Results tagged “film” from PEDABLOGUE

VoiceThread for Educators

A few weeks ago I stumbled on VoiceThread and I keep mentally returning to it as a great model for hosting online discussions. It's an exciting format, and I am considering it for any online course I might offer in the future. Beyond the "sitting around the table" structure that is so smartly structured here, what I like most about it, I think, is the ability to add to the discussion from telephone and via text message, which solves the "I can't afford a webcam" problem to a degree.

Here's an instructor (Michelle Pacansky-Brock) talking about how she might use it in her art history courses:

And here's Brock's recent blog entry on Educause's 7 Things You Should Know About VoiceThread. Classroom 2.0 has a good Wiki collection of links to sources and examples on VoiceThread, including my first introduction to it: a google docs slideshow called "Seventeen Interesting Ways to Use VoiceThread in The Classroom."

I'd love to hear comments from folks who have used it.

In my "Introduction to Literary Studies" course, I tried a new assignment: a Group Dramatic Performance (via Pod- or Video-cast). The guidelines were very general, allowing maximum room for creative expression on behalf of the students. Essentially, I just asked for groups of 4-5 students to independently "record a 5-8 minute performance 'inspired by' the assigned readings in the class this term." Students were told they could use the text as a script, or be creative and try to communicate a point/theme that gives insight into the original text. I also tried to inspire the class by showing them adaptations of works they had read, especially an animated adaptation of Edgar Allan Poe's "Annabel Lee" (an impressive stop motion puppet film by George Higham), and we also screened Murnau's Nosferatu as the deadline approached (since, in my opinion, they could identify "home movie" making with the choices made by primitive cinema directors).

The results were almost entirely comedic, but some were very impressive given that I did not facilitate the productions at all with any instructional advice, cameras, microphones, or editing software! I believe we are at a point in college culture now where most students are already facile with such things as converting files to YouTube ready format and editing on a Mac, or finding a camera that will function well enough for the purpose.

Here are the videos that they managed to post to YouTube:

Students could opt out of video and do an audio recording instead. Here are the two that came in:

We're screening and listening to these one-a-day in my class, and the walls have been echoing with laughter.

Pretty impressive work, class!

I never would have had the courage to try such an ambitious assignment if I hadn't once visited a high school class run by Lawrence C. Connolly at Sewickely Prep Academy, who assigned student groups to all adapt a specific passage from Dante's Inferno in their own ways. They screened their videos and I was so impressed by the outcome that I left wanting to try something similar myself some day. The lesson? Trust student bonds outside of the classroom, and leave lots of wiggle room in your guidelines when giving a creativity assignment. When students have free license they usually will not disappoint.

Here's "Goblin Shoe Market" by Jessica Pilewski, Mike Poiarkoff, Theresa Conley, and Dianna Griffin -- notable for its emulation of a silent film:

YouTube EDU (and AcademicEarth)

The trend for open source online teaching has recently reached a milestone, I think. YouTube EDU has launched, offering a good repository of instructional videos, streaming lectures from universities and elsewhere, to the globe. The Open Culture blog calls it a "robust collection" with over 200 full courses from leading universities, on top of campus tours and other features of that nature.

Unlike YouTube proper, which will accept content from any subscriber, from what I gather, educational sites from MIT to the Culinary Institute of America are providing the content in an "open source" way that gives them a "channel" in the collective, allowing them to not only share information but to some degree expose viewers to their identity as a sort of advertisement. When you click the "apply now" link at the bottom of the page, you get an application for institutional membership, with a stipulation that reads:

We request only one channel per institution that encompasses the entire campus, and you must have authority to open a channel on the institution's behalf. If you are a school, department, or educator within the institution, please coordinate with the proper department on campus - typically Public Affairs or Academic Technology.

Thus, while it is still "open source," there is still the brand identity of the academic institution at work which -- ostensibly -- will filter the content on the user side of the equation. This has pros and cons, and one has to wonder how much production value and censorship comes into play. I think this benefits larger, well-funded colleges who have a procedural apparatus in place for providing such content... ergo, the preponderance of lectures on YouTube EDU currently seem to be Ivy League colleges of high reputation (seeking pertinence in the digital age) and trade colleges the likes of which you might see advertised often on television.

Indeed, with the increasing boundary-loss between streaming online video and the television set -- aided by the rise of devices like the AppleTV, Roku Player, and XBox -- it seems sensible for academia to take seriously the potential of investing in video sharing.

Readers at the Open Culture Blog are recommending academicearth.org -- which LifeHacker compares to Hulu -- as a stronger alternative. I can see why, at first blush: it organizes material by subject right from the front page, seeming to be curriculum-centered rather than institution-centered. The videos seem to be high quality, and often offer transcripts and other material that make the vids seem much more "course" like. Moreover, the rating system is organized by instructor so that you can quickly jump to those who browsers feel are the best at delivering the content, rather than just (as in youtube edu) those videos that are given a generic "star" rating on who know's what criterion.

Another issue on YouTube EDU's format is the "comments" feature, which like any good weblog allows users to provide feedback. As I give a glancing look at various videos, I see comments that are littered with obscenities and smart aleck jokes, as if they were notes passed between virtual slackers and class clowns sitting in the back row. AcademicEarth, on the other hand, allows embedding of videos which would encourage users to post comments on their own sites, instead. (Of course YouTube EDU allows embeds as well).

The value of YouTube EDU, of course, would be greater visibility in google search and youtube search results. This, sadly, is the monolithic aim of far too much online content, but this is the way the cookie crumbles in the attention economy. Since most students would probably tend to search google long before they ever stumbled upon AcademicEarth, the site bears serious consideration for academic institutions.

There are uses I'd like to see sites like these put to: more academic debates, more streams of events that feature students as much as star lecturers, more faculty/research profiles or interviews.... perhaps we will see growth in this kind of material soon.

I'm building a new weblog called THE POPULAR UNCANNY. It's a supplement of sorts for my upcoming non-fiction title from Guide Dog Books by the same name.

The book is a critical study of theories of the Uncanny/"das Unheimliche" as they appear in advertising, film, bestsellers, and online. Chapters include examinations of such topics as the icon of the dismembered hand in the history of horror cinema, and a treatment of the advertising world's "Doublemint Twins" as uncanny doppelgangers. (The Popular Uncanny, btw, was originally my doctoral dissertation at the University of Oregon.)

While the entries in the new blog will tend to lean toward the "academic" side and may refer to theories not all readers will be familiar with, my hope is that the blog will keep my research fresh and fun while also giving me a place to muse about the weirdness in pop culture -- in addition to raising awareness about theories of the Uncanny. As a horror writer as well as a scholar of the horror genre, I think the blog will also help me merge these two interests in new ways. The site design and structure is still under construction, but posts have already been released on such things as the "gaze" in The Ring and the uncanny in a new 'singing robot' art exhibit by Talking Heads frontman, David Byrne. Comments and recommendations are always welcome.

Pedablogue, of course, will continue. I'll post news here about the book when its publication is imminent in Spring 2009. For now, I invite you to come on by the new weblog, anytime.

[See also: "Uncanny Teaching"]

Are we bending under the oppressive rule of children? Do kids have too much power?

There are days, I think, when every teacher wonders this, even at the college level.

Dennis Jerz posts a good response to this idea, particularly in terms of catholic teaching, as raised by Joseph Epstein in his recent lament about the Millenial generation in the conservative journal, Weekly Standard. It's given me a lot to think about, because I often have mixed emotions about inappropriate student behavior and obvious expressions of immaturity, which sometimes conflicts with my drive to treat all students as adult thinkers and learners.

Epstein grossly broadens this idea to suggest that we're living under a "Kindergarchy." [That's a neologism; as Michael Gilleland points out, the correct term is "paedarchy"]. Epstein has used this term before -- in a Wall St. Journal article celebrating Thanksgiving (because, of course, it is the least kid-centered holiday) -- so I think it's safe to say his suspicion of children is something of a leitmotif for him, if not a future book topic.

He's not alone: Time magazine even did a fascinating cover story on the topic a few years ago, "Do Kids Have Too Much Power?"

And it's an interesting question, though when it comes to college teaching (which both Jerz and Epstein mention in exempla), I think we need to be careful not to fall for such widespread generalizations about "kids today." Kids today are just like kids yesterday, but they have different cultural frames of reference, different ways of reading the world. And even while parents seem to be playing a larger role in the academic life of their offspring, I refuse to think of my students as "children" let alone "kids." (No one old enough to wear a military uniform is a child. A better word would be "initiate"...students are "uninitiated" into our learning communities and undergoing a transformation to join them.)

