Watch and learn : rhetorical devices in classroom films after 1940

Tidings of any ‘new’ audio-visual medium entering the domain of public consumption invariably seem to cause commentators to speculate on its potential educational use. In recent decades, it was the advent of innovative digital applications that provoked such thought; earlier on, it was the promise o...

Full description

Autores:
Tipo de recurso:
Book
Fecha de publicación:
2012
Institución:
Universidad de Bogotá Jorge Tadeo Lozano
Repositorio:
Expeditio: repositorio UTadeo
Idioma:
eng
OAI Identifier:
oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/15788
Acceso en línea:
https://www.jstor.org/stable/j.ctt46mttc
http://hdl.handle.net/20.500.12010/15788
Palabra clave:
Rhetorical devices
Classroom films
Arte de escribir para el cine
Guionistas
Arte de escribir
Rights
License
Abierto (Texto Completo)
id UTADEO2_0434d95ce8ae8af944736d5dc58d343b
oai_identifier_str oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/15788
network_acronym_str UTADEO2
network_name_str Expeditio: repositorio UTadeo
repository_id_str
dc.title.spa.fl_str_mv Watch and learn : rhetorical devices in classroom films after 1940
title Watch and learn : rhetorical devices in classroom films after 1940
spellingShingle Watch and learn : rhetorical devices in classroom films after 1940
Rhetorical devices
Classroom films
Arte de escribir para el cine
Guionistas
Arte de escribir
title_short Watch and learn : rhetorical devices in classroom films after 1940
title_full Watch and learn : rhetorical devices in classroom films after 1940
title_fullStr Watch and learn : rhetorical devices in classroom films after 1940
title_full_unstemmed Watch and learn : rhetorical devices in classroom films after 1940
title_sort Watch and learn : rhetorical devices in classroom films after 1940
dc.subject.spa.fl_str_mv Rhetorical devices
Classroom films
topic Rhetorical devices
Classroom films
Arte de escribir para el cine
Guionistas
Arte de escribir
dc.subject.lemb.spa.fl_str_mv Arte de escribir para el cine
Guionistas
Arte de escribir
description Tidings of any ‘new’ audio-visual medium entering the domain of public consumption invariably seem to cause commentators to speculate on its potential educational use. In recent decades, it was the advent of innovative digital applications that provoked such thought; earlier on, it was the promise of analogue media such as still and moving photographic images. Pronouncements on the subject tend to be made in rather grandiloquent terms: authors claim that the particular technologies they advocate might in some way revolutionise current educational practice. The media they deal with are considered to hold the potential of radically changing didactic methodologies, and by the same token, solve century-old problems, both on the teachers’ part and on the pupils’ or students’. In practice, of course, the objects of such speculation do not always find access very easily in (regular, formal) education. As a rule, compulsory schooling is financed at least in part out of public funds; therefore, the institutions that provide it can rarely keep abreast of the most up-to-date audio-visual developments. In addition to this, optimistic predictions are often countered with objections, originating among others in the teaching field itself. If any consensus between proponents and adversaries is eventually reached – often at a time when the technology concerned has not been so new for quite a while – one of the conclusions is that while it may indeed have certain didactic benefits, its educational use ultimately depends on the production of media texts that are sufficiently adapted to the specific purposes they should serve in schools. The immediate implication is that such texts necessarily differ from the kinds of material that are already available, and that are used in other, non-educational environments.
publishDate 2012
dc.date.created.none.fl_str_mv 2012
dc.date.accessioned.none.fl_str_mv 2020-11-18T17:32:43Z
dc.date.available.none.fl_str_mv 2020-11-18T17:32:43Z
dc.type.coar.spa.fl_str_mv http://purl.org/coar/resource_type/c_2f33
format http://purl.org/coar/resource_type/c_2f33
dc.identifier.isbn.none.fl_str_mv 978 90 4851 411 3
dc.identifier.other.none.fl_str_mv https://www.jstor.org/stable/j.ctt46mttc
dc.identifier.uri.none.fl_str_mv http://hdl.handle.net/20.500.12010/15788
dc.identifier.doi.none.fl_str_mv 10.26530/OAPEN_439100
identifier_str_mv 978 90 4851 411 3
