Journal articles: 'Films in education'

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Giveans, David L. "Parenting films." Day Care & Early Education 15, no. 2 (December 1987): 40–41. http://dx.doi.org/10.1007/bf02361552.

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Li, Kaiyi. "Education, Entertainment, and Indoctrination." Journal of Educational Media, Memory, and Society 12, no. 1 (March 1, 2020): 24–42. http://dx.doi.org/10.3167/jemms.2020.120102.

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This article demonstrates how educational film in interwar China served the dual purpose of mass recreation and political indoctrination. It places educational film in China in the context of Chinese tradition and the predominance of utilitarian scholarship. On the one hand, China has a long history of using mass-recreational tools in order to influence and control society. On the other hand, foreign educational films available in the early twentieth century were not attractive to Chinese audiences. Hence, the boundary between recreational and educational film at the time was ambivalent and the combination of recreation, education, and propaganda was reflected both in the phenomenon of showing educational films and in the contents of the films themselves.

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Ayhan, Ayşe, Yasemin Çekiç, and Gülsüm Ançel. "Psychiatric nursing education: films and reflections." Anatolian Journal of Psychiatry 19 (2018): 1. http://dx.doi.org/10.5455/apd.285233.

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Miller, Susan A. "FILMS/VIDEOS for Adults: Inservice Education." Childhood Education 68, no. 3 (March 1992): 186–87. http://dx.doi.org/10.1080/00094056.1992.10522576.

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W. Tausch, Michael. "Phototactive Thin Films in Science Education." World Journal of Chemical Education 6, no. 1 (January 30, 2018): 14–17. http://dx.doi.org/10.12691/wjce-6-1-3.

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Arslan, Suna. "Analysis of Education-Themed Films in the Context of Teacher Education Programs." Journal of Education and Training 4, no. 2 (August 10, 2017): 84. http://dx.doi.org/10.5296/jet.v4i2.10916.

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The study aims to answer the question: “Is it possible to benefit from education-themed films in teacher training policy?” For this purpose, students of the Faculty of Education were placed in film viewing/interpreting groups and were asked to determine the meanings conveyed in the following films: “Hababam Sınıfı,” “Sınav,” “Elephant,” and “Dead Poets Society.” The findings obtained through content analysis were themed. Results showed that catchy/effective scenes and cues were grouped under the following main themes: Education, family, society, and adolescence. The most intensely-perceived main theme was the messages on the education system. The fact that education took first place and that this was followed by adolescence, society, and family-themed messages shows that the education phenomenon should be discussed with respect to these concepts.

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ILIE, ANA-SIMONA, and IOANA MAGDAȘ. "The Use of the Educational Film in Primary Education in Romania." Romanian Review of Geographical Education 10, no. 1 (February 1, 2021): 5–19. http://dx.doi.org/10.23741/rrge120211.

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In the introduction, t he paper makes a brief presentation of the topics related to the use of films in the education system, which are included in the works in the field of education sciences. As a result of the study of articles avai lable on the Internet, 38 studies have been identified, aut hored by researchers. These contain some results regarding the use of film for educational purposes. 16 articles refer to the use of films in the education system, at different levels, and 15 articles refer to the use of films in primary education. Seven articles published in the period 2013-2020 presented detailed research on the use of films in primary education. The literature analysis is systematized on four directions: factors that influence the use of edu cational films in primary education; selection of educational films for their use in primary education; improving educational films for their use in primary education; the modality of using the educational films in primary education and the results obtaine d as a result of their use.

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Ellsworth, Elizabeth. "Educational Films against Critical Pedagogy." Journal of Education 169, no. 3 (October 1987): 32–47. http://dx.doi.org/10.1177/002205748716900304.

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Teachers committed to practicing critical pedagogy often must do so in spite of the curriculum materials available to them. This paper analyzes the conventions of form and style that typify traditional educational film. The argument is made that while teachers and students are active producers and negotiators of meaning, the aesthetic conventions of most educational films negate this classroom reality. The paper analyzes a sample of films produced between 1940 and 1960 to determine the norms that were set in place during the time when the dominant style of educational films became fully established. It then compares these norms to the forms and styles of two contemporary educational films that deal with social issues. It suggests that while some conventions have changed across time, they continue to be employed in ways that actively work against critical thinking and liberatory education.

