Lists both general and specific objectives of the National Association of Schools of Theatre (NAST) Constitution. Describes the NAST accreditation processes. (MS)

The pressure to produce products assures thoughtless imitation and replication in video production. As J. Lynch (1984) observed of the early music video industry, "they borrow the techniques of Dada, Surrealism, and abstract film, and as K. Dieckmann (1985) concurs, the "commercialized industry takes up avant-garde practices to sell…

Analyzes two influential basic textbooks in the study of radio-television-film (RTVF): "Broadcasting in America" and "Film Art: An Introduction." Comments on how the RTVF organization impacts graduate education. (PD)

Outlines a course covering the history of film and televisual representations of the Vietnam War. Shows how to relate films to the social interests they serve, and describes how to relate form to function. Provides a list of recommended films, television shows, and readings for each of the course's 10 units. (MM)

Discusses the following principles for developing literature and film courses: (1) instructors should have goals for the course and understand and know how to achieve them; (2) works should be chosen for their quality, not popularity; and (3) instructors should be expert in film, literature, or both. (AYC)

Outlines an approach, designed for upper level German students, to studying GDR film which focuses on the relationship between film art and socialist ideology. (EKN)

Offers six predictions on the interrelated development of film technology and film study in the teaching of English. Sees the instructional centrality of the video cassette recorder in the near future, progressing to microcomputers, laser disks, and hybrid spoken-written-graphic text. (MM)

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)

To believe that students are not using reading and analytical skills when they watch or "read" a movie is to miss the power and complexities of film--and of students' viewing processes. This book encourages teachers to harness students' interest in film to help them engage critically with a range of media, including visual and printed…

This lesson plan for students in grades 9-12 follows the guiding question, "How do filmmakers bring history to life, and how does filmed history represent (or misrepresent) historical realities?" Through these lessons, students employ the screenwriter's craft to gain a fresh perspective on historical research, learning how filmmakers…

Maintains that free reading and film study constitute a powerful arsenal against the barriers reluctant student learners erect. Describes the successful use of both techniques with a class of seniors who had all failed junior English. (SR)

It is proposed that college second-language students can increase understanding of the nature of fiction and film in a carefully planned upper-level course combining genres. One Spanish teacher's experience illustrates that this improves students' appreciation of Hispanic values, specific literary and cinematographic techniques, and use of…

This document, prepared for the Scottish Council for Educational Technology and the Scottish Film Council, sets forth basic principles on which discussions of the future of media education in Scotland might be based. The nature and scope of media education are reviewed, and media education is portrayed as a means of helping children and adults to…

Experimental instructional projects and educational programs generated by teachers at the Big Ten universities and the University of Chicago are described. Department-based projects include the following: introductory botany for nonscience students, University of Illinois, Urbana; futuristic and technological approaches to nonmajor biology, Ohio…