The adult/child divide is not only an issue of parenting, but -- particularly when pushed into abstractions such as "generation" gaps -- also a power relationship, complicated by fears of aging and the desire for eternally youthful vim. Often what seems to be a "grumpy old teacher" engaging a "hostile youth" is really a status game of some kind. In some classrooms, the assumed power position of wisdom (only earned by years of disciplined brain training) butts heads against the assumed power of the youthful physique (usually unearned, though it can be earned through disciplined body training); the classroom is a bastion of the mind, so I can understand why it makes instructors angry when, say, a student-athlete cops an attitude of superiority and refuses to "play along" with a teacher's classroom work. Yet how many teachers channel and project their hostility about their own aging out on the youthful students they have to contend and spar with? How many dream of eternal youth, aligning themselves with their students rather than owning up to their own aged wisdom and experience? To what degree do such psychological hang-ups and unconscious wishes get in the way of teaching and learning?

While it may be true, as many of my colleagues note, that today's students have a strong sense of unearned "privilege" that earlier generations did not, this does not mean that these students are tyrants who rule us. Unfortunately, however, we've all probably heard of -- or personally dealt with -- students who act like they "pay our salaries" and therefore should not have to follow our rules but in fact can direct us to do their bidding (when most of the time, it's their parents or the government's loans and/or scholarships that are "paying" us). The marketing of college campuses as commodities may very well have something to do with this attitude (as Jerz also obliquely suggests). And this, perhaps, is at the root of the problem: students are still "children" in the eyes of their parents and thus they become so to those who market to those parents. To us, on the front lines in the classroom, students need to be treated as adults. Or in the very least, adults-in-progress.

But I always believe it's a good idea to talk about these things openly; if there is a "power struggle" in the classroom, even when it's between me and a student, I'm all for calling attention to it. People at a particular stage of development -- say, 18-24 year olds -- will almost universally be coming "of age" about the world, and will have the same sorts of quirks, assumptions, hostilities, resistences, curiosities, presumptions, and drives. Good college teachers probably recognize or intuit the ways that people of this age group process the world, and can tap into it in order to generate learning. Often this requires dismantling the assumptions that a person of this age group has unwisely settled upon too soon in life, while also remaining skeptical of one's own assumptions about that age group. This is why I always enjoy teaching "education" as an outright topic when I am running a freshmen level course. It is a good way to get these assumptions about "privilege" out into the air, to be tested and challenged in a collaborative open discussion. Once students see that not everyone has the same economic background and different motivations for attending college, they usually modify and reflect on their own background and motivation and, ideally, how these are influenced by outside forces beyond their own organic will.

In Epstein's "Kindergarchy," he slips into a reflection about teaching literature that reveals his persistent struggle against the idealism of the young in his classroom:

...often in my literature classes students told me what they "felt" about a novel, or a particular character in a novel. I tried, ever so gently, to tell them that no one cared what they felt; the trick was to discover not one's feelings but what the author had put into the book, its moral weight and its resultant power. In essay courses, many of these same students turned in papers upon which I wished to -- but did not -- write: "D-, Too much love in the home."

Call me a softie, but there's no such thing as too much love, anywhere. This is a primary example of the "power struggle" I was talking about above. Epstein's secret desire to punish students for being loved as children by their parents sounds awfully sadistic to me, but I have to admit that I have felt a similar twinge of frustration before. (Especially when teaching film, which students are trained to think of as "entertainment" not "art").

While it is true that an affective response to literature is not wholly relevant to a conversation in a literature classroom, and that literary professionals truck with reason not emotion, these feelings still exist in any reader response and a skilled teacher can -- and often must -- train students to see how those emotions are constructed by the text, manipulated by the book and its packaging, their own assumptions, etc. Our very job, I think, is to wean students in lower division classes away from "settling" for emotional reactions as a telos for judgment. Yet this emotion is a stepping stone into criticism, and our job is to point to the river and say: look there, a stone that can help you cross over to my side. But of course, sometimes the teacher too must be willing to cross over toward the students side once in awhile too... but there are many rivers to cross.

[Besides, I challenge Epstein's assumptions about the goal of teaching literature generally: When Epstein says that the focus should be "what the author had put into the book" I would ask how one could possibly know that intention and why not just focus on the "book" not the author's effort; when he refers to "its moral weight" I would question how he "weighs" morals and if they are really as pertinent as he suggests; and when he mentions "resultant power" I would ask if he does not here mean the very emotion he was hoping to quash in the first place, albeit an informed one?

[And I wonder if in the memory he recounts, they were responding to a Dickens novel? Muhahah.]

Another way to get into this matter is to discuss the very notions of "childhood" and "adulthood" in the classroom and to unpack how the meanings of these terms are socially-constructed. A child in one country is not a child in another (just think of the drinking age or legal marriage age in some countries, and you know what I mean). Some are afraid that childhood no longer even exists. I teach an advanced lit course -- when I'm lucky -- called "Childhood in Literature" in which we discuss cultural issues like these, while surveying the representation of the child historically and culturally, across a wide range of fiction and poetry (yes, including Oliver Twist!). The course begins with theory by having the class analyze and discuss Neil Postman's excellent book, The Disappearance of Childhood. Postman argues that childhood is a social construct that operates only in relation to what we think it means to be an adult. For Postman, to be a child is not just an organic age bracket -- it means not yet having literacy -- which gives one "access" to adult "secrets." For Postman, the mass media of TV has erased the need for literacy to have this access, producing adultified children and child-like adults. When we teach literacy, we are teaching adulthood.

In another article on aging, Epstein himself seems to recognize the cultural paedomorphism -- that is, the extension of juvenile tendencies into adulthood -- that Postman has lamented when he writes:

I also grew up at a time when the goal was to be adult as soon as possible, while today--the late 1960s is the watershed moment here--the goal has become to stay as young as possible for as long as possible. The consequences of this for the culture are enormous. That people live longer only means that they feel they can remain kids longer: uncommitted to marriage, serious work, life itself. Adolescence has been stretched out, at least, into one's 30s, perhaps one's early 40s.

Many -- if not the majority -- of the college teachers I know are in their 30s and 40s. Many don't have "kids." You might leap to the assumption that these young teachers are perpetual adolescents who are so much "still in school" that it's become their entire career. (And anyone who wants to be quick to judgment can summon examples easily enough of some teacher they've met who dresses too young, or acts too juvenile, or goes out drinking and dating with students beneath their age bracket, or still loves comix, or plays games, or writes horror stories, or relishes stuffed animals in their offic, or watches Disney cartoons, or plays with coloring books and action figures, or does any number of activities that one might associate with youth culture. Does this make them perpetually juvenile, or simply interesting people who actively know where their pleasures lie?)

We as teachers need to be conscious of our outward expression of "age affiliation" as well as our students, but it should not control us or fill us with shame. The psychology of identity behind age affiliation is intriguing but very complicated, and the distinctions between childhood and adulthood are often false binaries. What Epstein might fail to recognize is that the "serious work" of academia is neither to "become adult as soon as possible" nor to "stay as young as possible for as long as possible" but rather to have a more consciously realized life, period. That's how I prefer to think of it. Shine light on behavior, perhaps even share one's own feelings, but ultimately let students judge it for themselves. To lash out at students with poor grades for "too much love in the home" is probably fighting childishness with childish behavior. It is not always what we do, but how we do it, that separates children from adults. Thus, we need to treat college-aged students like adults, perhaps most of all when they are acting like children.

Screams from Right Here

Last week in my Horror Writing course (one of my favorite Topics in Creative Writing classes to teach), we looked at the role of the "scream" in horror. I decided this would be a great way to put the "Friday Shout-Out" exercise -- an idea culled from Coyotebanjo's music teaching weblog and discussed here at Pedablogue in February -- to the test.

Essentially, I began class by calling roll with the requirement that the student had to scream "Here!" to be marked as present. The first few names called were timid in their replies -- they kept looking at the door as if expecting an angry dean or concerned prof to show up at our doorstep. So I shouted at them: "Come on! Belt it out!" showing them that if it was okay for me to cry out, it was okay for them. After a few risky shouts, rewarded by laughter and my own shouts in reply, their cries became louder and louder. "That's more like it! Come on, make my blood-curdle! This is a horror class!" The barks of "Here!" and "Present!" became as thunderous as a Marine's drill team, as shrill and glass-shattering as an audition session for a horror movie 'scream queen.'

It was a lot of fun, and though I did risk annoying some classrooms down the hall (our room is relatively isolated, off in a corner past a stairwell) I could tell it gave the students a sort of purging relief (it had been a deadline day, after all). I dare say that the loudest and best screamer in the class was one of the most quiet students in the class, usually -- she erupted with a cry of the banshee that visibly surprised everyone to great glee.

Mission accomplished.

