This volume advocates for including feature films in secondary history classrooms through examining the ways in which films can promote students’ historical understanding while also addressing the potential drawbacks to using film. In part one the essays explore three frameworks for the analysis of film by secondary students. Part two fills a void in the scholarship, reporting on four recent studies that explore how the use of film may encourage the development of students’ historical understanding. Finally, part three describes the results from two secondary teachers incorporating film into their history classrooms.

The purpose of this text is to further flesh out some of the factors--specific dimensions of our n-dimensional hyperspace--important to inquiry in the classroom. As such, some of the of the factors have already been introduced, others will be new to the conversation. In our discussions that lead to the preparation of this manuscript, it became clear that each of us was interested in classroom inquiry, and so we each wanted to situate our analysis in these classrooms. For that purpose, our discussions are organized into sections. Each section begins with one (or more) vignette--snippets of science classrooms--that the authors then discuss how this vignette demonstrates some aspect of the specific dimension that they are charged with discussing. Because inquiry is so multifaceted and its portrayals are often complex and nuanced, the discussion of the dimension is broken into separate essays--each of which addresses the focal dimension in different ways. Following the essay, a broader discussion across the essays is offered to support your sense making. As we began this effort, we selected what we understood to be the most influential dimensions of inquiry in the classroom. But certainly there are others that can and should have been included, (i.e., the role of curriculum in supporting (or confining) the enactment of inquiry, the manner in which inquiry can shape students' knowledge, the role systemic efforts can have in enabling inquiry). But given the confines of one text, we've chosen what we understood to be the central components, and these have been arranged into 6 sections. Our vision is that each of these sections can be self-supporting, so their appearance in the text doesn't represent the order in which they must be read. Ideally, the reader would engage in the introduction, then select the section that addresses the dimension influencing classroom inquiry that is of greatest importance. The only exception to this is section 6, which is a specific form of enactment of classroom inquiry; engagement with this section may be best augmented after reading the sections that interest you.

Reframing the Past traces what historians have written about film and television from 1898 until the early 2000s. Mia Treacey argues that historical engagement with film and television should be reconceptualised as Screened History: an interdisciplinary, international field of research to incorporate and replace what has been known as ‘History and Film’. It draws from the fields of Film, Television and Cultural Studies to critically analyse key works and connect past scholarship with contemporary research. Reconsidered as Screened History, the works of Pierre Sorlin, Marc Ferro, John O’Connor, Robert Rosenstone and Robert Toplin are explored alongside lesser known but equally important contributions. This book identifies a number of common themes and ideas that have been explored by historians for decades: the use of history on film and television as a way to teach the past; the challenge of filmic and televisual history to more traditional historiography; and an ongoing battle to find an ‘appropriate’ historical way to engage with Film Studies and Theory. Screened History offers an approach to exploring History, Film and Television that allows room for future developments, while connecting them to a rich and diverse body of past scholarship. Combining a narrative of historical research on film and television over the past century with a reconceptualisation of the field as Screened History, Reframing the Past is essential reading both for established scholars of History and Film, Film History and other related disciplines, and to students new to the field.

Action! Film is a common and powerful element in the social studies classroom and Cinematic Social Studies explores teaching and learning social studies with film. Teaching with film is a prominent teaching strategy utilized by many teachers on a regular basis. Cinematic Social Studies moves readers beyond the traditional perceptions of teaching film and explores the vast array of ideas and strategies related to teaching social studies with film. The contributing authors of this volume seek to explain, through an array of ideas and visions, what cinematic social studies can/should look like, while providing research and rationales for why teaching social studies with film is valuable and important. This volume includes twenty-four scholarly chapters discussing relevant topics of importance to cinematic social studies. The twenty four chapters are divided into three sections. This stellar collection of writings includes contributions from noteworthy scholars like Keith Barton, Wayne Journell, James Damico, Cynthia Tyson, and many more.

This book reflects on how teachers and students use new technologies in classroom settings in order to improve the capacity of teaching and learning in history to successfully meet the challenges of the twenty-first century through a complex understanding of the relation between past and present. Key authors in the field from Europe and the Americas present a comprehensive overview of the central questions at the heart of the book. They contribute to this process of reflection by taking diverse methodological, pedagogical and conceptual approaches to analyse the ways in which digital tools could advance the development of historical comprehension in the fields of formal and informal history education in different settings as schools, museums, exhibitions, sites of memory, videogames and films. Drawing together a disciplinary diversity that approaches the topic from the viewpoints of collective memory, global history, historical thinking and historical consciousness, the book’s cutting-edge content offers interested academics and practitioners with a broad-based view on the current state of debate in this area, examined via theoretical exploration in-depth case analysis.

Moments that Matter in the Learning and Development of Children: Reflections from Educators explores the significant moments that unfold for young people in their schooling from the perspectives of teachers and school staff. Educators often reflect on “moments” as being a critical piece of their work with children. They can help make things better for students and produce a difference in lives. They are meaningful for young people, as well as consequential for teachers and school staff as they reflect on the outcomes of their efforts. Yet, as they are difficult to define and capture, these moments often are not studied for the value they offer. This book promotes awareness of these moments, as well as their connected meanings and possibilities. Recognizing the significance of moments extends an opportunity to situate schooling in broader contexts and to understand learners as whole embodied beings, engaged in social interactions, making sense of their surrounding world, and generating transformations in it. When educators reflect deeply about the possibilities connected to the moments they share with children, they recognize the multitude of opportunities that support their learning and development. They become “awake” to some of moments’ promises.

The early essays of the most influential French film critic of the post-68 period. The Footlights (1983) was the first book by Serge Daney, a film critic admired in his lifetime by Gilles Deleuze and Jean-Luc Godard and recognized since his premature death in 1992 as the most important French writer on film after André Bazin. The Footlights stands apart in Daney’s body of work as the only collection of his essays he conceived of as a book, organizing his seminal pieces from Cahiers du Cinéma by theme and linking them with original texts that reflect in a personal voice on the doubts, battles, and illuminations of a generation of film lovers inspired by the explorations of Lacanian theory and roused by the collective aspirations of Maoist dogma. In pieces on fellow travelers Godard and Straub/Huillet, on films ranging from Pasolini’s Saló to Spielberg’s Jaws, and on the difference between film language and television discourse, Daney offers a definitive portrait of an era of radical hope and disappointment.