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Stanford, Beverly Hardcastle. "Films/Videos: Responses to Today's Education Challenges." Childhood Education 70, no. 3 (March 1994): 186–87. http://dx.doi.org/10.1080/00094056.1994.10521028.

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Starnes, Bobby Ann. "On Nerds, Science Education, and Horror Films." Phi Delta Kappan 87, no. 8 (April 2006): 634–35. http://dx.doi.org/10.1177/003172170608700827.

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Mold, Alex. "Health Education Films in the Twentieth Century." Social History 44, no. 1 (January 2, 2019): 139–41. http://dx.doi.org/10.1080/03071022.2019.1549776.

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Chang, Dae Ryun. "Using Films to Achieve Diversity Goals in Marketing Education." Journal of Marketing Education 42, no. 1 (October 3, 2019): 48–58. http://dx.doi.org/10.1177/0273475319878868.

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Visual communication, especially films, can be an effective way to teach complex topics. The use of films in business schools, however, has been limited even though demand for such content is increasing. This article takes a focused look at how educators can take advantage of films to teach diversity in business. Despite the importance of diversity in business and marketing education, there is not enough written materials such as case studies to teach it. Even when they do exist, written content may not be adequate in communicating the issues involved in diversity because of difficulties related to representing a given diversity group only using text. This article discusses how films can help overcome the limitations of text-only representation of a specific diversity group—intellectually disabled workers. The empirical study shows that film can be more effective than text in eliciting consumer responses such as emotions and a positive attitude to an identified disabled personality as well as to the employer brand. This article also provides practical steps that educators can take in gradually integrating visual materials such as film to their traditional method and contents of instruction when teaching diversity in business.

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Marín-Montín, Joaquín. "Educational values of sports in films." Comunicar 12, no. 23 (October 1, 2004): 109–13. http://dx.doi.org/10.3916/c23-2004-18.

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This paper presents an analysis of sports in films emphasizing educational values. Along history cinema as social media has witnessed the transformation of sports. As a didactic resource the documentary genre has been essential in sports evolution. However, we can not forget narrative movies referring to the sport phenomena around world. Este artículo presenta un análisis sobre el deporte en el cine e incide en sus valores educativos. A lo largo de la historia, el cine como medio de comunicación social ha sido testimonio de la transformación del deporte. Como recurso didáctico la función documental del cine ha sido clave para la evolución deportiva aunque sin olvidar aquellas obras argumentales que han tomado de referencia fenómenos generados en torno al deporte.

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VEREȘ, SANDA, and IOANA MAGDAȘ. "The Use of the Educational Animated Film in Primary Education in Romania." Romanian Review of Geographical Education 9, no. 2 (November 14, 2020): 67–86. http://dx.doi.org/10.23741/rrge220204.

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This study aims to review, analyse and synthesize the literature, which refers to the use of educational film in education in Romania and which deepens aspects related to the use of animated film in primary education. The aim was to review the literature on: classification of animated films in the category of educational means; the functions of animated films; types and sources of animated films; teacher preparation for the use of film for educational purposes; integrating the film into the lesson; how to use animated films in primary education and the results of their use. Existing information in papers in the field of education sciences from the last three decades was analysed. Regarding the use of animation films in primary education, five studies were analysed in depth

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Whitehead, Frank. "Films on the small screen." Higher Education Quarterly 39, no. 3 (June 1985): 271–76. http://dx.doi.org/10.1111/j.1468-2273.1985.tb01420.x.

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Giveans, David L. "Eyeing current videos Fathering films." Day Care & Early Education 15, no. 1 (September 1987): 40–41. http://dx.doi.org/10.1007/bf02361510.

