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University of Bradford Ethesis Nurturing writing skills in the primary literacy lessons of the 'City of Film'. The impact of using moving images on attainment and motivation Item Type Thesis Authors Florack, Franziska Rights <a rel="license" href="http://creativecommons.org/licenses/ by-nc-nd/3.0/"><img alt="Creative Commons License" style="border-width:0" src="http://i.creativecommons.org/l/by- nc-nd/3.0/88x31.png" /></a><br />The University of Bradford theses are licenced under a <a rel="license" href="http:// creativecommons.org/licenses/by-nc-nd/3.0/">Creative Commons Licence</a>. Download date 25/09/2021 17:28:57 Link to Item http://hdl.handle.net/10454/15901 University of Bradford eThesis This thesis is hosted in Bradford Scholars – The University of Bradford Open Access repository. Visit the repository for full metadata or to contact the repository team © University of Bradford. This work is licenced for reuse under a Creative Commons Licence. Nurturing writing skills in the primary literacy lessons of the 'City of Film': The impact of using moving images on attainment and motivation Franziska FLORACK Submitted for the Degree of Doctor of Philosophy Faculty of Engineering and Informatics School of Media, Design and Technology University of Bradford 2016 Franziska Florack, ‘Nurturing writing skills in the primary literacy lessons of the 'City of Film': The impact of using moving images on attainment and motivation’ Subject keywords: literacy, film, media, primary education, quantitative research, writing, attainment, Bradford, UNESCO ‘City of Film’ Abstract: Despite a constant rise in the attainment of Sats results year on year, the perception remains that British primary school children are underachieving and that they are reluctant readers and writers. In order to motivate their students, some teachers use films as a visual stimulus to provide students with ideas and create a personal and emotion connection with the written text. In the school years of 2013/14 I followed 21 primary classes which were taking part in a ‘film literacy’ scheme run by Bradford UNESCO City of Film. This initiative saw the training of teachers in the use of film as a tool in literacy lesson with the hope to raise attainment and motivation. Students and teachers completed questionnaires and interviews which were analysed in conjunction with observations and the students’ literacy grades. The research showed that both students and teachers recorded an increase in motivation. Further, significant progress in attainment also became evident: film literacy students raised their grades by 23.3% beyond the expected year-on-year increase. Improvements in inference, comprehension and vocabulary were especially praised. Students from schools with a low-income environment benefitted in particular. The research discusses six potential reasons for these changes, two of which are based on the belief that film is a particularly suitable medium for teaching as it engages students emotionally. Although the thesis acknowledges that Bradford involved a unique group of schools in the film literacy training and research, it nevertheless argues that film could be useful addition to primary classrooms due to its potential ability to raise standards and engage reluctant young writers. i For my mum, who knew about this thesis long before I did, and my dad, who once placed a newspaper article on my desk. Danke für eure Unterstützung und Vorraussicht. This thesis is also dedicated to Jana Stossun, Ingrid Christiansen, Imme Zillmann and Eduard Wehmeyer. Thank you for fuelling my love for education, English, writing, and film. ii Acknowledgements As any PhD student will tell you, this journey is a long adventure with many forks and bends in the road. Endless decisions need to be made, defended and pursued and there are many occasions when one feels like the road has ended all together; having turned either into a gorge with a missing bridge (the next chapter winking to you from across the abyss) or- even worse- into a brick wall with no way forward altogether. It is due to the following people that I always returned to my path- the classrooms, the laptop and the library- trying to chase and uncover the possibilities of this PhD. Firstly I would like to thank the schools who are at the heart of this research. Since beginning this PhD in 2012 many extraordinary teachers from the film literacy scheme have been nationally recognised and it is only through the commitment of a few individuals in particular that I was able to gather that I needed. Thank you to my two supervisors, Dr Mark Goodall and Dr Ros McLellan, for being patient when I wanted to set my own pace and for trusting me to get on with it when the time came. I am not sure I could have done a PhD in any other way. Your support via email and in person was much appreciated. Thank you also for references and support with conferences and job applications. The time of my degree has been all the richer for the brilliant adventures I have had on the way. Thank you also to Dr Becky Perry, who supervised me for the first year of the PhD and helped me to meet the greats of the media literacy world at conferences. This PhD has had many initiators and collaborators beyond the Universities of Bradford, Cambridge and Leeds. Thank you to David Wilson from Bradford City of Film, who initiated the PhD, fought for it in the summer of its inception and financially supported the luxury of a second supervisor. Other people who showed a great interest in the thesis as part of the Film Literacy scheme were Tim Bleazard, Sarah Mumford and the brilliant Philip Webb; this study is all about what you created from nothing in 2010 and I hope you enjoy reading it. iii Thank you to those who published, taught and presented with me and who educated me about academia on the way: Abi Gilmore and Kostas Arvanitis from the University of Manchester, Pam Burnard and Alan Blackwell from the University of Cambridge, Sally Robinson from the Bradford Film School and Howard Stones and Gary Walker from Leeds Beckett University. Last but not least, thank you to my friends and family who encouraged and supported me over the last four years. Some faces have changed over time, but many have remained the same: reminding me when it was time for outstanding beer and excellent food, celebrating life and Yorkshire in all its glory. Now based in Milton Keynes, this PhD is a testimony to my life in and love for Leeds. New adventures are waiting. This PhD has been a very long development and in its last weeks and months, my parents and my partner Hagar kept encouraging me to continue the work beyond my own will and sanity. I couldn’t have done it without. In this context also thank you to Katja and Katie, who helped with SPSS, ranting and other necessary evils. Most of all, thank you to Natalie Rawson, who constantly appreciates and challenges me in equal measures and without whom I would have forgotten what my academic heart really beats for. Thank you for being a constant inspiration, my friend. Here is to us down-to-earth academics. iv List of tables and figures Tables (numbers not preceded by a label): 4.1 Difference between emotion and mood according to Beedie et al. (2005) ................................... 54 6.1 Factors which speak for a case study design .................................................................................. 91 6.2 Methodologies for each section ..................................................................................................... 97 6.3 Children's engagement with research according to Shaw et al. (2011) ......................................... 98 6.4 Schools which are part of the 2013/14 literacy scheme ............................................................... 103 6.5 Immediate effects of child poverty ............................................................................................... 105 6.6 Schedule of research ..................................................................................................................... 110 6.7 Methods and sub-questions for the research............................................................................... 117 6.8 Emotion questionnaires ................................................................................................................ 123 6.9 Cronbach's alpha for the scale ...................................................................................................... 123 6.10 Participants of the emotion questionnaire ................................................................................. 125 6.11 Number of classes who took the film questionnaires ................................................................ 126 6.12 Assessment foci and levels ......................................................................................................... 136 6.13 Writing score conversion table ................................................................................................... 137 6.14 Overall research design ............................................................................................................... 139 6.15 Gomm's three rules of causation (2013, p.3) ............................................................................. 140 6.16 Possible limitations and efforts to minimise these ..................................................................... 143 6.17 List of participants ....................................................................................................................... 145 6.18
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