DOCSLIB.ORG

Writing the Election TEXTS COURSE REQUIREMENTS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Writing the Election TEXTS COURSE REQUIREMENTS English 101, OGS [email protected] Renée Dickinson Office: R230, 425.564.2341 Fall 2016 Office Hours: monday-thursday, 10:30 - 11:30 Monday - Friday, Online Only & by appointment Engl& 101: English Composition I - Writing the Election I knew a man who was a great mountain climber. One day, a friend asked him, “What’s the best training for mountain climbing? Biking? Weights?” The man looked at him, mystified, and said, “The best training for climbing is climbing.” So, too, the best training for writing is writing. In this class we will write and write and write. We will cross-train by writing in different modes and genres, from free- writing to non-fiction narratives to formal argumentative essays. Our mission here is to become better writers and to be able to write successfully for multiple audiences (professors and professionals). This quarter, we will conduct this mission by focusing our writing on the upcoming presidential election. No matter how you decide to vote, you will be an informed and articulate citizen and political participant. I look forward to our journey. Charge! *** I understand that some students may not be able to vote in this election. Regardless, this election will affect you and yours. Consider how you can frame your contribute to this course from your particular circumstance. How might that be different than someone who is voting? What might that person not see or understand that you do? TEXTS They Say, I Say, by Gerald Graff and Cathy Birkenstein. Numerous online articles and videos. *You will need to be able to watch all Presidential and Vice Presidential debates. COURSE REQUIREMENTS: In addition to being present at and prepared for class by having completed all of the scheduled reading and writing assignments and bringing those texts to class, students are expected to complete the assignments for the course listed below. All due dates are listed in bold in the Course Outline which follows. The breakdown of the course assignments is as follows: Discussion Questions (25) 125 points Personal Essay 50 points Argumentative Essay 100 points Evaluation Essay/Film Review 50 points Participation 100 points Final Exam: Final Reflection 50 points TOTAL 475 points 1. Participation: 100 points In order to fully participate in this course, you must read the material, be present online, and constructively contribute to group discussions and peer reviews. Mostly, your job is to show me that you are thinking about and engaging with what we’re reading and discussing. Please be aware that disruptive and/or abusive behavior negatively affects your participation grade. 2. Discussion Questions: 125 points Discussion questions are one way to show me that you are engaged in and thinking about the content of the course. For each day that that they are assigned please submit via email or Canvas by 8 a.m. that day a set of focus questions consisting of one paragraph about each assigned reading that culminates in your question about the text. For each reading assignment, the paragraph should: 1. introduce your focus and perspective on the reading, 2. refer specifically to and accurately cite the passage from the text provoking your question, 3. and ask your thoughtful and thought-provoking question or statement. Late discussion questions will not be accepted. 3. Personal Narrative Essay: 50 points For this essay, you will excavate your own ideas about politics using a variety of invention strategies and then write an essay based on your first-hand experience. Focus on developing and clarifying your ideas into an essay that demonstrates the significance of the remembered moment/place/story. You will be asked to share your writing and to revise based on the feedback of your peers. 4. Argumentative Essay: 100 points For your second paper, you will write a three-page essay that argues about a candidate, party, or issue of the election. 5. Evaluation Essay: Film Review: 50 points In this essay, you will write an evaluation of a film from the list on Canvas, taking into account audience, genre, visual and story elements, the film “power code,” and answering the question: “why is it worth my money?” 6. Final Examination: Personal Narrative & Final Reflection: 50 points For your final examination, you will submit a revision of your personal narrative and a self-reflective paper on what you’ve written this quarter and on your development as a writer and communicator. You will refer to each project and to individual drafts of a paper as evidence in your reflection. Please save all drafts of each assignment. ATTENDANCE POLICY: As this is an online AND participatory course, your preparation and participation are necessary. Please be especially conscientious about replying to fellow students’ drafts and contributing to group discussions in a timely and thoughtful manner. LATE ASSIGNMENTS: All assignments are due on the date assigned unless prior arrangement is made with me. Should life intervene (medical or personal emergency) and