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Ruiz-del-Olmo, Francisco-Javier. "Language and collective identity in Buñuel. Propaganda in the film «España 1936»." Comunicar 18, no. 35 (October 1, 2010): 69–77. http://dx.doi.org/10.3916/c35-2010-02-07.

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The Spanish Civil War occupies an important place in the European collective memory. The film language and depiction of that conflict provide an important platform from which to study certain features of the European cultural matrix. This paper examines propaganda films produced by the Republican government, especially those films produced under the supervision of Luis Buñuel, the Spanish surrealist filmmaker. At the start of the war, the Aragonese filmmaker returned to Paris following a summons by the Spanish Foreign Ministry to collaborate with the Spanish embassy in Paris in counterespionage and propaganda. Buñuel’s main task was to gather, organize and edit pro-Republican footage. Unlike films made for viewing in Spain, the Paris-produced propaganda films were aimed at audiences in Europe with the objective of changing the doctrine of non-intervention in the conflict. They are also characterized by Buñuel’s theories and conception of documentary film-making, in which reflection and the psychological resources that motivate action or move an individual conscience predominate. This paper describes and analyses the film language and practice of that era, in particular the unique and emblematic film «España 1936» (1937). En la memoria colectiva de los europeos, la Guerra Civil española ocupa un lugar destacado. El lenguaje cinematográfico y la representación fílmica de esa contienda forman un ámbito relevante en el que estudiar algunos rasgos de la matriz cultural europea. El presente trabajo selecciona parte de la producción fílmica de propaganda del gobierno republicano, en concreto los filmes de montaje supervisados por Luis Buñuel. Al inicio de la contienda el cineasta aragonés vuelve a París siguiendo las indicaciones del Ministerio español de Asuntos Exteriores para colaborar, en la embajada española en la capital francesa, en diversas labores de contraespionaje y propaganda. Entre ellas y principalmente, Buñuel se ocupa de reunir, organizar y montar diverso material fílmico prorrepublicano. A diferencia de otras producciones proyectadas en España, los filmes parisinos de propaganda republicana se caracterizaron, en términos generales, por estar dirigidas a públicos de distintos países europeos con el objetivo de romper la doctrina de no intervención en el conflicto y se inscriben dentro de las teorías y concepción de Buñuel sobre el documentalismo filmado, donde primaba lo reflexivo y los recursos psicológicos que motivaran a la acción o a la toma de conciencia individual. El presente texto se ocupa, en ese contexto, de la descripción y el análisis del lenguaje y las prácticas fílmicas en esos años. De todas ellas, el filme «España, 1936» (1937), es a la vez un ejemplo emblemático y singular.

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Maldonado, Nancy S., and Mariann P. Winick. "Films/Videos/DVDs: Catching up with Science Education." Childhood Education 77, no. 5 (August 2001): 333–36. http://dx.doi.org/10.1080/00094056.2001.10521665.

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Maldonado, Nancy S., and Mariann P. Winick. "Films/Videos/DVDs: Public Education and Personal Visions." Childhood Education 81, no. 1 (October 2004): 58–59. http://dx.doi.org/10.1080/00094056.2004.10521298.

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Maldonado, Ancy S., and Mariann Pezzella Winick. "Films/Videos/DVDs: Education: There are No Shortcuts." Childhood Education 82, no. 5 (August 2006): 316–18. http://dx.doi.org/10.1080/00094056.2006.10522853.

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Windsor, Violet. "Cinema 100: Films for Education Managers and Administrators." Management in Education 10, no. 5 (November 1996): 21–23. http://dx.doi.org/10.1177/089202069601000509.

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Bjørlo, Berit Westergaard, and Ellen Birgitte Johnsrud. "Making tutorial films on picturebooks in teacher education." Journal of Literary Education, no. 4 (July 31, 2021): 43. http://dx.doi.org/10.7203/jle.4.21010.