I feel such expressions can be helpful in teaching "artistic" expression, once the aura of permissibility has been opened up. And because the course was in horror fiction writing, it had relevance. We openly discussed why screams are so prevalent in horror films, and whether or not they generate fear or simply signify it. We discussed how they operate symbolically. We looked into the strategy of representing screams in fiction, noting that people rarely, if ever, actually scream while reading a book. We looked at a story we had read in Stephen King's Night Shift (a text I have taught before to great success) called "The Man Who Loved Flowers," which features a passage regarding the screams that the titular lover tries to quell with his hammer. And near the end of the hour, I read an entire article aloud to the class called "Screams from Somewhere Else" by Roger Rosenblatt -- an eloquent short essay that addresses the primal relevance of the scream in today's modern world:

Civilization is tested by its screams. One has the choice to hear or not to hear; to detect location or not to detect location; to discover cause; to help or not to help. Along the many lines of choice, excuses and mistakes are possible, even reasonable. One is left with oneself and the screams, like two opponents.

I could tell just from their rapt attention that the students were fascinated by the ideas this was raising. I let them absorb the ideas in silence for a moment. Then I asked them to write a fictional scene in which a character is walking at night, and overhears a scream from a dark alleyway nearby. ("What happens next? Go.") It was very productive.

This is but one example, I think, of how it can be beneficial to introduce a little Dionysian fun into the otherwise Appolonian hallways of academe. I'll continue to discuss activities in my horror writing class in the future.

Related reading...

[UPDATE Sept. 2008: This class was featured in my article, "The Unlearning: Horror and Transformative Theory" published this month in the Journal of Transformative Works and Cultures.]

Tickling the Elmo

elmoschematic.gif

At Seton Hill University, our "smart classrooms" are equipped with these wonderful document projectors, called ELMOs. "ELMO" is the name of the company that makes these "visual presenters," but on our campus we use the term affectionately as a pet name for these two armed wonders. They work by using a digital camera instead of a mirrored lens like the usual overhead projector -- ELMO projects anything a camera would: documents, book pages, photographs, and even 3D objects that you place under the lens onto the big screen. They're GREAT!

Like most of the faculty on my campus, I typically just use the ELMO as an overhead projector to show handouts, but without having to go through the trouble of making a transparency, since it will project anything you put on it. In my mind, it's even easier to operate than a PowerPoint presentation, and I'll sometimes print out a quick outline for any lecture or class plan (in large font) and just project it, moving as we go through the class outline, keeping the hour organized. But I also like to experiment with the ELMO and see what other things it is capable of doing. After all, people's eyes are naturally drawn to a big screen spectacle and there is a way to tap into this for educational purposes and to reach out to visual learners. These devices are fantastic for visual aids, but I haven't seen professors using them very creatively, let alone with much expertise. It's something worth taking advantage of to not only project information, but to put into action to keep a class' attention (without, of course, using it as a DISTRACTION).

The ELMO (and I really should be calling it the HV-5000XG, since that's the model we're using) can zoom in, zoom out, auto-focus, and more, by pressing buttons on the "stage" at the base. The "stage" can be backlit from underneath or use the two large arms to cast light on the front of the page. But tonight I decided -- after four years of using it -- to actually read the technical manual (online pdf). And though there are some buttons on the machine that I've never used, I was surprised to learn it can do even more than I imagined.

For example, there's apparently a remote control for adjusting the focus and so forth, hidden in a compartment on the stage. So I can walk around the room and zoom in on something if I need to (though the infrared sensor might be shielded by the lecturn). I notice quite often that lecturers will neglect to "enlarge" whatever it is they're projecting, but one should remember to zoom in so that one line of text on the handout will occupy the entire width of the screen and make it easier to read. Students really appreciate this, even though you sacrifice height for width (i.e., you won't be able to see the whole paragraph or passage of text -- or the whole outline...but paper can be slid up and down to accommodate this as you need it). I like to try to use the frame of the screen to both focus and block out things as I go; sometimes the mystery of what's still to come as we make our way through an overhead keeps students alert and taking notes.

I also learned that the lens on the camera can pop off and reveal another lens inside the camera. That means that what we're using as the default lens is actually a secondary "close-up" lens! I had no idea. But I have often played around with the camera by swiveling the camera head around to project the class itself up on the screen (among other things), and now I know how to make the image less fuzzy. There's also an "iris" function on the remote, which might be useful for my film class, when I teach the idea of the "iris" and also might make for some interesting transitions (since we have a switch to turn from the ELMO to a computer monitor and back again). The ELMO has an option to include a small LCD monitor (which we don't have equipped on ours and I wish we did...so I wouldn't have to turn to look at the screen behind me everytime I use it)...perhaps I could use a laptop or the computer monitor in its stay?

The fact is, because the ELMO is a digital capturing device, with enough ingenuity (and the right cables), one could use it as a camcorder or still capture camera for a variety of pedagogical reasons. One could point it at huge maps on the wall and thereby project them onto the screen to make them even larger, or one could zoom in to, say, one region to expand it so everyone can see it from a distance. Or lectures and student speeches in large lecture halls could be simultaneously "shot" and projected onto the larger theater screen, concert style. Student exhibits, speeches, and more could possibly even be recorded using the ELMO and a cable routed back to the computer or a laptop. I'm wondering if my PDA could work with it somehow. Indeed, now that I've read the manual, I see that there are numerous types of connections that could be made on the fly.

I do like to tickle the ELMO. I will often, as I said above, twist the camera head to point at the students en masse, showing them what the class looks like from my perspective. When I'm not directly talking about a handout, but want to keep the ELMO warmed up for when I will, I put objects that are interesting to look at on the stage. A bottle of water, shot from above, makes an interesting spiral pattern. An extreme closeup of a small element of the textbook cover reveals a nuance previously ignored. It's handy to have artwork or a comic at the ready for filler. But anything will do. If I'm showing a film later in class, I project the DVD cover on the wall, or a still from the movie (or image from the textbook) that I want to analyze. Sometimes I'll put objects in motion, lifting them off the stage and bringing them closer to the camera lens, creating my own zoom effect without relying on the awkward push-button technology.

Any document editing can be shown well using an Elmo, so it's a great device for a writing classroom. I'll often have students walk the class through their writing intentions using these devices on their manuscripts -- or we'll workshop a piece as a class and collaboratively edit it by hand that way. It can be used for off-the-cuff show-and-tell, too -- in poetry class, for example, I'll often show "concrete poetry" that isn't in our book using the device, so students can analyze the shape in addition to the words themselves. I could imagine a biology teacher using it to show how to dissect a real frog live, or a sign language teacher using it to project images of hand signals.

When I project using the ELMO, I sometimes get self-conscious because my hands are projected as uncanny looking body parts onto the screen. I notice the dirt under a fingernail, the odd coloration of my skintone through the projector, the inkstains on my thumb. So I might use a pen or some other device as a pointer, or use a laser pointer on the screen.

For more tips on using the ELMO, I refer to Ray Moses' advice for lawyers on how to present evidence in the courtroom using a document camera... (he talks, for example, on how to use a ruler to show scale or what color marker works best for hilighting). More can be found using Google.

Gifts for Professors


Hi Michael,
I found your website by putting the phrase "recommendation letter appreciation gift" into Google. After reading your blog on writing recommendation letters I felt compelled to email you and ask you my question. A former professor of mine wrote a recommendation letter on my behalf for a graduate scholarship application. I want to send a gift of appreciation with my thank you note. We are both members of the same financial association; would their logo on a mug be an appropriate gift? (Incidentally, it is not the organization giving the scholarship.)

Thanks for your help!
Warm regards, Jessica Smith, CFP

Hi Jessica!

Thanks for writing...and posing such an interesting question! I think the truth is that a former professor will be happy to receive almost any gift you send, because they rarely receive such things from their students (it's true!), and because the kindness of the gesture -- along that thank you letter you mentioned -- will often mean more to them than anything else. Teachers are often rewarded simply by teaching and having their students achieve success. But a personal touch in a gift is icing on the cake and you shouldn't hold back. The mug sounds fine; especially if you think it will bring a smile and a memory of you to the prof's face when they drink their morning coffee or while they're sitting in a boring staff meeting. Heck, if you are close with your prof, you could even buy matching mugs -- one for you, one for them -- to signify your newly forged professional bond as colleagues in that financial association you mentioned.

I've received some interesting gifts in my day, for a variety of reasons (graduation, rec letters, end-of-term goodbyes). The typical gift is a book or a pen, because I teach English. But I really treasure the creative gifts the most. I've had students give me paintings or other pieces of art they've made, and I display them proudly in my office. I've received DVDs from films I've mentioned in class, or actual music by the student, like a mix tape, of songs related to a piece of their writing. Office-based gifts are great choices, but they don't have to be so corporate or official as, say, a paperweight or picture frame. A student once got me a Xmas tree ornament that reminded her of a Leonard Trawick poem called "At the Flying School" that I taught in our class together. Another student gave me one of those glass mannequin heads that often display hats, just because they thought I would enjoy the weirdness of it. (I did). I've got lots of Halloween decorations (my favorite, a gargoyled door knocker that screams in pain when you knock it), stuffed animals in the shape of flesh-eating viruses (not joking!), and even action figures from horror movies, like The Thing. A pair of graduate students put their money together and bought me a lamp that realistically looks like a human skull. As a horror writer, I appreciate these offbeat tokens of affection and though you'll never see me playing with an action figure, I do enjoy the fact that the students gave me something personal (and my house is starting to look like an abattoir!)