you are unable to submit the assignment on time, please contact me via email as soon as possible. Please provide documentation whenever possible. All other late assignments will drop 10% per CALENDAR DAY after the due date. REVISIONS of all papers will be accepted. Prior to revision, students must discuss with me, if we have not already done so, my comments and revision strategies. These papers must be received (with the original paper and rubric attached) by the last day of class (December 2nd). Revisions cannot repair lost points due to a late assignment. Grading Scale Used to Assign Final Grades: The following letter grade equivalents will be used on all assignments and at the end of the quarter to determine your final grade: 90-100 % = A 80-89 % = B 70-79 % = C 60-69 % = D 0-59 % = F STUDENT CODE OF CONDUCT AND ACADEMIC INTEGRITY Any act of academic dishonesty, including cheating, plagiarism, and fabrication and inappropriate/ disruptive classroom behavior are violations of the Student Code of Conduct at Bellevue College. Examples of unacceptable behavior include, but are not limited to, talking out of turn, arriving late or leaving early without a valid reason, allowing cell phones/pagers to ring, and inappropriate behavior toward the instructor or classmates. The instructor can refer any violation of the Student Code of Conduct to the Dean of Student Success for investigation. Specific student rights, responsibilities, and appeal procedures are listed in the Student Code of Conduct at: Student Code. PLAGIARISM: Plagiarism may take many forms, including, but not limited to, using a paper written by someone else, using printed sources word-for-word without proper documentation, and paraphrasing or summarizing the ideas of others without acknowledging the source. Plagiarism can also occur when non-written ideas are taken without documentation--using someone else's design or performance idea, for example. In short, plagiarism is passing off someone else's ideas, words, or images as your own; it amounts to intellectual theft--whether or not it was your intention to steal. Bellevue College instructors have access to commercial plagiarism detection software, so please be advised that any work you submit may be tested for plagiarism. Participating in academic dishonesty in any way, including writing a paper or taking a test for someone else, may result in severe penalties. Dishonestly produced papers automatically receive a grade of "F" without the possibility of make-up. The Dean of Student Services will also be notified of such conduct, and repetition of the behavior will result in progressively more serious disciplinary action. Grades lowered for plagiarism or other forms of dishonesty may be appealed through the regular channels, and any further disciplinary action taken by the Dean may also be appealed through existing processes. Information about Bellevue College's copyright guidelines can be found at: College Copyright Policy. This link provides a good, short summary of how to avoid plagiarism: Avoiding Plagiarism. AFFIRMATION OF INCLUSION Bellevue College is committed to maintaining an environment in which every member of the campus community feels welcome to participate in the life of the college, free from harassment and discrimination. We value our different backgrounds at Bellevue College, and students, faculty, staff members, and administrators are to treat one another with dignity and respect. RELIGIOUS HOLIDAYS Students who expect to miss classes, examinations, or any other assignments as a consequence of their religious observance should be provided with a reasonable alternative opportunity to complete such academic responsibilities. It is the obligation of students to provide faculty with reasonable notice of the dates of religious holidays on which they will be absent, preferably at the beginning of the term. Students who are absent on days of examinations or class assignments should be offered an opportunity to make up the work without penalty (if they have previously arranged to be absent), unless it can be demonstrated that a makeup opportunity would constitute an unreasonable burden on a member of the faculty. Should disagreement arise over what constitutes an unreasonable burden or any element of this policy, parties involved should consult the department chair, or Dean. COLLEGE ANTI-DISCRIMINATION STATEMENT (TITLE IX) Bellevue College does not discriminate on the basis of race or ethnicity; color; creed; national origin; sex; marital status; sexual orientation; age; religion; genetic information; the presence of any sensory, mental, or physical disability; gender identity or veteran status in educational programs and activities which it operates. For further information and contacts, please consult College Anti-Discrimination Statements. CONFIDENTIALITY AND MANDATORY REPORTING As an instructor, one of my responsibilities is to help create a safe learning environment on our campus. It is my goal that you feel able to share information related to your life experiences in classroom discussions, in your written work, and in our one-on-one meetings.
