Cilassapplearningandteachingphilosophy

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Cilassapplearningandteachingphilosophy

  1. 1. Dr. Nadine Wills : CILASS Academic Fellow Scheme Application (adjusted presentation on learning and teaching philosophy)
  2. 2. I gave the following presentation on my teaching philosophy for a Film Studies Professor position in Canada at the same time that I was interviewed here. For a number of reasons, I decided to accept this position instead but this gives you an excellent overview of my approach to learning and teaching. Original Interview Presentation Monday, June 25, 2007
  3. 3. Characteristics of effective teaching (Part 1) <ul><li>Reflect upon her own practice. </li></ul><ul><li>Develop herself. </li></ul><ul><li>Awareness of the diversity of the student population. </li></ul><ul><li>Understanding of equitable practice. </li></ul><ul><li>Providing examples of learning for students. </li></ul>
  4. 4. Characteristics of effective teaching (Part 2) <ul><li>Effective teaching sessions </li></ul><ul><ul><li>Clarity of explanations. </li></ul></ul><ul><ul><li>Effective use of oral questioning. </li></ul></ul><ul><ul><li>Stimulation/encouragement of student interest (that leads to independent inquiry). </li></ul></ul><ul><ul><li>Encourages of student involvement/participation. </li></ul></ul><ul><li>Evaluation of student learning. </li></ul><ul><li>Variety of assessment methods. </li></ul><ul><li>Original Source: UK Universities’ Staff Development Unit (1994), adapted </li></ul>
  5. 5. Students as Professionals <ul><li>Students are expected to: </li></ul><ul><li>Behave in an appropriate manner </li></ul><ul><ul><li>(Casual and fun atmosphere based on mutual respect, purpose and support) </li></ul></ul><ul><li>Take responsibility for themselves and their own learning (meeting deadlines etc.) </li></ul><ul><li>Progressively move into the mode of PROFESSIONAL (scholar, researcher, employer/employee) </li></ul>
  6. 6. 9 Mantras for teaching <ul><li>Students need to see the whole picture </li></ul><ul><li>Students are selectively attentive </li></ul><ul><li>Students are driven by assessment </li></ul><ul><li>Students often only memorize if they do not do not make knowledge their own </li></ul><ul><li>Students’ attention is limited </li></ul><ul><li>Students can be easily overburdened </li></ul><ul><li>Students learn well by doing </li></ul><ul><li>Students learn well when they take responsibility for their learning </li></ul><ul><li>Students have feelings Original Source: Gibbs and Habeshaw (1989: 15-38) (adapted) </li></ul>
  7. 7. Getting the balance right <ul><li>Rigid and transparent framework </li></ul><ul><ul><li>Deadlines important (no missed tests etc.) </li></ul></ul><ul><ul><li>Forms </li></ul></ul><ul><ul><li>Continuous assessment/pressure/support </li></ul></ul><ul><li>Contrasted with casual tone/humour in class </li></ul><ul><li>Creativity/freedom encouraged in assessment </li></ul><ul><li>Constant negotiation of the learning process </li></ul><ul><li>Moving away from strict “lecture” mode </li></ul>
  8. 8. CIVEST
  9. 9. CIVEST <ul><li>C = Clarity </li></ul><ul><li>I = Interdisciplinarity </li></ul><ul><li>V = VARK (Visual, Audio, Reading/Writing, Kinaesthetic Learners) </li></ul><ul><li>E = Empower and Evolve </li></ul><ul><li>S = Soft Skills </li></ul><ul><li>T = Technology </li></ul>
  10. 10. Clarity <ul><li>Learning outcomes (continuously come back to these) </li></ul><ul><li>Especially make connections what “real life” application is </li></ul><ul><li>Boundaries and goal-setting </li></ul><ul><li>Repetition (in assessment and terms) </li></ul><ul><li>Clear what they can expect from me and vice versa </li></ul>
  11. 11. Interdisciplinarity <ul><li>Between subjects </li></ul><ul><li>Patterns </li></ul><ul><li>Someone who makes connections </li></ul><ul><li>Creativity </li></ul><ul><li>Problem-solver (focus on solutions rather than obstacles) </li></ul>