I'm not big on decorating trees, but I put that Xmas ornament I mentioned on my tree every year and it reminds me that my teaching does matter in the world outside of the hallways of the school. And I use that glass head as a prop for a poetry writing exercise in my writing class ("Write an extended metaphor for this glass head, being as descriptive as possible."). I'm not sure if a corporate-styled mug (even if that logo is for the school itself) will inspire such creative uses, but I appreciated these personal touches a great deal. If a gift inspires me to be more creative in the classroom, or actually provides me with a prop I can use in a future class, I'm overjoyed. But I'm just as happy to just receive a handshake, thank you note, kind word on an evaluation, a recommendation letter for my files, or even just a knowing smile.

-- Mike Arnzen

p.s. for readers of Pedablogue....
Thank you cards are always a good idea when a prof does work for you that they aren't paid to do. Obviously, gifts should never be traded for grades or used to ply a prof for favoritism. They should usually be given only during sanctioned events (like, say a club Xmas party), a holiday, or a goodbye present after grades have been turned in. A good time to exchange gifts is immediately following a thesis defense or somewhere in the auditorium/grounds (or even at a graduation party) immediately following graduation.

Crunching the One Hour Class

For the past -- what? -- seven years or so, I've been spoiled. Virtually all my classes have been either hour-and-a-halfers (i.e., a "Tuesday/Thursday" schedule) or 3 hour night classes. But this term I've got a pair of one hour (Mon/Wed/Fri) writing classes. Make that 50 minutes each, with 10 shaved off so folks can make it across campus from one class to the next.

It's common, really. I've taught one hour courses before. But this term, I'm really feeling the difference. Part of my problem is that the classes I'm teaching were all originally designed for 1.5 hour meetings, and these are redesigned calendars covering the same amount of material. I may not have planned well for the shorter hours. But that's not entirely responsible for the difference. As a teacher used to having a good 80 minutes to work with, a period with enough elbow room to pursue student questions and comments in depth, the time now zips by in the proverbial blink of an eye.

Everything's rushed. Take roll. Get everyone on topic. Move chairs, if necessary. Stick to the plan. Begrudgingly cut people off or close a conversation to move forward -- or table a point until the next meeting (and mourn whatever I'll have to sacrifice to accommodate it). Scramble to cover things they need to know for homework. Return papers as quick as I can before the next teacher comes in the room weilding a machete.

I firmly believe it is impossible to have a satisfying class discussion in 50 mins, let alone to fit in a group assignment and/or mini-lecture. In one class -- an upper division writing workshop -- we barely have enough time to discuss the assigned reading before we start critiquing manuscripts. In another class, freshman comp, the students like to talk...a LOT...and because it's a class in critical thinking as much as writing, I encourage open dialogue. But we veer chaotically off-topic quite a bit, because of competing desires for the floor.

We're meeting course objectives, sure, but it feels like we're only touching them with the very tiny tip of our fingers before people start packing their books and moving toward the door.

I'm trying to be proactive about this. Time management needs to become a bigger concern. I'm going to start crunching the one hour class. Here's some things I'm trying or considering:


  • pass around a sheet for roll, so I don't chew up time ticking off names
  • alternatively use roll call taking to have every student answer a question that's on the class topic for the day
  • use a student to distribute handouts while I lecture/facilitate discussion
  • use group work to allow more students to discuss while taking up less time
  • embrace student-centeredness even more than I already do; less me time, more them time
  • starting right on the top of the hour with an exercise that quickly gets us on track, like a one paragraph writing exercise
  • dedicating the last five minutes of class to having students do a writing exercise or get a head start on the assigned homework...and using that time to return papers or jot down notes on what we need to do next time while they write
  • enforce hand-raising during full class, open discussions
  • look forward on the calendar to see if there's anything I can move out of the classroom and into homework or to drop altogether
  • spend less time giving directions by distributing printed guidelines and asking students to read them for homework (and to come to class with questions next period)
  • minimize transitional time-wasters, like pushing desks into a circle. I will still have a circle, but one technique I'll try is to arrive to class early and invite students to set it up before the period actually begins.
  • show up early and put directive material on the board at the beginning of the hour; make the class outline "visible" and the homework assignment unecessary to speak aloud
  • try to free up a few class periods for looser discussion so we can catch our breath and do some reflecting (i.e., possibly screen a film outside of class instead of in it; possibly assign peer editing outside of class as homework)
  • rethink and reprioritize the reading selections with an eye toward cutting content that can be sacrificed; emphasize depth over breadth; possibly spread one reading out over several periods to allow deep/close reading

Well, that's a scattershot list of things I'm trying to do to compress time and maximize the learning that goes on in an hour. But I know that once I get another 1.5 hour class, I'll appreciate the luxury of flexible discussion time all the more.

[Things I'm thinking about in the mean time (and I invite comments). Why do we assume that MWF meetings should mostly consist of 1 hour classes in the first place? I've read that the average attention span is 20 mins... perhaps there is merit in the phrase "less is more"? Does meeting thrice work better at reinforcing course content? How free are teachers to influence the calendar, when the students' lives are organized by so many other extra-curricular elements, from sports to jobs?]

Digital Gumbo

In my research for a presentation on "Teaching with Film" this week, I came across Richard H. Dery's excellent article, "Digital Gumbo" (available at the thoughtful and often humorous webzine for teachers, Faculty Shack). In it, Dery talks about his design of an online tutorial in literary "character" that utilizes Bloom's taxonomy in what I would call a "model" way. (And I'm not just saying that because it uses a clip from Martin Scorsese's Cape Fear, which I have written about and taught often.)

Musical Chairs

I was invited to give a talk with a colleague's small class yesterday. When I entered the room, I was taken aback by the way the students were seated: all were against the walls, spread around the room. I felt this was bizarre and so I immediately took a seat in the middle and with the encouragement of my colleague, pulled them into a tighter circle so we could talk. But that image of the students -- spread as far away from the lecturn as physically possible -- really struck me as an anomoly.

I'm very conscious of spatial dynamics in the classroom. I don't mind students sitting in the back, but when I lead a conversation, I'll walk the rows and often speak right next to them. I want it to be clear that everyone is expected to participate and pay attention -- often because my classes are highly interactive spaces where participation matters.

Currently I work a very WIDE room for my freshman composition class. I'd estimate it's about four seats deep and ten seats wide. When I lead a standard class discussion, I have to march the length of the room -- from the door to the window at the far end -- and project my voice rather loudly when I'm on one side or the other. But that doesn't bother me. What's troubling is that it spreads the students far apart from each other. It divides them; and there is a sort of "faction" mentality that seems evident to me when debates get hot: one side argues against the other, from the comfortable distance of the double-wide trailer sized room.

You don't have to be a communications theorist to recognize that students tend to territorialize their space in a learning environment. If you teach, you see the same students in the same seats virtually every day -- as though some invisible seating chart were put in place even though you didn't assign it. It's predictable: students sit in the same seat each class, claiming it as their own. Some consciously choose to sit where they can better hear, better see, better learn. Others consciously choose places where they can better hide, better doodle, better sleep. Some have stock preferences -- conscious or not -- that they carry with them throughout their college careers, built long before they ever stake a claim to a chair in the room: the back row slacker, the teacher's pet in the front row, the loner who prefers not to have anyone in a three seat radius. There are myriad motives behind a student's choice of seat (one source (.pdf) even suggests that students sit based on whether they're left- or right-brain dominated). And I think that it's fine to allow students to choose their locations, actually, so that they can find a "home" site where they can feel comfortable in the classroom. It's human nature to return to the same place, time and time again. It reduces the anxiety-producing stimuli that an unfamiliar position can generate. This is, perhaps, why no one likes to have their seat taken (and everyone's heard of students getting into fights, even, about "taking my seat" -- in fact, some might claim specific seats time and again out of a fear of intruding on another student's turf).

But I wanted to mix things up a bit today. I like to try to get students to break out of their habits and to more consciously make choices about their own learning. Calling attention to a student's "situatedenss" can really open their eyes, and I like to use the classroom as a means toward that end. In the past, I've done things like rearrange the desks before the students arrive, or asked everyone to turn their desks around so I could lecture from the opposite wall of the room. This can have a "renewing" effect, sometimes.