Load more

Recommended publications
  • 2020 Writing09.11Metodichkareview
    МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ ДЗ «ПІВДЕННОУКРАЇНСЬКИЙ НАЦІОНАЛЬНИЙ УНІВЕРСИТЕТ імені К. Д. Ушинського» Кафедра германської філології та методики викладання іноземних мов Т. Є. Єременко, О. О. Негрівода, Г. А. Слободянюк Writing in English. A Book of Practice Методичні рекомендації для самостійної роботи студентів молодших курсів Одеса, 2020 1 Рекомендовано Вченою радою ДЗ «Південноукраїнський національний педагогічний університет ім. К. Д. Ушинського» (протокол №4 від 26 грудня 2020 р.) Т.Є. Єременко, О.О. Негрівода, Г.А. Слободянюк Методичні рекомендації “Writing in English. A Book of Practice”. Одеса, 2020. – 92 с. Рецензенти: доктор педагогічних наук, професор О.В. Попова кандидат педагогічних наук, доцент Л.В. Першина Методичні рекомендації для самостійної роботи студентів молодших курсів факультету іноземних мов закладів вищої освіти містять практичні завдання з написання таких типів текстів як: дискурсивний нарис, відгук, біографія, оповідання, резюме та ін. Запропоновані вправи спрямовані на розвиток навичок писемного мовлення. 2 CONTENTS Preface………………………………………………………….…...………….. 4 Discursive Essay…………….………………………………………………….. 5 Opinion Essay……………………………………………..…………………….. 11 Argumentative Essay (Essay: for and against) …………………………………. 20 Review………………………………………………………………………….. 25 Curriculum Vitae (CV)………………………………………………………….. 32 Descriptive writing………………………………………………………………. 38 Narratives - Stories ……………………………………………………………... 48 Summary ………………………………………………………………………... 55 Literature ……………………………………………………………………… 63 Appendix A 64 Appendix
    [Show full text]
  • Technical Annex A: Purposes, Values and Scope November 2015
    BBC Trust Response to the Department for Culture, Media and Sport’s Charter Review consultation Technical Annex A: Purposes, Values and Scope November 2015 Getting the best out of the BBC for licence fee payers BBC Trust Technical Annex A: Purposes, Values and Scope November 2015 BBC Trust Technical Annex A: Purposes, Values and Scope Contents Scope 1 Range of services and programmes 1 Opinions on what the BBC should do more of 6 Opinions on what the BBC should do less of 8 Universality 10 Mission 12 Purposes 20 Providing news and information to help people understand the world around them 21 Supporting education and learning 23 Reflecting and representing the whole UK population 27 Showing the most creative ideas and highest quality content 34 Growing the creative industries and promoting the UK abroad 35 Role of Technology 39 VALUES 44 November 2015 BBC Trust Technical Annex A: Purposes, Values and Scope Scope Range of services and programmes 1. In the quantitative research, as independently conducted and analysed by ICM Unlimited, respondents were asked about the range of services and programmes (see Figure 1 below). The public were in broad agreement that the BBC should provide more rather than less (56% compared to 7%1). Over a third believed that the range of services and programmes at the BBC is about right (37%). Figure 1: Quantitative research - Balance of services and programmes 2. The desire for the BBC to provide more services and content was especially strong among young people aged 16-34 (66%) and ethnic minorities (65%, compared to 55% among white people).
