Interprets the film, Midnight Cowboy," as an updated version of the Orpheus-Eurydice myth. Footnotes included. (DS)

Declares that a high school filmmaking program should not become a professional filmmaking school," but--instead--should introduce students to an awareness of the essentials of seeing." (Author/RD)

Examines how a film may either intentionally or unintentionally be made a vehicle of prejudice-- Hurry Sundown" as an example of the latter and The Birth of a Nation," of the former. (JM)

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)

Describes the Danish Film School's program in screenwriting. Three faculty members offer insights into their objectives in teaching and the emphasis they each place on various aspects of writing. (JMF)

In April, 1978, 109 chairpeople of academic radio and television departments were surveyed concerning the instruction they provide in television aesthetics and criticism. From the 63 responses, these findings are discussed: courses offered, perceived importance of these courses, pedagogical goals, and operational definitions of television…

Studies viewers' impressions of husbands and wives in four Ingmar Bergman films in terms of socio-intellectual status, dynamism, and aesthetic quality. The agreement of viewer ratings indicates that viewers reacted more in tune with the underlying symbolic significance of characters than did most critics. (JMF)

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)

Provides an overview of the liturature on Chaplin and the character he portrayed--Charlot, "the little fellow,"--throughout the world. (JMF)

Describes a seminar which organized a series of student films by characterizing their surface themes and patterns of symbolic expression beneath their surface layers, using Jungian psychology. Implications of student films as overt and covert vehicles of self-expression are discussed. (JMF)

Calls for a more contextual understanding of film study, which would recognize that the discipline called "film studies" is above all a communicational system--an open system in continual and reciprocal communication with its environment or context. (JMF)

Finds that including media studies at the end of a traditional literature course is an effective pedagogical instrument for instigating discussion regarding the literary canon, since students recognize and address the important contribution of popular culture when it is in dialogue with more traditional material. Selects the film…