Today I tried an experiment to consciously raise the class' awareness of their seating habits and to point out the limitations of the overly "wide" classroom. Borrowing an exercise called "The Dynamics of Sitting" (from John Suler's site for Teaching Clinical Psychology), I reported to the students what their seating preference might suggest about them ("people who sit by the window are daydreamers, like the 'freedom' of having wide-open space next to them (but often pay the price of being far from the door") and asked them to think about the subtle messages that such structures send to their teachers and classmates. Then I asked them to all pick up their books and coats and stand up by the blackboard. I gave them the opportunity to pick a new seat, just to try it out...and stipulated that, a) they could sit wherever they like next time; this wasn't necessarily permanent, and b) that they couldn't sit on the sides of the class (so that the center columns would be filled and I wouldn't have to march the length of the room anymore). It was like playing musical chairs, because many raced to grab the chair they had their eyes on. And when the dust settled, the dynamic instantly shifted: some seemed relieved that they could get a "better" seat, closer to the board or closer to their friends...while others were visibly uncomfortable and even a little upset by the changes. I asked them to talk a little bit about what was different, what was unfamiliar, what was upsetting. Then, sadly, before we really got anywhere, it was time to end class. I recommended they perform an experiment and for a day try to consciously sit in a new chair in each of their classes, just to see what kind of difference it made.

We'll see what happens...whether they'll have interesting conclusions to report about these experiments, or whether they'll choose to go back to their trusty territorialized chairs when we return on Monday. For now, I feel like this broke some students out of a comfort zone that was actually a blockage to open dialogue and I'm hopeful that they've learned something new about their "situatedness" in the classroom. There's an old line that's become something of a mantra for me as a teacher: sometimes you have to take a fish out of water to make it see the water.

I'm going to try to change the seating in my film studies class next week, as well. In that course, which is located in a very large media room, students almost HAVE to sit in the front row if they want to see the subtitles on a foreign film. But inevitably, a large number of them choose to keep their distance (which is odd to me, since half the seats aren't filled). For some students, I think it's hurting their grades. Time to grab another fish by its tail....

Teaching the Once-a-Week Course

Dennis Jerz' great Literacy Weblog alerted me to a new article up at Inside Higher Ed by Shari Wilson about the problems attached to night classes that meet for three hours, once a week, called "Once a Week is Not Enough". Wilson laments the lack of learning that happens in these longer, less-frequently-meeting classes. The crux of her argument is that there are "not enough practice-and-feedback loops to help students absorb, retain and apply information" in a class that meets once a week. Conversely, in more traditional courses, "students have a chance to replay the information in their heads and practice. With the guiding hand of the instructor, they can get even more direction and be assured that they are 'getting it.'"

At Seton Hill, we offer a large number of these courses, and our facilities often seem to be running at full steam 24 hours a day. Part of the need for these one-shot classes stems from scheduling conflicts that I would call "displacement effects": art students, for example, take studios that last all afternoon long, displacing their available time for "traditional" courses to the morning and evening slots. Other displacing effects would include athletics and activities held in the afternoon, nine-to-five jobs held by more and more of our traditional-aged students (in addition to the returning adults), and certification program conflicts (almost half our students at Seton Hill, for example, are enrolled in an Education Certification program, which functions like a double-major, forcing students to take overloads and pack those classes into their schedule whenever they can if they hope to graduate in four years). On top of the displacement effects that give rise to a need for these courses are some of the other motives Wilson mentions, such as acquiring adjuncts who can only teach at night, or adopting a consumerist model of accessibility, that markets a quick and easy education to the workforce by hosting classes during what is ostensibly their "time off."

It's also a way to maximize the use of the physical plant, since classes would otherwise lie dormant in the evening. Once night courses populate a calendar, only an extremely radical revision of the schedule could change the system, and it would require adding a lot more full-time faculty to a campus' roster and perhaps even building new classrooms -- an expensive proposition. So I think most campuses that have these systems are stuck with them, to some degree.

I inevitably teach one of these three hour long night courses a term. I acknowledge that the difficulties that Wilson points to are very real -- and that it takes a certain stamina from student and teacher alike to succeed in them -- but there are also many benefits to teaching these classes and a host of strategies a teacher can adopt to make them work as best as possible.

The primary benefit of teaching a once-a-week, three-hour course is mostly evident in the amount of time you are given to work with. Having three hours allows both more flexibility and greater focus. Obviously, you have more flexibility in a class with three hours, rather than fifty minutes; if a class discussion is going well and you want to extend it, you can do so. You can commit larger blocks of time to group work, writing exercises, than you normally would, and even screen films or enact skits, and still have time for discussion afterward. It's great for writer's workshops or seminars where entire books are being discussed. I find having all that time quite useful; nothing frustrates me more in a traditional class than having to cut something productive off because of the (virtual) "bell."

As a writer, I find that teaching a once-per-week class benefits me by opening up my schedule so I have more time to write early in the day all week. I'm a morning writer -- using the first few hours of the day to focus on my own writing (the secret to my success in this regard was the realization that developing my own writing is just as important as my students', and so I try to spend as much time working on my scholarship as I do grading student papers -- and I find it easier to write in the morning (and who wants to start their day grading papers, anyway?)). Luckily, my campus usually allows me the freedom to not have any classes until 11am for this purpose. I also can spend those three extra "workday" hours on errands or class prep. Jerz and Wilson rightly note that teaching a night class often means that you get students who can't attend normal office hours, and demand extra "night" time from a teacher, since they work during the week. But I find that office hours can be adjusted tactically: hosting one office hour a week in the late afternoon (circa 4:30 or 5) can often accommodate these students as well as other traditional students who have classes during the "banking hours" when most faculty hold their usual office hours. The only drawback, really, is that fewer colleagues, staff and campus services are available at that time. But I have "regular" office hours for those needs, too. Teachers can also host "virtual" office hours and help these 9-to-5ers via e-mail or online chats.

When you first design a once-a-week class, one problem immediately arises in regards to organizing the content. Because the class meets once a week, it seems like you will have to cram what would normally be three meetings worth of material into one session. Some teachers even rotely divvy the three hours up into three lockstep units. Inevitably, as Wilson notes, teachers wind up dropping readings and assignments along the way and "shortchanging" the class, compared to what students in a thrice-per-week classroom are getting. Teaching a process-based course can suffer, if, say, drafting and revision happens in class -- if you only have 10 to 15 meetings a term, it's hard to plan serial learning. But if one adjusts by trying to teach depth rather than breadth, these problems fade away. When I teach a night class once a week, I shape it so that a lot of the reading, screening, peer-editing, and information-gathering/-digesting happens outside of class. I've used mandatory discussion board work outside of class to keep students interacting during the week (though this doesn't always work). I might set up "study groups" that encourage the students to do group work on their own combined schedules. Students come to the meeting prepared to discuss, with questions written down or a reading journal and an already-read book in their packs. When I teach film, I often assign screenings outside of the class and schedule a time slot outside of class where work study students can show the films. The idea is to "displace" as much as you can into homework without compromising the course. That means making the night class less focused on information and in-class application and more focused on process and reflection. I design the class so that individuals are doing stuff outside of class that they can't wait to share with others when we meet to pow-wow about it weekly. This approach also might mean retooling some of the course content so that it can be applied to the world outside the classroom, where students might be asked to do more homework "out in the world" rather than book learning. I might assign a paper that has students write about an observation they make in their workplace, rather than write about an article I have them read about work.

And I adjust my own work schedule accordingly, too: I often have paper deadlines later in the week, so that I can collect them and comment or grade them before the following class session. I might e-mail a handout or reading to the entire class in one batch. And I make heavy use of the reserve room, for distributing reading material I might otherwise pass out in the classroom. Sometimes, if students need more hands-on direction, I might cancel a regular class session and instead host individual or "study group" conferences spread out at different times across the week.

Teaching a three hour session can be "exhausting" for teacher and student alike, but it's important to schedule breaks (one at the midpoint, minimum) during these classes. Aside from providing intellectual and physical relief, I find these breaks helpful to mentally shift gears and move to a new topic, and I usually plan my courses around the break. Even so, sometimes it's difficult. After a full day of classes and faculty meetings and office hours, it can be almost surreal when you leave campus at ten at night, under the moonshine and the sound of crickets. I try to schedule my day so I'm not in from 8am till 10pm, but when those days have to happen, I'm sure to take it as easy as I can the following day. It's often more difficult to teach a morning class the day after a night class than it is to teach the night classes themselves. I make sure my weekly grading is done with as much discipline as I can muster, so that I'm not madly prepping or racing to grade papers to return the next morning. As with all teaching tasks, time management is crucial to organizing your life around a night class. That's something that students, too, need to learn and I do spend class time talking about study strategies for taking a night class, particularly if I have freshman taking one for the first time. I also make sure that I remain just as demanding and challenging of students in my night classes as I am in the "traditional" daily classroom. Sometimes it's not the neophyte freshman, but the student who has had a number of night classes in the past that were mismanaged (often, unfortunately, by new adjuncts that come and go in the dead of night) or treated as "education light" who are the ones that carry the wrong expectations when they enter the room, and it takes a little work to get them to respect our time together as a meaningful educational experience. If a student is having problems staying alert for three hours, or keeping up with homework, I take pains to conference with them privately early in the term to try to coach them a little in the skills it takes to succeed in a once-a-week course. I might compare it to going to church, or other rituals that often only happen once a week, but which can also be life-altering.

