOTS Two-shot
Extreme close-up Over-the-shoulder-shot Point-of-view shot 10.
Medium Shot Most common and natural offraming shots, because
humanssee each other in relation topersonal space issues Offers
viewers some choice, so attention can be called to what is
happening around object Humans are usually shown from waist up
Neutral shot because it does not force viewer to see one object nor
does it offer a huge variety of sights to see Seldom does it
generate a WOW! like long or close shots can do 11. The Close-Up
Shot Object or subject takes up 80% of frame, so appears to be
large Can direct viewersattention to a detail, like aclue, to a
facial expression Forces viewer to look onlyat what director
intended Deprives viewer of overallcontext Is intimate and
revealing,although intrusive andauthoritative 12. Extreme Close-Up
Shot Extreme close-uppossess shock value bycalling attention to
acharacters facialexpression and cannotbe used often or theylose
their potency 13. The Long Shot Object is in the distance, if of a
person usually the whole body is shown Can establish thescene Can
show separation Gives viewer a senseof time and place Allows viewer
choiceof where to look sincethere is so much inframe 14. Two-Shot
Two people are framedcomfortably, a lot like amedium shot 15. Point
of View Shot Shows a view from thesubjects perspective.This shot is
usuallyedited in such a waythat it is obviouswhose POV it is. 16.
What shots do you notice? Think about what happens in each scene.
Why do you think the director would choose to film these shots? How
do the specific shots convey or enhance the directors message? 17.
Critical Media Literacy recognition of the construction of media
andcommunication as a social process as opposed to acceptingtexts
as isolated neutral or transparent conveyors ofinformation; some
type of semiotic textual analysis that explores thelanguages,
genres, codes, and conventions of the text; an exploration of the
role audiences play in activelynegotiating meanings; problematizing
the process of representation to uncoverand engage issues of
ideology, power, and pleasure; examination of the production and
institutions thatmotivate and structure the media industries as
corporateprofit seeking businesses. (Kellner & Share, 2007) 18.
Critical Media LiteracyFilm Version Book Version I am! She tossed
me the glass ball. Just look at her in the glass. Never look at her
directly (Riordan, 2005, p. 182). 19. Handout, Rationale,
Resources, and Questions According to NCTEs 21st Century Curriculum
andAssessment Framework (2008), there are sixcomponents that
support a literate person in the21st Century. Common Core State
Standards suggest sixththrough 12th grade students critique
and/oranalyze film versions of novels and otherliterature. There
are several online resources that you canintroduce your students to
in order to get started.
