Describes a number of nonnarrative films and suggests ways to use them to integrate media into subject areas, to teach production techniques, to critique films and other visual productions, and to develop good visual taste. (DD)

Describes a teaching technique for preparing students for film viewing. (MH)

Argues for the validity and effectiveness of using film excerpts to teach high school English. Suggests various methods for using commercial films on VCRs to study themes, formal elements of literature, literary terms, and the aesthetic decisions behind film adaptations. (JG)

Offers suggestions on how to make a film study course challenging and enjoyable, through using a variety of films, defining visual literacy, choosing films with cinematic and literary value, and deciding on a specific approach for the course. (FL)

Suggests that older feature-length films can be uplifting, relevant to the curriculum, and inexpensive. Offers tips on how to select and use them and a list of ten such films. (FL)

Describes activities selected from study guides supplied by educational film distributors that provide a feel for the experimental approach to film appreciation and a stimulus for teachers to develop similar activities. (FL)

Suggests a simple, adaptable pattern for teaching the grammar of films and television, i.e., its agreed conventions of vocabulary and syntax. A variety of feature-length films and extracts are listed to illustrate the concepts being taught as well as film distributors and addresses. (MBR)

Discusses film-oriented writing classes as a way of expanding student vocabularies and illustrating such literary devices as metaphor, irony, and imagery. Offers guidelines for writing instructors wishing to add films to a course plan, using "King Kong,""The Godfather," and "One Flew Over the Cuckoo's Nest" as examples. (DMM)

Details an approach which involves taking students through the problems of film production while teaching (1) theory; (2) actual tools of production; and (3) practical methods of organizing work. Contends that precise, challenging, technical exercises performed in an interactive social framework maximize skill development. (PD)

Presents a sample of college and university screenwriting programs for writers and directors. Includes opinions of faculty and professionals in the field of writing on the specific objectives of screenwriting courses, as well as methods of teaching. (JMF)

Discusses a course combining Shakespeare and film and describes in detail the film selection and adaptation for classroom use. Available from: Literature/Film Quarterly, James M. Welsh, Ed., Salisbury State College, Salisbury, MD 21801. Subscription Rates: libraries, $8.00; individuals, $6.00; students, $5.00; single copies, $2.00. (MH)

Describes a "fiction into film" class course, in which students are brought to many significant insights about the workings of literature by collaborating on a short film based on a literary work. (FL)

Louise Rosenblatt's reader response theory can be applied effectively to film study in the classroom. Although there are differences between film and literature, the processes that one uses to make sense of literature and film are similar, and Rosenblatt's theory provides not only a valuable addition to film theory, but teachers of film study will…

Offers guidelines for teaching students to detect and analyze bias in films. Stresses that this enhances critical thinking. Suggests ways teachers can identify filmmaker's biases, and provides a Film Bias Analysis worksheet to help students identify bias and its methods of operation. (RW)

Presents several ideas and techniques for teaching film, outlines major responsibilities of film specialists, suggests ways to begin incorporating film into the curriculum, and presents guidelines for creating the most receptive physical environment for viewing films. (MBR)