A professor drones about chemical compounds in front of a lecture auditorium brimming with students. The kids dutifuly take notes. The hip ones have laptops -- HP Pavillion notebooks. The camera takes turns closing in on different students in the room, dodging the teacher's attention to press a button on their keyboards. Each produces a fantasy that materializes in the room, intercut by shots of the boring lecture: a metal band leaps out on to the desks and surrounds a girl, performing a show for her; elsewhere a boy clicks his mouse a motorcycle bursts into the back door, pops a wheelie, and rides down the stairs; ninjas fight on the lecture room floor. "Everything is Possible" the ad campaign promises.

As you can imagine, as a teacher, I was immediately insulted by this television advertisement. I've seen plenty of commercials that mock the lecture theater, but this one went way over the top in its celebration of the irresponsible student. I couldn't believe what I was seeing on the screen: a commercial advocating that students buy a computer so they can tune out the teacher and play games, play music, and watch DVDs. Sure, some students "drift off" into fantasy all the time, and many do use their computers cell phones and pdas for escapism during class. And sometimes the circumstances of a large lecture hall make it all but impossible for a teacher to prevent it. But what troubled me most, I think, was the complete anti-intellectualism of the ad -- and the assumption that computers in the classroom are good only for taking notes at best (and avoiding learning altogether at worst).

Doesn't HP market to educational institutions? Don't they sell at a discount to college labs and in college bookstores? Don't they target the very same profs they're insulting with this ad? Only in the amoral universe of corporate advertising culture can such contradictory messaging make sense.

Ironically, this spot aired while I was watching A&E channel's Investigative Report (inspired by Barbara Ehrenreich's book, Nickle and Dimed), called "Wage Slaves: Not Getting By in America Today". One minute, I'm watching families talk about how they don't know how to buy school clothes for their kids on their minimum wage salaries; the next, I'm watching spoiled 18 year olds watching martial arts films on their $1000 toys, under the pretense of taking notes in a classroom. And I wondered, with just the slightest sense of poetic justice: Are these not the wage slaves of the future?

Just did a google search. Good to see that even parents, like Bob Bly, are also outraged by this ad.

Knock Knock Films

Who's there?

Summer. I think.

It's summertime, and while I'm still keeping busy with prep work for a summer residency for our Writing Popular Fiction graduate program, I've started wearing shorts again and doing some creative writing and generally trying to relax. On my agenda: finding ephemeral DVDs and watching obscure films with an eye toward adding something new to my Art of Film course next Fall.

One lucky find the other day was a copy of Short Cinema Journal #10: Chaos in the bargain bin at a local used media place. It includes Electronic Labrynth, George Lucas' student film precursor to THX 1138 (which I've never seen, but now want to). It reminded me of Chris Marker's work. But an even better discovery on this disk was Po Mo Knock Knock by Greg Pak -- a wonderfully comedic spin on Derrida that borrows heavily from Bergman's Persona (a film which is permanently on my syllabus for the film course). While I might not use it for film studies, I'm definitely going to use it in Literary Criticism, to complement the screening of the Derrida biopic and lighten things up a little bit. After all, "play" is a fundamental part of deconstruction.

I love using short films for the class. One of the troubles with teaching film studies is handling screenings, since most films have a running time of 2 hours, and even in a 3-hour course session, it's hard to organize the time. I typically have two screenings of full length features hosted outside of class (often proctored by a work study) -- treating the films themselves as "texts" which must be read as "homework" before we analyze them together in the classroom during regular meetings. Analysis is usually clustered around clips. Since my course is a once-a-week, three hour session, that also gives me time to regularly fit in a short film to study and discuss "live" and these can be the most rewarding experiences of the course since the "short film" genre is rarely known by students going in -- and they're often experimental uses of the medium, playing with camera technique or lighting...or historical documents from before the studio hegemony commodified the viewing experience into two hours.

Here's a list of my favorites (most of which seem to be either humorous or surrealist): Autobiography of a Jeep, Black Ice, An Occurance at Owl Creek Bridge, Un Chien Andalou, Food & Dimensions of Dialogue, Fall of the House of Usher, La Jetee, Meshes of the Afternoon, etc.

There's something thrilling about sharing these movies with students, particularly those who only know film through Hollywood. I'm getting eager to teach this course and summer has barely begun.

In my Freshman Composition class, we use a book called Re-Reading America (edited by Columbo, Cullen & Lisle) to generate research paper and class discussion topics. The book is a cultural studies reader, designed to get students to rethink their assumptions about American myths and stereotypes regarding race, gender, class, family, education and more.

Teaching the unit on race (aka "The Myth of the Melting Pot") is the last piece I do in our year-long sequence for the course, and it's always been the most difficult, because the students in my class -- typically about 85% white -- don't want to (or don't know how to) discuss it with the same gusto that they can talk about education or gender. More often than not, they mistakenly assert their innocence and claim that racism is a thing of the past. I always assign Shelby Steele's "I'm Black, You're White, Who's Innocent?" -- an article that calls such an assumption into question, but it's often very difficult for Freshman to understand -- and rare that a student untrained in cultural studies will be able to see their own "situatedness" in relation to cultural power. I try to teach these things, but it takes patience and a hope that raising these issues will at least cause students to rethink racism and at best set a foundation for later development of the issue in their intellectual lives.

An interesting assumption that comes out of my classes, however, is that racism is an issue only limited to blacks and whites, and often the only students in my class who aren't white are African-American. Obviously, culture is far more diverse than that. One of the best ways that I've been able to get students to think critically about race relations and talk openly about their assumptions is to focus the conversation on populations that aren't sitting in the room. Rereading America has a few articles on Native American culture that I like to assign for this purpose, especially Sherman Alexie's short story, "Assimilation." I couple this with a screening of the film he wrote, Smoke Signals, which features an all-Native cast. This not only raises issues regarding race and post-colonization culture, but also educates my students about Native American culture in general... a topic they are woefully undereducated about. Less than 1% of all Native Americans reside in the state in which I teach (Pennsylvania) -- and, at best, all the knowledge my students have about Native Americans comes from their Junior High history classes and the occassional historical reenactment or pow wow they may have attended as a tourist.

This is my long-winded way of getting to a teaching strategy I wanted to share. Before we launched into our unit on Native Americans this semster, I proctored a "cultural awareness quiz" I designed by culling questions directly from a "FAQ About Native Americans" website...designed for children. When they failed the quiz, as I assumed they would, the irony that a college-aged group were as clueless as a young child about this material really drove home the point that they could stand to learn more about Native American culture.

My intention was to use it as a way of uncovering cultural ignorance and stereotypical assumptions about indigenous peoples -- not by collecting and grading the quiz, but by having them fill it out and then discussing the answers openly as a class -- and it worked really well to begin a dialogue. Here are a few of the questions culled from the quiz:


  • True or False: Native Americans often call themselves "indians."
  • What is the difference between "American Indian," "Native American," "First Nations," and "indigenous people"? Which is the preferred term?
  • Is "Red Man" or "Red Indian" a pejorative term (i.e., is it offensive)? Regardless, what other rude names can you think of that might offend a native people?
  • Are Eskimos considered Native Americans? Is it offensive to call someone of that culture an "Eskimo"?
  • True or False: Hawaiians are considered Native Americans.
  • What's the difference between an "Indian Nation" and an "Indian Tribe"?

(How well would you do on this?)

You can download the full quiz (MS Word format) with an answer key, if you'd like to use it in your own class. It isn't perfect, but it worked well for me!

Although I'm a little uncomfortable "objectifying" Native American culture by proctoring an assignment like this, I'm happy with this exercise because it really got the students more interested in the material and aware of their own ignorance. The discussion of their answers was fruitful. Hoping I've excited them enough to find the answers, I follow it up with a research assignment (based on a question they come up with in pairs). One of the jobs of teaching writing is training students in how to ask questions -- and to generate enough intellectual curiosity so that they'll persue their own answers. I might use quizzes like this more regularly to launch topic areas in my writing classes...I've always used the readings themselves to begin a trajectory of inquiry, but a quiz like this can start the inquiry where it should always begin: with what we know and what we don't.