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In this article we analyze two films about picturebooks, made in student-led groups in a children’s literature course at university level. We also investigate the self-assessments the students wrote. The assignment was designed to explore specific Norwegian picturebooks, in this case Snill (What a girl!) by Gro Dahle and Svein Nyhus and Garmanns Sommer (Garmann’s Secret) by Stian Hole. Our aim is to highlight in which ways this assignment expanded the students’ knowledge on picturebooks and literature didactics. For this purpose, we build upon picturebook theory, theories on multimodality and theories on collaborative learning processes. Our findings support results and ideas in other studies on how to use and produce multimodal artefacts and digitized media in collaborative learning contexts (Jewitt, 2006; Jewitt, 2013; Kress & Selander, 2011; Selander, 2015), and studies on the potential of collaborative teaching and learning processes, and of students’ self-assessments (Alexander,2017). Both films present and discuss the interplay between words and images in ways that demonstrate solid knowledge of picturebook theory. The analyses also indicate that this kind of film making project may foster a high degree of student engagement suited to achieve in-depth knowledge on topics within the field of children’s literature.

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Montes-Del-Castillo, Ángel. "Films etnográficos: la construcción audiovisual de las «otras culturas»." Comunicar 8, no. 16 (March 1, 2001): 79–88. http://dx.doi.org/10.3916/c16-2001-12.

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Los medios de comunicación de masas caminan hacia la homogeneización comunicativa y el pensamiento único. Una de las formas de romper esquemas etnocéntricos y acceder al estudio de «otras culturas» es la utilización, también en las aulas universitarias, de técnicas audiovisuales que permiten la elaboración de un discurso antropológico visual. El autor analiza el interés que los films etnográficos en los que se filma la acción desde dentro de una cultura, permitiendo al futuro espectador situarse dentro de la acción y acercarse así «a otras culturas» generando una interpretación que va más allá de las imágenes captadas por la cámara.

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Sowa, Stephen, Ian Warwick, and Elaine Chase. "Producing and using community health education films in low- and middle-income countries." Health Education Journal 77, no. 7 (April 20, 2018): 803–14. http://dx.doi.org/10.1177/0017896918769693.

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Objective: To analyse the production and use of health education films in Kenya, Tanzania and Zambia. Design: Review of community health education films and their use by three partner organisations. Methods: A focused content analysis of 18 community health education films was conducted, and three exemplar films were selected for more detailed review. Interviews were carried out with four film production personnel and seven project workers using the films in health education projects in Kenya, Tanzania and Zambia. Concepts drawn from the Ottawa Charter for Health Promotion and Anchored Instruction informed the study. Findings: The films, produced primarily for use across sub-Saharan Africa, mostly conveyed biological information and addressed behavioural issues related to maternal and child health topics. The predominantly low-literacy audiences reached by the projects may further benefit from localised content highlighting the social determinants of health through engaging narrative formats. While the health education projects provided some opportunities to discuss the films after screening, linked problem-solving activities could raise awareness of the multiple factors influencing health and help community members formulate holistic action plans. Conclusion: The film production company responded to emerging findings, noting that more context-specific films should be produced, with community members being more fully involved in planning, production and evaluation. Such an approach could generate more relevant content and engage audiences more effectively in problem-solving related to health and wellbeing.

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Séguin-Vergara, Jean-Claude. "Teaching with films in the French educational system." Comunicar 15, no. 29 (October 1, 2007): 21–25. http://dx.doi.org/10.3916/c29-2007-02.

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French school system has always taken the cinema’s educational dimension into account . Nevertheless, the full integration of films in the cultural and educational activities of French pupils only dates back to the 1980s. Indeed, films are part of the syllabus as an optional course in the last three years of secondary school. Besides, from primary school onward, a whole system which enables pupils to become familiar with the cultural and artistic dimension of films has been set up thanks to the collaboration of the Ministries of Education and Culture. La enseñanza francesa, prácticamente desde los orígenes del cine, se ha preocupado por la dimensión didáctica del cine. Sin embargo, sólo se puede considerar que a partir de los años ochenta se ha conseguido poner en marcha un sistema completo que permita integrar el cine en las actividades culturales y educativas de los alumnos franceses. Por una parte, el cine forma parte del recorrido del alumno durante tres años antes del bachillerato. Se trata de una asignatura opcional. Por otra parte, desde la escuela primera hasta el bachillerato, existe un dispositivo que permite a los alumnos descubrir el cine como arte y como cultura gracias a la colaboración de los Ministerios de Educación Nacional y Cultura.