10.26530/OAPEN_439100
url https://www.jstor.org/stable/j.ctt46mttc
http://hdl.handle.net/20.500.12010/15788
dc.language.iso.spa.fl_str_mv eng
language eng
dc.rights.coar.fl_str_mv http://purl.org/coar/access_right/c_abf2
dc.rights.local.spa.fl_str_mv Abierto (Texto Completo)
dc.rights.creativecommons.none.fl_str_mv https://creativecommons.org/licenses/by-nc-nd/3.0/
rights_invalid_str_mv Abierto (Texto Completo)
https://creativecommons.org/licenses/by-nc-nd/3.0/
http://purl.org/coar/access_right/c_abf2
dc.format.extent.spa.fl_str_mv 373 páginas
dc.format.mimetype.spa.fl_str_mv application/pdf
dc.publisher.spa.fl_str_mv Amsterdam University Press
institution Universidad de Bogotá Jorge Tadeo Lozano
bitstream.url.fl_str_mv https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15788/1/439100.pdf
https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15788/3/439100.pdf.jpg
https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15788/2/license.txt
bitstream.checksum.fl_str_mv b9be0999ac32d47efda72d7a4a62929d
84c1e2865f9ef20fc52d96b6b4015342
abceeb1c943c50d3343516f9dbfc110f
bitstream.checksumAlgorithm.fl_str_mv MD5
MD5
MD5
repository.name.fl_str_mv Repositorio Institucional - Universidad Jorge Tadeo Lozano
repository.mail.fl_str_mv expeditio@utadeo.edu.co
_version_ 1818152583959674880
spelling 2020-11-18T17:32:43Z2020-11-18T17:32:43Z2012978 90 4851 411 3https://www.jstor.org/stable/j.ctt46mttchttp://hdl.handle.net/20.500.12010/1578810.26530/OAPEN_439100Tidings of any ‘new’ audio-visual medium entering the domain of public consumption invariably seem to cause commentators to speculate on its potential educational use. In recent decades, it was the advent of innovative digital applications that provoked such thought; earlier on, it was the promise of analogue media such as still and moving photographic images. Pronouncements on the subject tend to be made in rather grandiloquent terms: authors claim that the particular technologies they advocate might in some way revolutionise current educational practice. The media they deal with are considered to hold the potential of radically changing didactic methodologies, and by the same token, solve century-old problems, both on the teachers’ part and on the pupils’ or students’. In practice, of course, the objects of such speculation do not always find access very easily in (regular, formal) education. As a rule, compulsory schooling is financed at least in part out of public funds; therefore, the institutions that provide it can rarely keep abreast of the most up-to-date audio-visual developments. In addition to this, optimistic predictions are often countered with objections, originating among others in the teaching field itself. If any consensus between proponents and adversaries is eventually reached – often at a time when the technology concerned has not been so new for quite a while – one of the conclusions is that while it may indeed have certain didactic benefits, its educational use ultimately depends on the production of media texts that are sufficiently adapted to the specific purposes they should serve in schools. The immediate implication is that such texts necessarily differ from the kinds of material that are already available, and that are used in other, non-educational environments.373 páginasapplication/pdfengAmsterdam University PressRhetorical devicesClassroom filmsArte de escribir para el cineGuionistasArte de escribirWatch and learn : rhetorical devices in classroom films after 1940Abierto (Texto Completo)https://creativecommons.org/licenses/by-nc-nd/3.0/http://purl.org/coar/access_right/c_abf2http://purl.org/coar/resource_type/c_2f33Masson, EefORIGINAL439100.pdf439100.pdfVer libroapplication/pdf2909969https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15788/1/439100.pdfb9be0999ac32d47efda72d7a4a62929dMD51open accessTHUMBNAIL439100.pdf.jpg439100.pdf.jpgIM Thumbnailimage/jpeg15385https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15788/3/439100.pdf.jpg84c1e2865f9ef20fc52d96b6b4015342MD53open accessLICENSElicense.txtlicense.txttext/plain; charset=utf-82938https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15788/2/license.txtabceeb1c943c50d3343516f9dbfc110fMD52open access20.500.12010/15788oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/157882021-02-25 20:50:15.33open accessRepositorio Institucional - Universidad Jorge Tadeo Lozanoexpeditio@utadeo.edu.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