Found In Translation

One of the highlights of last week’s Scottish Film and Learning Festival was Rob Smith’s presentation ‘Using Film in the Classroom‘, which you can hear (though unfortunately not see) on the Radio EduTalk website by clicking here, and I would suggest that one of the reasons Rob’s workshops and Literacy Shed website are so popular, is that he is thoroughly convincing when he argues that using film in the classroom is the key to unlocking creativity, especially when it comes to the quality of children’s writing. And that is the point. Reading or watching film is often seen as an alternative to using printed texts, which leads to a polarised debate about the relative merits of films and books. ‘Books allow you to use your own imagination, while in a film the director has done all the work for you’, the argument goes, ‘and surely the only way to improve writing skills is by studying WRITTEN texts?’

If you listen to Rob, you will discover the fallacy of both statements, and if you accept that using books and using film in the classroom are not mutually exclusive, you will have made the problem disappear. Keep in mind also that there are many ways to create texts, and the written word is only one of them. Which is why one of my Ten Tools For Reading Film is the grandly titled ‘Generic Translation’, an approach which allows teachers and students to experiment with media and come to understand the possibilities each of them presents. Take this example of a short animation, based on the Charles Bukowski poem ‘The Man With The Beautiful Eyes’. What better way to develop an understanding of metaphor than by studying the printed text and the animation side-by-side.

You will find more detailed suggestions on how to use this film in the classroom, as well as many others, at the Moving Image Education website by clicking here.

To listen to more talks from the Scottish Film and Learning Festival see previous post.

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Fry’s English Delight

If you love words, you’ll love this. Stephen Fry takes the language police to task in an animated celebration of the English language. Doesn’t need any more introduction than that: it speaks for itself. Thanks to Kenny for bringing it to my attention.

I Want to Tell You a Digital Narrative

Writing in this week’s TESS, Peter Wright, president of the Scottish Secondary Teachers’ Association, offers a six-point plan to ‘rescue’ Scottish education from the doldrums in which he claims it to be currently stuck. Some of his ideas I happen to agree with, such as his recommended class size maximum, but on the subject of improving literacy he has this to say: “It must be defined as the ability to read and write. The current fad, which defines it as the ability to access texts in all their forms, must be shelved.” On this I couldn’t agree less.

That statement is wrong on so many counts. For one thing, ‘the ability to read and write’ is in itself meaningless, as it immediately begs the question, ‘the ability to read and write WHAT?’  The ability to read, and the ability to access texts in all their forms, are not mutually exclusive. The use of the word ‘fad’ is simply a sign of a desperate man in search of an argument.

I have written before about the blurring of the lines between reading, writing, listening, watching and talking, and about the development of digital narratives which appear to be breaking down the divisions between books, films and computer games. Inanimate Alice is a particularly exciting example of a multimedia, interactive narrative which combines digital photographs, video, printed text, drawing, painting and sound. The narrative is progressive and increasingly complex, not to mention absorbing and engaging. For a range of other good examples of digital narratives in development, and a wonderful range of materials and suggestions for creating digital narratives I would suggest you visit Martin Jorgensen’s definitive website The Digital Narrative – Finding Your Story with New Media and its close relatives The Lightning Bug, where young writers are provided with a host of ideas to inspire and support them in their efforts, and Building Community in Your Classroom, for teachers who are keen to introduce new technologies into their classroom but don’t quite know where to start.

I have also been excited recently by computer games such as Samorost and Machinarium, which have a narrative structure, but little or no printed text. They are described as ‘games’ but have a definite narrative or story – even although they have very little or no printed text – which only becomes complete or obvious after the player has solved all the puzzles and the plot has been resolved. These games are visually quite stunning and provide the perfect stimulus for discussion and for the creation of text, including the writing of stories. Beyond these however, it is difficult at the moment to find computer games which have a strong narrative element, rather than simply providing a context for interactive learning and social integration, commendable as both of these aims undoubtedly are. Ultimately, it’s the quality of the narrative which counts, and at the moment it seems to me there are very few games which are able to provide this. The problem for games developers is perfectly summed up in this very funny presentation from Daniel Floyd of Animation Mentor.