Taking Notes in the Dark

We were getting ready to screen a film in my Literary Criticism class. I turned out the lights and started the DVD. "How are we supposed to take notes in the dark?" a student asked. Good question. I forgot to coach them on this and regretted it. I stopped the film, turned on one of the two light switches afforded to me and took a straw poll: "How many of you want to leave one light on for note-taking?" Only one person raised her hand -- the same one who asked the question originally. "Majority rules," I said with a shrug, and resumed the film in the dark. "Do your best," I whispered. "Your eyes will adjust."

After the movie, one student chuckled. "I only wrote down one line." Most others had blank pages.

I take the blame for this. Even though time was an issue, I should have helped out before the fact.

But there's only so much help I can give them. When I was a film studies student, I always struggled with this issue myself. I have file folders filled with chicken scratch I can barely read nowadays.

When I teach film courses, I typically offer some advice that worked for me: try to write large block letters, don't be afraid to use several sheets of paper, and trust that you'll be able to read the notes later on. I suggest they buy pen lights or those lighted pens you can purchase in in gift shops (the ones that let people read in bed). I've even allowed them to flick their bics, if they carry a lighter. Anything to assist while keeping the light source low so it won't interrupt others.

We always make do. Tonight I saw a student in the class flip open her cell phone and shine the screen over her paper. I thought that was a good strategy. If I were a student today, I'd probably take notes on my PDA, which is backlit. If I had a tablet PC, that would be even better. (The lit screen might distract others in the room, but itt might even beat this curiously appealing illuminated notepad with moveable writing surface that I found on a patent list online!)

It makes sense to take notes AFTER a screening, jotting down your thoughts before you forget them and cleaning up any scribble you made during the show itself. Some people advocate not taking notes at all during the movie so as not to miss anything, but I think note-taking increases my concentration and attention while I watch. And it's much easier and more productive to take detailed notes (especially for any paper you might be writing) during a private screening at home or in a campus lab, with a finger on the pause and rewind button.

In an advice article posted at Bryn Mawr's Film Studies site, "Taking Notes on Classroom Screenings", Marianna Martin follows Timothy Corrigan's lead from his (very good) book, A Short Guide to Writing About Film, suggesting that if you begin a film with a particular task in mind -- say, paying attention to gender issues, or dialogue -- it helps guide your note-taking so you can stay focused on the movie without losing your place. I like this.

I typically take notes that mention specific shots that I will want to return to later on when I study the film later on, simple crude notes like "cross shadow on forehead, after the murder" which function as mnemonic devices for me. But it's still hard to coach students on this practice. The best thing to do, I've found in the past, is give students a list of questions or "things to look for" that might facilitate note taking. I might phrase them like this: "Welles is known for his extreme camera angles. Look for any out of the ordinary shots in the movie, and consider what they tell us about the relationship between the characters."

It's also good -- in a course where many films will be screened -- to arm students with shorthand for film language. Use it on the board or in handouts: "xcu" might mean "extreme close up" for example.

But the biggest hurdle for note-taking during screenings is letting go of our fixation on perfect penmanship. Perhaps next time I teach a film course proper, I'll run "writing in the dark" drills (just turning out the lights or having students close their eyes and then, say, writing down sentences I randomly spit out) as a method for acclimatating them to note taking during films. Heck, come to think of it, I might even try having creative writing classes freewrite with their eyes closed. Sensory deprivation, after all, can trigger interesting results.

Of course, sometimes it doesn't even matter if the notes are legible. Writing helps us process our thoughts and increases concentration on the text. The act of note-taking will "burn in" some scenes so we'll remember them later, even if we don't have our notes for review.

If anyone reading this has tips on this topic, please share. My research is turning up very little advice.

Fiction Films as Substitute Texts


Date: Sat, 8 Jan 2005 13:11:38 -0400
From: Farah Mendlesohn
Subject: [IAFA-L] fact v. fiction
To: iafa

Here is an oddity. Last semester I showed students a documentary on Aileen Wournos. I am currently grading their essays. Without exception, those students who refer to Wournos cite the movie Monster instead. -- Farah

Science Fiction scholar Farah Mendlesohn's post on the IAFA-L mailing list this morning piqued my interest. I know a lot of students in literature classes will take shortcuts and often screen film adaptations of a novel or classic story in order to fake having read the book. Sometimes the teacher can catch this in tests that cite dialogue or mention characters or even plot points that aren't in the actual text. But to watch a fiction film instead of a documentary for a class paper?! An "oddity" indeed.

I have a sneaking suspicion that some of the students made an active choice to opt for the mode of "entertainment" rather "information" in preparation for their term paper. Although we live in an era where "reality TV" dominates the airwaves, our culture continues to give documentaries a bad rap and students will often quake in fear of having to spend time watching them. We are trained by media culture to expect our documentaries to be boring, white bread PBS nature films -- and when they push the envelope, as Michael Moore's work has most notoriously done, critics often respond angrily for not conforming to the strictures of boring production values or rigid objectivity. And when that won't do, "infotainment" comes to the rescue. This is a shame, of course, because documentaries are often educational in nature, even when they adopt an overt rhetorical or political stance (as Moore has clearly done).

We all probably have memories of having to watch terrible, crackling black-and-white filmstrips with dry narrators talking about the most mundane subjects in "education films." I think that because of experiences like this, students sadly associate the documentary genre with those early exposures in schools -- and it's not the teacher's fault, really, since such problems usually stem from a lack of school funding dedicated to educational supplies and the concomitant lack of updates to school libraries and media archives. Colleges often have better choices, but many students still roll their eyes or pull down their ball caps when you roll in the media cart to show a non-fiction film. I've often talked myself out of bringing documentaries into the classroom, for this reason, unless they're really entertaining or eye-opening. I choose films that will stimulate conversation. I don't ever want to be the bore that some of my early school teachers were, but I feel it's also my responsibility to show students alternative forms to mass media fiction films, too, so I'll opt for something a little racy or bizarre. I don't compromise the educational value of the screening, however. I'll always follow up a documentary with a heady discussion. And one of my hidden agendas is to re-open students' eyes to the documentary genre in toto, by showing them powerful examples of it.

Of course, showing a recent documentary about a serial killer, as Mendlesohn did, should have been exhilarating to students all on its own. I'm still puzzled by the result she describes. But I think that, in addition to the latent preference for "infotainment," one thing that might explain it is simply poor research skills. It's likely that they chose the local Blockbuster Video rental store over the library reserves -- or perhaps Monster was available "On Demand" in the comfort of their living room, so they used what was handy rather than going on the hunt for a copy of the film.

I'm sure Mendlesohn graded down those papers, or even flunked them outright. I wouldn't accept the papers that cited the fiction version of a biographical film I assigned unless, perhaps, the students were doing a direct comparison/contrast of the two pictures, or had asked me in advance if they could do so, along a particular line of inquiry. I think it's important to steer students away from infotainment options, because such sources are all readily available on their own without my classroom instruction.

I'm reminded of a student in my literature class who once brought to discussion an illustrated, abridged version of Dracula instead of Stoker's full-length novel I'd required. I was appalled by this assumption that a children's version of the book could substitute for the authoritative text. I've also read of Novel Textbooks -- that is, entertaining narratives that tell stories about, say, Mr. and Mrs. Protein, in order to illustrate science lessons. The lines between entertainment and education are blurring, and while "edutainment" has its value, I think it's important to teach a respect for textual authority at the same time. I want to teach students to value the primary text, the original edition, the best source. That way, they'll also do so in their own future research.

Sure, I know very well that good critical thinking can happen in regards to a fictionalized autobiography as much as a documentary biopic. And, of course, postmodern theory teaches us that a text is a text, and that there is no true "authoritative" version of a text, per se. But then again, I'm showing my literary criticism students a documentary on Derrida this coming term. Perhaps I am lucky that there's no Disney cartoon about Derrida currently playing in theaters. (Though there are a few one panel cartoons here and there!).

Test Anxiety and the A Student

The topic of exam stress comes up at the end of every semester, but a recent post on Dan Mitchell's "Teachnology" blog points to a new twist on this old topic: how test anxiety impacts good students. An interesting article in the "health" section of today's NY Times -- "Why Students Struggle When Pressure Is On", by Benedict Carey elucidates. The article reports that the extra pressure of an exam actually psychologically impairs the better students in a class, while having little effect on the mediocre ones. This comes from a fascinating study that is actually available online, "Why High Powered People Fail: Working Memory and 'Choking Under Pressure' in Math" (.pdf file) by cognitive psychologists Thomas Carr
and Sian Bielock, first published in the journal, Psychological Science. Test anxiety, according to the study, consumes the working memory capacity that high achievers rely on for their superior performance, particularly skill execution and the capacity to retain verbal information. Beilock and Carr write:

If pressure and anxiety target those high in working memory capacity, it would carry significant implications for interpreting performance in high-pressure situations (e.g., college entrance exams). First, it would suggest that individuals most equipped to handle difficult, working-memory-intensive situations...are the ones most likely to “blow it” under pressure. Second, as working memory capacity is known to mediate and predict higher-level functions from comprehension to learning (Engle, Kane, & Tuholski, 1999), such results would call into question the ability of performance in high-pressure situations to differentiate those most qualified to succeed from those with less capacity-related potential.

