This document discusses three methods for analyzing film adaptations of novels: visual thinking strategies, media literacy education, and critical media literacy. It provides examples of how visual thinking strategies can guide students to analyze details in images. It also explains key concepts in media literacy education like film language, and discusses how critical media literacy involves analyzing representations and ideologies in media. The document aims to expand teachers' literacy skills for having students critically examine film versions of books.

1. Expanding Teacher’s Literacy:
Playing with Digital Text and
Media in School
JOLLE 2013
Kathy Garland, Ph.D.
Florida State University

2. Have you ever been disappointed by
the film version of a book?

3. Three methods support in-depth analysis of film
renditions of novels.
VISUAL THINKING MEDIA LITERACY
STRATEGIES EDUCATION
CRITICAL MEDIA
LITERACY

4. Visual Thinking Strategies
These strategies were 1) What’s going on with
created in order to this picture?
help students develop 2) What do you see that
and support makes you say that?
interpretations of art and 3) What more can you
find in there?
other visual images
(Housen, 2001).

5. Visual Thinking Strategies
• What’s going on with
this picture?
• What do you see that
makes you say that?
• What more can you find
that makes you say
that?

6. Visual Thinking Strategies
• What’s going on with
this picture?
• What do you see that
makes you say that?
• What more can you find
in there?

7. What differences do you notice?

8. Media Literacy Education
Is the ability to access, analyze, evaluate and
create media texts, such as popular culture
(Aspen Institute Leadership Conference, 1992).

9. Film Language
John Golden (2001) MOST COMMON SHOTS
• Medium
• Close-up
• Long
VARIATIONS OF SHOTS
• Two-shot
• Extreme close-up
• Over-the-shoulder-shot
• Point-of-view shot

10. Medium Shot
• Most common and natural of
framing shots, because humans
see each other in relation to
personal space issues
• Offers viewers some choice,
so attention can be called to
what is happening around
object
• Humans are usually shown
from waist up
• Neutral shot because it does
not force viewer to see one
object nor does it offer a
huge variety of sights to see
• Seldom does it generate a
“WOW!” like long or close
shots can do

11. The Close-Up Shot
– Object or subject takes
up 80% of frame, so
appears to be large
• Can direct viewer’s
attention to a detail, like a
clue, to a facial expression
• Forces viewer to look only
at what director intended
• Deprives viewer of overall
context
• Is intimate and revealing,
although intrusive and
authoritative

12. Extreme Close-Up Shot
• Extreme close-up
possess shock value by
calling attention to a
character’s facial
expression and cannot
be used often or they
lose their potency

13. The Long Shot
– Object is in the
distance, if of a
person usually the
whole body is shown
• Can establish the
scene
• Can show separation
• Gives viewer a sense
of time and place
• Allows viewer choice
of where to look since
there is so much in
frame

14. Two-Shot
• Two people are framed
comfortably, a lot like a
medium shot

15. Point of View Shot
• Shows a view from the
subject's perspective.
This shot is usually
edited in such a way
that it is obvious
whose POV it is.

16. What shots do you notice?
• Think about what
happens in each scene.
• Why do you think the
director would choose
to film these shots?
• How do the specific
shots convey or
enhance the director’s
message?

17. Critical Media Literacy
• recognition of the construction of media and
communication as a social process as opposed to accepting
texts as isolated neutral or transparent conveyors of
information;
• some type of semiotic textual analysis that explores the
languages, genres, codes, and conventions of the text;
• an exploration of the role audiences play in actively
negotiating meanings;
• problematizing the process of representation to uncover
and engage issues of ideology, power, and pleasure;
• examination of the production and institutions that
motivate and structure the media industries as corporate
profit seeking businesses. (Kellner & Share, 2007)

18. Critical Media Literacy
Film Version Book Version
• “I am!” She tossed
me the glass ball.
“Just look at her in
the glass. Never
look at her
directly” (Riordan,
2005, p. 182).

19. Handout, Rationale, Resources, and
Questions
• According to NCTE’s 21st Century Curriculum and
Assessment Framework (2008), there are six
components that support a literate person in the
21st Century.
• Common Core State Standards suggest sixth
through 12th grade students critique and/or
analyze film versions of novels and other
literature.
• There are several online resources that you can
introduce your students to in order to get started.