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Zegers, Lara DA, and Richard HC Zegers. "(Un)safe sex in James Bond films: what chance for sex education?" Scottish Medical Journal 63, no. 4 (November 2018): 113–18. http://dx.doi.org/10.1177/0036933018809601.

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Background and aims Many women in Bond films make love to James Bond (alias 007). Our objective was to quantify the practice of (un)safe sex in Bond films. Methods and results All 24 Bond films were watched together by the authors and the following data were recorded: if the women had sex with 007, whether the women consumed any alcohol before they had sex, whether contraceptives were mentioned and/or used by 007 or the women and whether the women survived the film. Bond had sexual relations with a total of 58 different women. Twenty-two percent of the women had consumed alcohol. In none of the films was any type of contraception mentioned or used. A total of 28% women did not survive the film. Conclusion If he were real, Bond outnumbers the British men at least fivefold when it comes to the number of sexual partners over a lifetime. Nevertheless, over time casual sex is becoming less frequent for 007. Sexually transmitted diseases, safe sex and (unwanted) pregnancies seem not to exist in the films. Some suggestions were made to promote safe sex in future Bond films as movies can play an important role in sex education.

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Resnick, David. "Strictly Subversive: Films of False Liberation." Comparative Education Review 40, no. 2 (May 1996): 204–11. http://dx.doi.org/10.1086/447374.

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Seferoğlu, Gölge. "Using feature films in language classes." Educational Studies 34, no. 1 (February 2008): 1–9. http://dx.doi.org/10.1080/03055690701785202.

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Giveans, David L. "Films focusing on children with disabilities." Day Care & Early Education 16, no. 2 (December 1988): 42–44. http://dx.doi.org/10.1007/bf01622986.

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Giveans, David L. "The “missing link” in piaget films." Day Care & Early Education 17, no. 4 (June 1990): 38–39. http://dx.doi.org/10.1007/bf01623199.

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Giveans, David L. "Child development films — The early years." Day Care & Early Education 16, no. 1 (September 1988): 40–41. http://dx.doi.org/10.1007/bf01620361.

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Sedney, Mary Anne. "Children's Grief Narratives in Popular Films." OMEGA - Journal of Death and Dying 39, no. 4 (December 1999): 315–24. http://dx.doi.org/10.2190/un7p-9rxy-j9h5-bhn6.

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Children's grief narratives, conceptualized as portrayals of the grief process in children, in popular films are examined. Four films focus this study: Snow White, Bambi, The Land Before Time, and The Lion King. These films reflect a range of acknowledgment of death and descriptions of grief in their young characters. They also vary in the extent to which they are consistent with traditional models of grief that emphasize detachment and contemporary models that focus on the importance of ongoing connections with the deceased. These films are consistent in their portrayal of the availability and usefulness of support and comfort for grieving children. They are also uniform in their presentation of possibilities for hope and some forward development after loss. Use of popular films for children's death education and for grief education is discussed.

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Laukötter, Anja. "Listen and Watch: The Practice of Lecturing and the Epistemological Status of Sex Education Films in Germany." Gesnerus 72, no. 1 (November 11, 2015): 56–76. http://dx.doi.org/10.1163/22977953-07201004.

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This article takes as its starting point Frauennot-Frauenglück (Women’s Misery – Women’s Happiness), a film representative of health education films on sex hygiene in Weimar Germany. This paper opens by situating the film in the landscape of German health education films from World War I to the Weimar era. I document the evolution of interest in sexual health education films in the early decades of the twentieth century and show how their narratives changed as a result of the increasing popularity of feature films in the Weimar period. The article then focuses on the lectures which accompanied health education films. I argue that an analysis of these under-investigated lectures can raise new stimulating epistemological questions on the historical status of health education films, as these lectures changed the filmic dispositive. I show how this common practice served as a technique of rhetorical reworking in efforts to adjust or orient the visuality of what was shown to the public. Drawing on two very different lectures which accompanied Frauennot-Frauen – glück, the article identifies two approaches to lecturing. While one consisted in enabling controversial films to be screened to the public, the other (socialist) approach transforms initial censorial intentions, allowing the speaker stress his personal or new positions.

