Parallel Lines describes how post-9/11 cinema, from Spike Lee's 25th Hour (2002) to Kathryn Bigelow's Zero Dark Thirty (2012), relates to different, and competing, versions of US national identity in the aftermath of the September 11 terrorist attacks. The book combines readings of individual films (World Trade Center, United 93, Fahrenheit 9/11, Loose Change) and cycles of films (depicting revenge, conspiracy, torture and war) with extended commentary on recurring themes, including the relationship between the US and the rest of the world, narratives of therapeutic recovery, questions of ethical obligation. The volume argues that post-9/11 cinema is varied and dynamic, registering shock and upheaval in the immediate aftermath of the attacks, displaying capacity for critique following the Abu Ghraib prisoner abuse scandal mid-decade, and seeking to reestablish consensus during Obama's troubled second term of office.
War Cinema' presents an introduction to and overview of films that take war as their main theme. Framing the era with 'Apocalypse Now' and 'Apocalypse Now Redux', the author initially focuses on Vietnam on film in the 1970s and 1980s and how this divisive war was represented.
This volume covers all aspects of film studies, including critical terms, concepts, movements, national and international cinemas, film history, genres, organizations, practices, and key technical terms and concepts. It is an ideal reference for students and teachers of film studies and anyone with an interest in film studies and criticism.
Parallel Lines describes how post-9/11 cinema, from Spike Lee’s 25th Hour (2002) to Kathryn Bigelow’s Zero Dark Thirty (2012), relates to different, and competing, versions of US national identity in the aftermath of the September 11th terrorist attacks. The book combines readings of individual films (World Trade Center, United 93, Fahrenheit 9/11, Loose Change) and cycles of films (depicting revenge, conspiracy, torture and war) with extended commentary on recurring themes, including the relationship between the US and the rest of the world, narratives of therapeutic recovery, questions of ethical obligation.The volume argues that post-9/11 cinema is varied and dynamic, registering shock and upheaval in the immediate aftermath of the attacks, displaying capacity for critique following the Abu Ghraib prisoner abuse scandal mid-decade, and seeking to reestablish consensus during Obama’s troubled second term of office.
This volume covers all aspects of film studies, including critical terms, concepts, movements, national and international cinemas, film history, genres, organizations, practices, and key technical terms and concepts. It is an ideal reference for students and teachers of film studies and anyone with an interest in film studies and criticism.
War Cinema' presents an introduction to and overview of films that take war as their main theme. Framing the era with 'Apocalypse Now' and 'Apocalypse Now Redux', the author initially focuses on Vietnam on film in the 1970s and 1980s and how this divisive war was represented.
In The Learning Power Approach: Teaching learners to teach themselves Guy Claxton sets out the design principles of a pedagogical formula that aims to strengthen students' learning muscles and develop their independence, initiative, determination, and love of learning. Foreword by Carol S. Dweck. Learning is learnable! Educators can explicitly teach not just content, knowledge, and skills, but also the positive habits of mind that will better prepare students to flourish both in school and in later life. And as 'traditionalists' fight for rigour and knowledge, and 'progressives' defend the increasing focus on character and well-being, Guy Claxton's Learning Power Approach (LPA) brings resolution to this phoney and unnecessary war by offering teachers a win-win pedagogical formula that delivers good academic results while simultaneously turbocharging students' independence, initiative, and love of learning. In this groundbreaking book Guy distils fifteen years' experience with his influential Building Learning Power method to provide a set of design principles for strengthening students' learning muscles, and together with a wealth of practical strategies and the supporting evidence that underpins them details the small tweaks to daily practice that will help teachers attend more closely to the ways in which they can shape their students' learning dispositions and attitudes. Complemented by engaging and informative classroom examples of the LPA in action and drawing from research into the fields of mindset, metacognition, grit, and collaborative learning The Learning Power Approach describes in detail the suite of beliefs, values, attitudes, and habits of mind that go in to making up learning power, and offers a thorough explanation of what its intentions and guiding principles are. Furthermore, in order to help those who are just setting out on their LPA journey, Guy presents teachers with an attractive menu of customisable strategies and activities to choose from as they begin to embed the LPA principles into their own classroom culture, and also includes at the end of each chapter a Wondering section that serves to prompt reflection, conversation, and action among teachers. Suitable for teachers and leaders in all educational settings, The Learning Power Approach carefully lays the groundwork for a series of books to follow that are specifically tailored to primary teaching, secondary teaching, and school leadership.