In other words, the "A" students are most susceptible to "choking under pressure," which means that tests don't reward them with challenges and may be punishing them, despite their facility, knowledge and skill. Another way of thinking about this is that tests don't adequately measure skills the way we think they do. Getting an "A" on a test may instead be a grade on one's ability to handle stress, which is rarely listed under "course objectives" on a class syllabus.

I didn't give any tests this term and I usually have students demonstrate their skills and knowledge via small quizzes and papers throughout the semester. But I do give tests in literature and film survey courses, not only because retaining historical information is important to those fields but also because any serious literary student needs to prepare for taking the GRE if they hope to go on to graduate school.

This material caught my eye because of a recent blog entry I enjoyed --"Exams: Hard vs. Unfair" -- by my colleague at SHU, Dennis Jerz. Jerz gave a very tough exam recently to his American Lit class, and took it as a compliment when a chemistry major told him afterward that his test was the most difficult she'd ever taken in her life. Jerz and the girl exchanged a wink and a nod, both proud of the challenge posed and met. I'd be proud, too, because it meant that I'd stimulated the strong student. Jerz writes:

I figure it's my job to challenge students. I'll curve the exam, of course... but students who work hard all term deserve the chance to demonstrate just how good they really are. They all deserve an intellectual challenge, and I'm happy to give it to them. It's only fair.

I've also harbored this assumption: that offering an "intellectual challenge" to a student is a just way to reward them for their scholarship. But I'm starting to rethink my assumptions about tests and the type of challenges they pose, because surviving a stressful exam unscathed -- while a skill -- isn't exactly a learning objective or a criterion for success in my field. Besides, I try to pose "intellectual challenges" all year, so a exceedingly difficult final won't be necessary. For the student, an excessively difficult test is felt as "unfair" not becuase of the challenge, but because it threatens to tumble the grade they've been building up all term. The problem is the betrayal of the endgame: while even the "A" students might be up for the challenge, they'll still be anxious because of the threat the exam poses to their final grade. When a climber reaches the top of the mountain, only to find another, taller, mountain waiting on the other side, then even the best of them don't think they "deserve the challenge." Instead, they think God is a sadist and -- like Job -- they must endure.

A challenging exam is a great way for the students who have done the work to show off their knowledge and skills, if they can handle the pressure. I think the trick is to be very careful about preparing the class for it. I try to do this by giving tough quizzes all term -- mini-versions of the exam with challenges of the same magnitude -- and even an end of year "practice" exam or study session. I know, from our private conversations, that Jerz assigns a lot of writing in his class, so the "challenge" in his exam was certainly prepared for by having students answer essay questions in the final test. That's smart. I'm certain that writing about literature, too, is a learning objective in that course, and that's another point to remember: that an exam should clearly be designed to adjudicate how well the student has met the objectives for the course. The trick is to be challenging while not generating animosity of any kind and not generating more stress than would normally be required in the field. (Another option, of course, is to waive the exam for the A students and proctor a "less challenging" test that examines basic skills.)

When I put together a creative writing course, I typically assign quizzes and a challenging midterm but no final. I figure that the midpoint of the term is the point by which the students in the room can be assumed to share a certain knowledge set that will enable them to share discourse professionally about writing. Since I tend to assess students progressively, guaging their process rather than the end-product of their learning, this works great. After the midterm, writing workshops go much more smoothly, since everyone has learned what they need to in order to "talk the talk" of writers.

A question I have that I'm still musing over is not what does a test measure, but what does a student learn from taking a test? Accountability for what they learned. The discipline of studying for an exam. And perhaps even the skill of performance under pressure. These are valid outcomes, but not necesarily course objectives. I'll have to keep thinking about this one.

Poetry and The Pleasure of the Text

As an English teacher, it's easy to forget about the pleasure of the text -- in fact, a great deal of the difficulties in teaching literature or creative writing is getting students to see that there's much more to a story than the familiar emotional responses we're trained to have by popular culture. Indeed, I try to help students see how emotions are shaped, constructed and, often, manipulated by the author. Analysis, interpretation, literary research and explication all have their own pleasures, of course, but these are intellectual rewards which often come -- students are quick to say -- at the price of "enjoying" stories, poems, etc. The students would prefer to be blissfully entertained.

In the hallway after my most recent class, a student told me he no longer enjoys his favorite band because of me. Mea culpa. I have an exercise early in the term, where I ask students to bring the lyrics of a song they like to sing along with to class. At the same time, they're reading the introduction to Nims' Western Wind -- the class text -- which explains the general criteria that make a poem a poem. Then, in small groups, they share their songs -- but I ask them to discuss whether or not the lyrics are "poetry" or not (or "what makes them poetic?" is the corollary question). Inevitably, the students face the fact that the lyrics of most pop music aren't very well written on the whole. A follow-up exercise I give them asks them to try to revise the lyrics into a poem of their own -- and they find this difficult (in part, because the lyrics are drilled into their brains as following a basic rhyme scheme). But a few begin to "tune in" to the lyrics of their bands all the more closely in the future, reading them -- ideally -- more critically.

I don't intend to ruin poetry or music for them, of course. But I do want them to be better writers than, say, Eminem or Britney Spears. And to resist the opiate of mass entertainment.

In graduate school, I remember many conversations with fellow grads who were discovering the depths of theory but going through crises because they could find no pleasure left in the career they had begun...mostly in order to have a career in something that pleased them. For my part, I learned a lot about theories of pleasure and popular culture that fascinated me. How pleasure reading, for example, has been gendered and framed as anti-intellectual, or how women's pleasures have been silenced by the critical embracing of modernist writers.

I teach these ideas, but I also have been trying to give the pleasure of the "literary" text room in my classes. I've been teaching poetry for a long time, but recently I've been taking pains to give the pleasure of the text its due. After all, poetry is one of the most emotionally resonant and honest genres (and that explains why it can also be the most sentimental). I've always ended the term by doing nothing more than a celebration of their accomplishments by having students give poetry readings. They have to write reflections in their journal, but they get to communally share their work -- and I allow them to read things that I would otherwise ban from the class (I have a lengthy handout of "forbidden forms" that include love poems, goth angst poems, odes to dead pets, etc...). Recently, I have a different student read a poem of their choosing to the class at the opening of every class session (they must bring copies if it's not in our textbook). It gets us in the mood and honors the power and pleasure of the poetic text. We don't comment or critique it -- we just applaud. And only then do I begin and take roll, taking the gloves off, and getting down to the work of close criticism and deep analysis.

I've done performative readings to my classes of my own writing that function in this way (and I'll be doing them again around Halloween). Sometimes I've scheduled "light" rewards like a film viewing during final's week. I've begun wondering if there are other classes in which I can structure a similar "hands off" moment of celebration of the text itself.

The question, of course, then becomes "which text?"

That's why I like the poetry readings at the beginning of the hour -- because the students must choose the poems, and they know better than to pick something too sentimental or too sing-songy or corny. So they often engage in their own research, which pays off in discovery as much as pleasure.

Derrida Dead

"Philosophy consists of offering reassurance to children. That is, if one prefers, of taking them out of childhood, of forgetting about the child, or, inversely, but by the same token, of speaking first and foremost for that little boy within us, of teaching him to speak—to dialogue—by displacing his fear or his desire." Jacques Derrida, who died today of pancreatic cancer.

I'm going to honor his life -- and his contribution to my thinking and learning -- by screening Dick and Kofman's biographical film, Derrida in my literary criticism course next semester. If you haven't heard of this father of the school of literary Deconstruction, here are some links to his substantial life work.

****
Mortals are they who can experience death as death. The animal cannot do so. But the animal cannot speak either. The essential relation between language and death flashes up before us, but remains still unthought." -- Heidegger

Against, or without, Heidegger, one could point to a thousand signs that show that animals also die. Although the innumerable structural differences that separate one “species” from another should make us vigilant about any discourse on animality or bestiality in general, one can say that animals have a very significant relation to death, to murder and to war (hence to borders), to mourning and to hospitality, and so forth, even if they have neither a relation to death nor to the “name” of death as such, nor, by the same token, to the other as such, to the purity as such of the alterity of the other as such. But neither does man, that is precisely the point! . . . Who will guarantee that the name, that the ability to name death (like that of naming the other, and it is the same) does not participate as much in the dissimulation of the “as such” of death as in its revelation, and that language is not precisely the origin of the nontruth of death, and of the other? -- Derrida

See Matthew Calarco, "On the Borders of Language and Death: Derrida and the Question of the Animal." Angelaki 2003.

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