    [Show full text]
  • Grammar for English Language Teachers
    Grammar for English Language Teachers Second edition Martin Parrott ~CAMBRIDGE ~ UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, TrumpingtonStreet, Cambridge,United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, CambridgeCB2 2RU. UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road. Port Melbourne, VIC 3207,Australia Ruiz de Alarcon 13, 28014 Madrid, Spain Dock House, The Waterfront. Cape Town 8001, South Africa http://www.cambridge.org © Cambridge UniversityPress 2000 Copyright The law allows a reader to make a single copy of part of a book for the purposes of private study. It does not allow the copying of entire books or the making of multiple copies of extracts. Written permissionfor any such copying must always be obtained from the publisher in advance. First published 2000 Eighth printing 2004 Printed in the United Kingdom at the UniversityPress , Cambridge Typesetin 10.25\ 13pt Utopia [cE] A cataloguerecord for this book is availablefrom the British Library ISBN O 521 477972 paperback ISBN O 521 472164 hardback cover design by Mark Diaper Contents Thanks v Acknowledgments v Introduction 1 PART A Words Introduction to Part A 6 1 Nouns 9 2 Articles 25 3 Quantifiers 36 4 Adjectives 51 5 Adverbs 61 6 Comparatives and superlatives 79 7 Prepositions 94 8 Verbs (introduction) 106 9 Combining words 124 PART B More about verbs and related forms Introduction to Part B 138 10 Multiword verbs and verbal expressions 140 11 Modal verbs 152 12 . Infinitive and-ingforms
    [Show full text]
  • THE Permanent Crisis of FILM Criticism
    mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem­ the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author­ N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo­ C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter­ film criticism since its origins. net amateurs and the lack of authorita­ of tive critics, many journalists and acade­ Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, co­editor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis­ tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
    [Show full text]
  • WSFA Journal 69
    . »x.'N ■ •*' p. l^-> = f/M'i/ilf'if'''-. ///" fiii: It I - . ■I»'• n, ll i.^/f f •] ! i W 'i j :i m y't ) ' ' / •* ' - t *> '.■; ■ *"<* '^ii>fi<lft'' f - ■ ■//> ■ vi '' • ll. F V -: ■ :- ^ ■ •- ■tiK;- - :f ii THE WSFA journal (The Official Organ of the Washington Science Fiction Association) Issue Number 69: October/November, 1969 The JOURNAL Staff — Editor & Publisher: Don Miller, 12315 Judson Rd., Wheaton, Maryland, .•U.S.A., 20906. ! Associate Editors: Alexis & Doll Gilliland, 2126 Pennsylvania Ave,, N.W., Washington, D.C., U.S.A., 20037. Cpntrib-uting Editors:- ,1 . " Art Editor — Alexis Gilliland. - 4- , . Bibliographer— Mark Owings. Book Reviewers — Alexis Gilliland,• David Haltierman, Ted Pauls. Convention Reporter — J.K. Klein. ' : . r: Fanzine Reviewer — Doll Golliland "T Flltfl-Reviewer — Richard Delap. ' " 5 P^orzine Reviewer — Banks.Mebane. Pulps — Bob Jones. Other Media Ivor Rogers. ^ Consultants: Archaeology— Phyllis Berg. ' Medicine — Bob Rozman. Astronomy — Joe Haldeman. Mythology — Thomas Burnett Biology — Jay Haldeman. Swann, David Halterman. Chemistry — Alexis Gilliland. Physics — Bob Vardeman. Computer Science — Nick Sizemore. Psychology -- Kim West on. Electronics — Beresford .Smith. Mathematics — Ron Bounds, Steve Lewis. Translators: . French .— Steve Lewis, Gay Haldeman. Russian — Nick Sizemore, German -- Nick Sizemore. Danish ~ Gay. Haldeman, Italian ~ OPEN. Joe Oliver. Japanese. — OPEN. Swedish" -- OBBN. Overseas Agents: Australia — Michael O'Brien, 158 Liverpool St., Holaart, Tasmania, Australia, 7000. • South Africa — A.B. Ackerman, P^O.Box 6, Daggafontein, .Transvaal, South Africa, . ^ United Kingdom — Peter Singleton, 60ljU, Blodc h, Broadiiioor Hospital, Crowthome, Berks, RGll 7EG, United Kingdom. Needed for France, Germany, Italy, Scandinavia, Spain, S.America, NOTE; Where address are not listed above, send material ^Editor, Published bi-monthly.
    [Show full text]
  • MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
    MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe.