This volume explores the lower reaches of cinema and its paradoxical appeal. It looks at films from the B-movies of the 1930s to the mockbusters of today, and from the New York underground to the genre variations of Turkey's Yesilçam studios (and their YouTube afterlife). Critically examining the reasons for studying, denigrating, or celebrating the detritus of film history, it also considers the place of a trash aesthetic within and beyond 1960s American avant-garde and looks at the cult of trash in the fanzines of the 1980s. It draws on debates about cult, paracinema, and camp, arguing that trash cinema exists in relation to these but brings with it a particular history that includes the ordinary as well as the strange. Trash Cinema places these debates, and the strand of self-proclaimed low culture that emerged in the second half of the twentieth century, within a historical and international perspective. It focuses on American cinema history but addresses Eurotrash reception as well as the related field of garbology, examining trash cinema as a distinct but fluid category.
In Powering Up Children: The Learning Power Approach to primary teaching, Guy Claxton and Becky Carlzon harness the design principles of the Learning Power Approach (LPA) to provide a rich resource of effective teaching strategies for use in the primary school classroom. Foreword by Ron Berger. The LPA is a way of teaching which aims to develop all children as confident and capable learners ready, willing, and able to choose, design, research, pursue, troubleshoot, and evaluate learning for themselves, alone and with others, in school and out. This approach therefore empowers teachers to complement their delivery of content, knowledge, and skills with the nurturing of positive habits of mind that will better prepare students to flourish in later life. Building upon the foundations carefully laid in The Learning Power Approach (ISBN 9781785832451), the first book in the Learning Power series, Guy Claxton and Becky Carlzon's Powering Up Children embeds the ideas of this influential method in the context of the primary school. It offers a thorough explanation of how the LPA's design principles apply to this level of education and, by presenting a wide range of practical strategies and classroom examples, illustrates how they can be put into action with different age groups and in different curricular areas especially relating to literacy and numeracy, but also in specific subjects such as science, history, art, and PE. Bursting with tips and techniques to get students' learning muscles stretching from a young age, the book is designed for busy primary school teachers who want to get started on the LPA journey as well as for those who have already made good progress and are looking for fresh ideas. The central chapters are structured around thematic clusters of the LPA's design principles, and follow a common format: 1. First, the authors explain why the design principles focused on are important; including what's in it for the teacher and what's in it for the children. 2. Next, they offer a menu of practical low-risk tweaks to classroom practice that enable teachers to engage with the design principles and experience some quick wins. 3. Then they provide some ideas about how to embed the principles more deeply in the ongoing life of the classroom including some rich lesson examples from across the primary age range, and from different school subjects. 4. Finally, they address some of the common bumps and issues that may crop up along the way, and offer advice to help teachers overcome such potential obstacles. Suitable for both newly qualified and experienced teachers of learners aged 3 to 11.
Following his first book, Another Bloody Saturday: A Journey to the Heart and Soul of Football, Mat Guy continues his exploration of the 'beautiful game' in Minnows United; an ode to the unsung heroes of football matches taking place out of the limelight, all over the world. From little known teams within the UK, to teams representing countries that, to most of the world, don't even exist, Mat Guy travels to remote parts of the globe to experience football not only on the fringes of the pitch, but on the fringes of the world. On his travels, he watches matches in Iceland, interviews members of the Tibetan Women's Football team, explores the impact of football in war-torn Palestine and explores the unsung heroes in the football clubs present throughout the length of the UK. What he finds is countries transcending the game itself and instead building communities, lifelines and friendship with football at the centre.
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