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Icart-Isern, M. T., and K. Donaghy. "Films in Health Sciences Education. Learning through moving images." Revista de la Fundación Educación Médica 17, no. 2 (2014): 123. http://dx.doi.org/10.33588/fem.172.720.

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Stefanova, Tereza Angelova. "Using of Training Video Films in the Engineering Education." Procedia - Social and Behavioral Sciences 116 (February 2014): 1181–86. http://dx.doi.org/10.1016/j.sbspro.2014.01.366.

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Montgomery, Garth. "‘Realistic’ war films in Weimar Germany: entertainment as education." Historical Journal of Film, Radio and Television 9, no. 2 (January 1989): 115–33. http://dx.doi.org/10.1080/01439688900260111.

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Vandenplas-HOLPER, Christiane. "Children's Books and Films as Media for Moral Education." School Psychology International 11, no. 1 (February 1990): 31–38. http://dx.doi.org/10.1177/0143034390111005.

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Liguori, Eric, Jeff Muldoon, and Josh Bendickson. "Experiential entrepreneurship education via US films: why and how." Journal of Small Business and Enterprise Development 27, no. 6 (October 6, 2020): 927–41. http://dx.doi.org/10.1108/jsbed-04-2019-0135.

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PurposeExperiential education is key if the authors as scholar-educators are to empower the next generation of students to recognize opportunities, exploit them and succeed in entrepreneurship. Experiences facilitate the bridge between theory and practice; experiencing something serves as the linking process between action and thought. Capitalizing on technological advances of the last two decades, this paper depicts how film can be (and why it should be) incorporated into entrepreneurship classrooms.Design/methodology/approachThe authors analyze the learning literature, broadly defined, to assess and articulate the experiential nature of film. More specifically, this paper establishes a framework for film as an experiential pedagogical approach, offering theoretical connections and best practice recommendations. In doing so, this paper assesses two feature films and provide educators with a guide for their use in the classroom.FindingsThis paper establishes a framework for film as an experiential pedagogical approach, offering theoretical connections and best practice recommendations. It concludes with two actionable case examples, broad enough they are deployable in almost any entrepreneurship classroom, assuming English is the primary language.Originality/valueThis paper brings to life a concept some have long assumed is effective, but the literature often neglects: the use of film as an experiential medium. In doing so, two new case examples are developed and available for immediate deployment into classrooms.

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Pekel, Feyzi Osman. "PISA RESULTS OR X-RAY FILMS OF EDUCATION SYSTEMS?" Problems of Education in the 21st Century 74, no. 1 (December 25, 2016): 4–5. http://dx.doi.org/10.33225/pec/16.74.04.

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To be able to develop well-equipped students in accordance with the expectations of the society is one of the objectives of every education system in every country. In this sense, monitoring student performance comparatively at international level, assessing students and schools characteristics is crucially important in order to structuring individuals’ future lives. Determining student performances in different subject areas is a way for the countries examining the performance of their education systems (Anagün, 2011). Results of these assessments and evaluations enable steering the educational policy by diagnosing/revising the failures of the system.

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Arenas-Rojas, Adriana Marcela. "Cinema and Psychiatry’s relationship through time and its role in current medical education." Revista de Medicina y Cine 17, no. 1 (February 18, 2021): 41–47. http://dx.doi.org/10.14201/rmc20211714147.