    [Show full text]
  • UNREVISED PROOF COPY Ev 6 HOUSE of LORDS MINUTES OF
    UNREVISED PROOF COPY Ev 6 HOUSE OF LORDS MINUTES OF EVIDENCE TAKEN BEFORE THE SELECT COMMITTEE ON COMMUNICATIONS UK FILM AND TELEVISION INDUSTRIES WEDNESDAY 13 MAY 2009 MS JANA BENNETT, MR GEORGE ENTWISTLE and MR PETER SALMON MR JOHN SMITH and MR WAYNE GARVEY Evidence heard in Public Questions 500 - 628 USE OF THE TRANSCRIPT 1. This is an uncorrected and unpublished transcript of evidence taken in public and reported to the House. 2. The transcript is not yet an approved formal record of these proceedings. Any public use of, or reference to, the contents should make clear that neither Members nor witnesses have had the opportunity to correct the record. If in doubt as to the propriety of using the transcript, please contact the Clerk to the Committee. 3. Members who receive this for the purpose of correcting questions addressed by them to witnesses are asked to send corrections to the Clerk to the Committee. 4. Prospective witnesses may receive this in preparation for any written or oral evidence they may in due course give to the Committee. 5. Transcribed by the Official Shorthand Writers to the Houses of Parliament: W B Gurney & Sons LLP, Hope House, 45 Great Peter Street, London, SW1P 3LT Telephone Number: 020 7233 1935 WEDNESDAY 13 MAY 2009 ________________ Present Bonham-Carter of Yarnbury, B Eccles of Moulton, B Fowler, L (Chairman) Gordon of Strathblane, L Howe of Idlicote, B Inglewood, L King of Bridgewater, L Macdonald of Tradeston, L Manchester, BP Maxton, L McIntosh of Hudnall, B ________________ Memorandum submitted by BBC Examination of Witnesses Witnesses: Mrs Jana Bennett, Director, BBC Vision, Mr George Entwistle, Controller of Knowledge Commissioning, BBC, and Mr Peter Salmon, Director, BBC North, examined.
    [Show full text]
  • Editorial Standards Committee Bulletin, Issued February 2017
    Editorial Standards Findings Appeals to the Trust and other editorial issues considered by the Editorial Standards Committee January and February 2017, issued March 2017 Decisions by the Head of Editorial Standards, Trust Unit February and March 2017 issued March 2017 Getting the best out of the BBC for licence fee payers Contents Contents 1 Remit of the Editorial Standards Committee 2 Summary of Appeal Findings 4 Watchdog, BBC One, 11 and 18 June 2015 4 The Film Review, BBC News Channel, 5 June 2016, 17.45 9 Today, BBC Radio 4, 7 June 2016 10 Appeal Findings 12 Watchdog, BBC One, 11 and 18 June 2015 12 The Film Review, BBC News Channel, 5 June 2016, 17.45 64 Today, BBC Radio 4, 7 June 2016 68 Requests to review the Trust Unit’s decisions on appeals 72 The Kaye Adams Programme, Radio Scotland, 27 April 2016 72 Thought for the Day, BBC Radio 4, 7 March and 17 May 2016 77 Appeals against the decisions of BBC Audience Services not to correspond further with the complainant 82 Decision of BBC Audience Services not to respond further to a complaint about a segment on the Jeremy Vine Show, BBC Radio 2, 21 June 2016 83 Decision of BBC Audience Services not to respond further to a complaint about Manchester- centric bias vis-à-vis Liverpool 90 Decision of BBC Audience Services not to respond further to a complaint about an article on the BBC Sport website 99 Decision of BBC Audience Services not to respond further to a complaint about Hillsborough, BBC Two, 8 May 2016 103 Admissibility decisions by the Head of Editorial Standards, Trust Unit 109
    [Show full text]
  • How to Be a Film Critic in Five Easy Lessons
    How to Be a Film Critic in Five Easy Lessons How to Be a Film Critic in Five Easy Lessons By Christopher K. Brooks How to Be a Film Critic in Five Easy Lessons By Christopher K. Brooks This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Christopher K. Brooks All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-4322-6 ISBN (13): 978-1-5275-4322-5 Lou Lopez and his Emerson Biggins Staff The disenfranchised of the English Department: Rebeccah Bree, Fran Connor, Margaret Dawe, Darren Defrain, Albert Goldbarth, Jean Griffith, and Sam Taylor Brian Evans, Mary Sherman, Kerry Branine, Mythili Menon, and T.J. Boynton. Peter Zoller, William Woods, Kim Hamilton, and Susan Wilcox Mary Waters and Ron Matson, forgiven . This book is for all of you TABLE OF CONTENTS Introduction ................................................................................................ 1 A Background to Film Criticism and Millennial Viewers How to Be a Film Critic in Five Easy Lessons ........................................... 9 A Primer for Film Students and Critic Wannabes Chapter One .............................................................................................