  12. 12. VARK <ul><li>Students learn in different ways </li></ul><ul><ul><li>Visual </li></ul></ul><ul><ul><li>Audio </li></ul></ul><ul><ul><li>Reading/Writing </li></ul></ul><ul><ul><li>Kinaesthetic </li></ul></ul><ul><li>Ex. 180° Rule </li></ul><ul><li>Body language and gestures, eye contact important </li></ul><ul><li>Translate theory into equations </li></ul><ul><li>Ex. Mulvey and “to-be-looked-at-ness” </li></ul><ul><li>Man=eyes=camera=desire, Woman=body=art=object of desire </li></ul>
  13. 13. Empower and Evolve <ul><li>Student ownership/responsibility </li></ul><ul><ul><li>Choosing essay/subject (distribution of assessment) </li></ul></ul><ul><ul><li>Develop forms </li></ul></ul><ul><ul><li>Time needed to complete take (3 ½ minutes?) </li></ul></ul><ul><li>Development from amateur to professional </li></ul><ul><li>Reflecting on development and practice </li></ul><ul><li>Sharing “Best Practice” </li></ul>
  14. 14. Skills <ul><li>Skills vs. Knowledge </li></ul><ul><li>Soft skills </li></ul><ul><li>Knowledge and theory quickly outdated </li></ul><ul><li>Need to know how to use resources, research </li></ul><ul><li>Lateral rather than just linear connections </li></ul><ul><li>Students as human beings </li></ul><ul><li>Teacher as life coach </li></ul>
  15. 15. Technology <ul><li>Technology is often used as a barrier to learning </li></ul><ul><li>Use of technology routinized </li></ul><ul><li>How to incorporate it into the classroom/learning in a spontaneous and innovative way? </li></ul><ul><ul><li>Youtube </li></ul></ul><ul><ul><li>Blog </li></ul></ul>
  16. 16. Main Strategy for making Film Studies relevant at the School of Community and Liberal Studies <ul><li>CLARIFY. </li></ul><ul><li>EXAMPLE. </li></ul><ul><li>WHY? </li></ul><ul><li>APPLY. </li></ul>
  17. 17. Achieving Learning Outcomes <ul><li>Problem-based learning </li></ul><ul><li>Development of student judgement </li></ul><ul><li>Self assessment and peer feedback alongside course evaluation </li></ul><ul><li>Varied assignments </li></ul><ul><li>Group work (learning from each other) </li></ul><ul><li>Negotiated goals </li></ul><ul><li>Engaging learning tasks </li></ul><ul><li>Cooperative learning </li></ul><ul><li>Success measured on a series of different levels </li></ul><ul><li>Source: Gibbs (1992: 44) </li></ul>
  18. 18. Providing Examples of Learning/Feedback <ul><li>I give this to students before they do their first one-on-one peer assessment (we also “playact” it out once with me in front of the entire class to model “skilled” and “unskilled” ways of doing this) </li></ul><ul><li>Gage how much criticism the person can handle. </li></ul><ul><li>Start off with what you liked best about the piece. </li></ul><ul><li>Be considerate with your criticism (constructive and brief) </li></ul><ul><li>Be specific with your criticism and praise </li></ul>
  19. 19. Problems with Assessment <ul><li>Overload of students and staff </li></ul><ul><li>Fuzzy or non-existent criteria </li></ul><ul><li>Undue precision and specificity in marking schemes </li></ul><ul><li>Students do not know what is expected of them beforehand (give precise examples of what they must do to get precise marks) </li></ul><ul><li>Inadequate or superficial feedback provided (when it is given, usually after marks which is too late) </li></ul>
  20. 20. Assessment <ul><li>Finding alternatives to presentations and exams to test knowledge: </li></ul><ul><li>Storyboard </li></ul><ul><li>Question Week </li></ul><ul><li>Thesis Statement </li></ul><ul><li>Essay Organization </li></ul><ul><li>Partner Feedback form (student creation) </li></ul><ul><li>Participation Form (and evaluation of my feedback of their work) </li></ul>
  21. 21. Teaching Demonstration “ El Tango de Roxanne” from Moulin Rouge (Baz Luhrmann, 2001): Rape as Dance/Editing as Audience

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