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Cinema has been a source of entertainment and recreation for decades, and usually the themes depicted in films have roots in society itself. Films featuring psychiatrists and the mentally ill abound. Most early interpretations tended to be negative contributing to the stigmatization of mental illness, or overly positive furthering misinformation among the general public. Fortunately, nowadays there is an increasing number of films able to provide realistic depictions of psychopathologic disorders, being reasonably accurate and therefore suitable for psychiatric teaching purposes. Over the last three decades, psychiatry trainers have attempted to use films as an educational tool for teaching medical students and psychiatry residents for a number of mental health conditions. Films can be used to engage students’ attention, emphasize learning points in lectures and illustrate symptoms of a disorder. Cinema constitutes not only an important source of entertainment, but also an educational tool and a significant influence on people’s attitude towards mental illness

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Fuchs, Eckhardt, Anne Bruch, and Michael Annegarn-Gläß. "Educational Films." Journal of Educational Media, Memory, and Society 8, no. 1 (March 1, 2016): 1–13. http://dx.doi.org/10.3167/jemms.2016.080101.

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Instructional media serve multiple functions in a school setting. They can disseminate knowledge and skills while also informing and stimulating discussion. They not only convey information and support learning but also foster communication between teachers and pupils and between classmates and groups. However, despite the significant role of teaching media other than textbooks in the classroom, educational and media historians have largely ignored them. This is all the more remarkable because the current media revolution has made the media themselves particularly topical. “Contact with and access to media,” states Jelko Peters “presents a significant and fundamental problem of our time, which is closely linked with values such as freedom of communication and individual freedoms, pluralism, access to education as well as involvement in culture and participation in politics.”

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Brown, William J., and Terry R. Lindvall. "Green Cartoons: Toward a Pedagogy of the Animated Parable." Animation 14, no. 3 (November 2019): 235–49. http://dx.doi.org/10.1177/1746847719881701.

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The use of short animated films to address important social issues and societal needs has a rich tradition. These cartoons follow a stream of ecological propaganda in a variety of films that promote pro-environmental values and beliefs. After surveying films for both the cinema and television, the authors focus on exploring short animated films as pedagogical texts that teach pro-environmental beliefs and encourage ordinate behaviors in entertaining ways. They then discuss the application of the entertainment–education communication strategy through animated films as a means to advance environmental education. In particular, they view short animated films as pedagogical tools that function as exemplary or revelatory parables.

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Petty, Sheila. "African Cinema and (Re)Education: Using Recent African Feature Films." Issue: A Journal of Opinion 20, no. 2 (1992): 26–30. http://dx.doi.org/10.1017/s0047160700501516.

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Over the past few years the Montreal World Film Festival has continued to increase its programming of films by African directors. The 1991 edition, which ran from August 22-September 2, was certainly no exception. I happened to turn on the television to the French station and caught Société Radio Canada’s “official” review of Laafi by Pierre Yameogo of Burkina Faso. The reviewers, Chantal Jolis and René Homier-Roy, dismissed Yameogo’s portrayal of a current African problem—braindrain—as weak in terms of artistic production. For example, they both agreed that Laafi had too many “monotonous moments.” Homier-Roy, in particular, seemed completely oblivious to the colonizing attitude he displayed when he spoke of how the film illustrated the “petit-nègre” (a phrase I have rarely heard spoken since I left France in 1987) side of Africans. He then proceeded to “legitimize” the comment by shrugging his shoulders and declaring, “It’s the Africans who are showing it this time, not us.” Finally, the reviewers decided that African films are really only useful for their “anthropological” information.

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Anderson, Dana D. "Using Feature Films as Tools for Analysis in a Psychology and Law Course." Teaching of Psychology 19, no. 3 (October 1992): 155–58. http://dx.doi.org/10.1207/s15328023top1903_6.

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Two types of in-class discussions using feature films to stimulate discussion in a law and psychology course are described. In the first discussion, students identify legal doctrines and research findings relevant to the films, and they critique the accuracy of the films' representation of this material. The second discussion requires students to analyze the psycholegal issues the films evoke, critique the films' presentation of the issues, and evaluate their impact on the students' own positions. Participation in the discussions is intended to increase active learning and improve critical thinking. Using films may also improve students' perspective-taking skills. The subjectivity of films is one source of their attractiveness as teaching tools, but it also poses some educational risks.

