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Overview and Goals ,[object Object],[object Object],[object Object],[object Object]
SOME OCCASIONS FOR MAKING VIDEOS ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Video in Classrooms ,[object Object],[object Object],[object Object]
WHY VIDEO?
MOVIES IN THE WRITING CLASSROOM ,[object Object],[object Object],[object Object],[object Object]
Diana  George “ … visual and written communication continue to be held in a kind of tension —the visual figuring into the teaching of writing as a problematic, something added, an anomaly, a “new” way of composing, or, somewhat cynically, as a strategy for adding relevance or interest to a required course.  Only rarely does that call address students as producers as well as consumers or critics of the visual. More rarely does the call acknowledge the visual as much more than attendant to the verbal.”
“ ...to ‘do’ visual rhetoric in composition too often means  not  to work with students on authoring multimedia visual texts that combine word and images but, rather, to work on critically reading visual artifacts and demonstrating this critical reading through the evidence of a print essay ”  Steve Westbrook
“ Composition and new media scholars [especially in higher ed] write about how readers can make meaning from images, typefaces, videos, animations, and sounds. . .  but most scholars don’t compose with these media.  ”  Cheryl Ball
LET’S MAKE MOVIES! ,[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[watch a few examples?]
[object Object],[object Object],[object Object]
[object Object]
so what?

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Danielle DeVoss Intro to Video 1

  • 1.  
  • 2.
  • 3.
  • 4.
  • 5.
  • 7.
  • 8. Diana George “ … visual and written communication continue to be held in a kind of tension —the visual figuring into the teaching of writing as a problematic, something added, an anomaly, a “new” way of composing, or, somewhat cynically, as a strategy for adding relevance or interest to a required course. Only rarely does that call address students as producers as well as consumers or critics of the visual. More rarely does the call acknowledge the visual as much more than attendant to the verbal.”
  • 9. “ ...to ‘do’ visual rhetoric in composition too often means not to work with students on authoring multimedia visual texts that combine word and images but, rather, to work on critically reading visual artifacts and demonstrating this critical reading through the evidence of a print essay ” Steve Westbrook
  • 10. “ Composition and new media scholars [especially in higher ed] write about how readers can make meaning from images, typefaces, videos, animations, and sounds. . . but most scholars don’t compose with these media. ” Cheryl Ball
  • 11.
  • 12.
  • 13. [watch a few examples?]
  • 14.
  • 15.