LMU/LLS Theses and Dissertations 2019 Creating Creators Cinema Project: Transforming Lives through the Arts Christian Quintero Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/etd Part of the Art Education Commons, and the Educational Leadership Commons Recommended Citation Quintero, Christian, "Creating Creators Cinema Project: Transforming Lives through the Arts" (2019). LMU/ LLS Theses and Dissertations. 900. https://digitalcommons.lmu.edu/etd/900 This Dissertation is brought to you for free and open access by Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU/LLS Theses and Dissertations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. LOYOLA MARYMOUNT UNIVERSITY Creating Creators Cinema Project: Transforming Lives through the Arts by Christian Quintero A dissertation presented to the Faculty of the School of Education, Loyola Marymount University, in partial satisfaction of the requirements for the degree Doctor of Education 2019 Creating Creators Cinema Project: Transforming Lives through the Arts Copyright Ó 2019 by Christian Quintero ABSTRACT Creating Creators Cinema Project: Transforming Student Lives Through the Arts by Christian Quintero This work centered on the Creating Creators Cinema Project (CCCP), a for-profit organization that works with K-12 school districts in California to integrate student filmmaking into core subjects. The qualitative case study documented the experiences of CCCP’s founders, the teaching artists who mentor filmmaking youth, and the students participating in year-long projects, providing a “thick description” of the creation, implementation, and impact of the program in a high school setting. The research addressed the dearth of arts programs in urban schools and their connection to representation in arts fields, particularly filmmaking. The study utilized three frameworks: Critical Pedagogy, Constructivism, and Situated Learning Theory to analyze data about pedagogical approaches and impact in the personal and professional lives of those involved in the project. Findings revealed participants in CCCP challenge traditional schooling practices and create a professional identity for students in the program. This study affirmed the importance of arts education in student lives and identifies how arts is a transformative vehicle for students and educators. iii ACKNOWLEDGMENTS There are so many people and groups that I want to acknowledge who started me on the path to writing my dissertation. First and foremost, my spouse, partner, and friend Shuqian Guan, for sacrificing so much of her time to allow me to plan, research, and write. You are the epitome of selflessness; without you, the completion of this dissertation would not be possible. I want to thank Dr. Ernesto Colín, for your steadfast support, your generosity of time and space, and feedback on my academic endeavor. I am forever thankful for your guidance, expertise, and patience. To my committee members, Dr. Philip Molebash and Professor Terry Lenihan, for your sound advice and commitment to my project. To my LMU family (Cohort 12), each of your love, words, and support, guided me along my journey. I did not want to let any of you down. Your collective social justice commitments were the beats that kept me on task. To the LMU professors who expanded my thoughts on leadership for social justice and what it means to be an inquisitive educator. In particular, I want to thank, Dr. Jill Bickett, Dr. Marta Baltodano, Dr. Antonia Darder, Dr. Karen Huchting, Dr. Martha McCarthy, Dr. Mary McCullough, and Dr. David Sapp. Lastly, to the Creating Creators Cinema Project founders, teaching artists and students, for allowing me to tell their story. Polo and Jessica, thank you for giving your time, energy, and industry knowledge. I am inspired by your commitment to the arts and your collective commitment to transforming teaching and learning in the classroom. iv DEDICATION To my parents, Marlene and Gustavo Quintero. When I first told you of my acceptance to the LMU doctoral program, your immediate response was, “How can we help?” Your unwavering support, my whole life, has brought me to this point; my success is your success. To my twins, Sean and Karl. On my 40th birthday, you played me a duet version of “Imagine” on the piano that brought me to tears. May the world you create be driven by peace, love, humanity, and your music. To Shuqian Guan, your doctorate is next—it’s my turn to take care of you. v TABLE OF CONTENTS ABSTRACT .................................................................................................................................. iii ACKNOWLEDGEMENTS ......................................................................................................... iv DEDICATION ............................................................................................................................... v LIST OF TABLES ......................................................................................................................... x LIST OF FIGURES ...................................................................................................................... xi PROLOGUE .................................................................................................................................. 1 My Early Years .......................................................................................................................... 1 My College Years ...................................................................................................................... 5 My Professional Years .............................................................................................................. 8 CHAPTER 1: INTRODUCTION: CREATING CREATORS CINEMA PROJECT .......... 12 The Rationale for Arts Education ............................................................................................ 16 The Problem ............................................................................................................................ 17 Social Theory of Reproduction ............................................................................................... 19 The Film and Broadcasting Industry ........................................................................... 22 Importance of Arts Education ..................................................................................... 24 Research Questions ..................................................................................................... 28 RQ1 ........................................................................................................................ 28 RQ2 ........................................................................................................................ 28 The Setting ............................................................................................................................... 28 Organization of Dissertation .................................................................................................... 30 CHAPTER 2: THEORECTICAL FRAMEWORK ................................................................. 32 Critical Pedagogy .................................................................................................................... 32 All Education is Political ............................................................................................. 34 Learning is Social ........................................................................................................ 35 Education is Emancipatory .......................................................................................... 36 Principles of Critical Pedagogy ................................................................................... 36 Constructivism ......................................................................................................................... 38 Situated Learning Theory ........................................................................................................ 40 The Case Study ........................................................................................................................ 41 Methodologies ............................................................................................................. 43 Life Histories ......................................................................................................... 44 Semi-Structured Interviews ................................................................................... 44 Focus Groups ......................................................................................................... 44 Document Analysis ............................................................................................... 45 Inductive Analysis ....................................................................................................... 45 Protection of Human Subjects ................................................................................................. 46 CHAPTER 3: CREATING CREATORS CINEMA PROJECT: THE FOUNDERS .......... 48 Methodology ............................................................................................................................ 48 vi The Creating Creators Cinema Project Founders: Polo .........................................................