    [Show full text]
  • Social Issues in the English Classroom
    NET working: Social Issues in the Classroom NETworking Social Issues in the English Classroom Regional NET Coordinating Team NET Section CDI EDB November 2009 Contents Contents i-v Resource CD Contents vi Preface vii Rationale Acknowledgements Section 1 Social Issues in Schools 2 Raising Awareness of Social Issues Michael Lloyd 3 Discussing Social Issues Online David Johncock 4 Integrating Social Issues Mary Thorpe Section 2 Exploring Social Issues 8 Introduction through Print Media 10 Brainstorming: What are Social Issues? 11 Supporting Student Learning Text A 12 Film Review Scaffolding Strategies 14 Making Predictions with News Headlines 15 Vocabulary Building 18 Pronunciation Practice Engaging with the Text 19 Defining a Social Issue 20 Graphic Organisers for Making Notes Consolidating Learning 21 Collaborative Writing 23 Writing a Film Review Text B 24 News Broadcast Script Scaffolding Strategies 25 Making Predictions with News Headlines 26 Vocabulary Building 28 Pronunciation Practice Engaging with the Text 29 Reading Comprehension Consolidating Learning 30 Writing a News Broadcast Script Text C and Text D 31 Letters to the Editor Scaffolding Strategies 33 Making Predictions with News Headlines 34 Vocabulary Building 35 Pronunciation Practice Engaging with the Text 36 Reading Comprehension Consolidating Learning 37 Role Play 43 Writing a Letter to the Editor Section 3 Exploring Social Issues 46 Introduction through Student-created Clipit Films 49 Cloze Dictation: Teenage Life 51 Vocabulary Building: The Wealth Gap 54 Listening Tasks:
    [Show full text]
  • Thesis Final Draft.Pages
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Glasgow Theses Service Bell, Stuart (2016) "Don't Stop": Re-Thinking the Function of Endings in Narrative Television. PhD thesis http://theses.gla.ac.uk/7282/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] “Don’t Stop…” Re-thinking the Function of Endings in Narrative Television Stuart Bell (MA, MLitt) Submitted in fulfilment for the requirements for the degree of Doctor Of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow November 2015 (c) Stuart Bell, November 2015 !1 Abstract “Don’t Stop…” Re-thinking the Function of Endings in Television This thesis argues that the study of narrative television has been limited by an adherence to accepted and commonplace conceptions of endings as derived from literary theory, particularly a preoccupation with the terminus of the text as the ultimate site of cohesion, structure, and meaning. Such common conceptions of endings, this thesis argues, are largely incompatible with the realities of television’s production and reception, and as a result the study of endings in television needs to be re-thought to pay attention to the specificities of the medium.
    [Show full text]
  • Cinema Studies: the Key Concepts
    Cinema Studies: The Key Concepts This is the essential guide for anyone interested in film. Now in its second edition, the text has been completely revised and expanded to meet the needs of today’s students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analysed with depth and clarity. Entries include: • auteur theory • Black Cinema • British New Wave • feminist film theory • intertextuality • method acting • pornography • Third World Cinema • War films A bibliography of essential writings in cinema studies completes an authoritative yet accessible guide to what is at once a fascinating area of study and arguably the greatest art form of modern times. Susan Hayward is Professor of French Studies at the University of Exeter. She is the author of French National Cinema (Routledge, 1998) and Luc Besson (MUP, 1998). Also available from Routledge Key Guides Ancient History: Key Themes and Approaches Neville Morley Cinema Studies: The Key Concepts (Second edition) Susan Hayward Eastern Philosophy: Key Readings Oliver Leaman Fifty Eastern Thinkers Diané Collinson Fifty Contemporary Choreographers Edited by Martha Bremser Fifty Key Contemporary Thinkers John Lechte Fifty Key Jewish Thinkers Dan Cohn-Sherbok Fifty Key Thinkers on History Marnie Hughes-Warrington Fifty Key Thinkers in International Relations Martin Griffiths Fifty Major Philosophers Diané Collinson Key Concepts in Cultural Theory Andrew Edgar and Peter Sedgwick Key Concepts in Eastern Philosophy Oliver Leaman Key Concepts in
    [Show full text]