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Kadleck, Colleen, and Alexander M. Holsinger. "“Two Perspectives” on Teaching Crime Films." Journal of Criminal Justice Education 29, no. 2 (September 11, 2017): 178–97. http://dx.doi.org/10.1080/10511253.2017.1372501.

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Youngmee Hwang. "A study on Critical Thinking Education for Engineering students - Focusing on the Education Using films." Journal of Engineering Education Research 21, no. 4 (July 2018): 3–9. http://dx.doi.org/10.18108/jeer.2018.21.4.3.

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Rajendran, Diana, and Martin Andrew. "Using Film to Elucidate Leadership Effectiveness Models: Reflection on Authentic Learning Experiences." Journal of University Teaching and Learning Practice 11, no. 1 (January 1, 2014): 92–108. http://dx.doi.org/10.53761/1.11.1.8.

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Abstract This paper examines how students in a third year management unit at a university of technology in Australia evaluate the usefulness of film as a tool for developing a deeper understanding of the theoretical leadership effectiveness model developed by Robbins (1997). The study reviews the range of studies describing the use of films in teaching leadership, playing into a perceivable gap in empirical studies demonstrating how students engage in applying the concepts of leadership. This study specifically considers whether films are effective interventions for achieving engagement in an assessment task aimed at identifying applications of theory to cases of leadership in action. As part of an action research cycle, thirty students (30) participated in three different focus groups. Transcriptions subsequently produced thick descriptions on which thematic analysis was conducted to extract key themes (Ryan & Bernard, 2003). The results suggest that films can communicate, embody and articulate the effectiveness of behaviours of leadership Robbins conveyed. The results also indicate that students value films as a medium for contextualising actions that demonstrate different leadership styles. It is perceived as a way of catering to diverse learning styles and as a way of building autonomy. We conclude that while films can be motivating and lend authenticity to assessment tasks, students need clear direction in making links between theoretical concepts and narrative filmic constructions of leaders and leadership behaviour. This leads to the next stage of our action research cycle.

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Husna, Fathayatul, and Ratna Sari Dewi. "Islamic Education Movie: Character Learning Through Nussa-Rara Movie." International Journal of Islamic Educational Psychology 2, no. 1 (June 28, 2021): 36–52. http://dx.doi.org/10.18196/ijiep.v2i1.11209.

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This article examines the Islamic cartoon film Nussa and Rara. The author used Nussa and Rara as a window to see the emergence of Islamic cartoon films. Its strengths are in conveying educational values to children and as a learning medium to build character education for children aged 12 years and under. To explain this phenomenon, the author employed the content analysis method and combined it with relevant data; those were strengthened by many research results and literature studies. Through this method, the author showed that Nussa and Rara movie shares Islamic value in each segment, such as the value of honesty, asking for prayers on time, respecting neighbors, and so on. The author tried to see how every figure, especially Umma as Nussa and Rara’s mother, explains and exemplifies how to be a good Muslim. Through this article, it could be concluded that films are not always judged to have a negative impact on the audience. Even films can contribute as a medium for education and dissemination of Islamic da'wah. Besides, through films, it can also contribute to building good character for children under 12 years of age. Some learning methods that can be used are the many steps or methods that can be planted in children, such as the habituation and storytelling methods. These methods can be used to apply the values of faith, moral values, and worship values. Thus, this article greatly contributes to enriching academic discourse related to character learning for children under 12 years of age. This article concluded that the Nussa and Rara cartoon film really strives to spread Islamic da'wah and build children's character from an early age with daily customs and begin to familiarize children to apply the values of Islamic teachings perfectly.

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Briggs, Crista L. "Engaging Students Using Feature Films." Journal of Nursing Education 50, no. 6 (June 1, 2011): 360. http://dx.doi.org/10.3928/01484834-20110519-06.

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Ridgeway, David W. "CHEM Study 1989-revised films." Journal of Chemical Education 66, no. 10 (October 1989): 872. http://dx.doi.org/10.1021/ed066p872.

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Journal articles on the topic 'Films in education'

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