tag:blogger.com,1999:blog-44430991881814167482024-03-05T16:42:26.571-08:00Rhetoric BlogUnknownnoreply@blogger.comBlogger9125tag:blogger.com,1999:blog-4443099188181416748.post-13881029256062826892013-03-20T15:12:00.001-07:002013-03-20T15:15:52.706-07:00<span style="background-color: white; color: #222222; font-family: Verdana, Arial, sans-serif; font-size: 15px; line-height: 30px; text-indent: -30.799999237060547px;">Tudor, Deborah. “The Eye of the Frog: Questions of Space in Films Using Digital Processes.” </span><i style="background-color: white; color: #222222; font-family: Verdana, Arial, sans-serif; font-size: 15px; line-height: 30px; text-indent: -30.799999237060547px;">Cinema Journal</i><span style="background-color: white; color: #222222; font-family: Verdana, Arial, sans-serif; font-size: 15px; line-height: 30px; text-indent: -30.799999237060547px;"> 48.1 (Fall): 90–110.</span><br />
<span style="background-color: white; color: #222222; font-family: Verdana, Arial, sans-serif; font-size: 15px; line-height: 30px; text-indent: -30.799999237060547px;"><br /></span>
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<span style="background: white; color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Deborah Tudor's "The Eye of the Frog: Questions of Space
in Films Using Digital Processes" asks how the ways in which filmmakers
have utilized digital processing in their own films has changed formal elements
of film. She uses an array of films that break away from standard continuity
editing--</span><i><span style="color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Time
Code </span></i><span style="background: white; color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">(2000), </span><i><span style="color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The Hulk </span></i><span style="background: white; color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">(2003), <i>Harry
Potter and the Prisoner of Azkaban </i>(2004), and </span><i><span style="color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Sky Captain and the World
of Tomorrow</span></i><span style="background: white; color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> (2004)--to show how “Films using digital processes
to recapture approaches to cinema from a ‘classic’ era or to produce a look
from another medium construct a form of cinematic nostalgia” (91). Her ultimate
goal is to propose that films utilizing digital processing in this way (as
opposed to films that use digital processing for special effects) should be
considered as using an aesthetic system called ‘array aesthetics,’ which
“reorganizes time, space, and narrative” (90).<o:p></o:p></span></div>
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<br /></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/eHh6bwuPShw?feature=player_embedded' frameborder='0'></iframe><span style="background: white; color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Because this article never defines it, I will mention that
continuity editing is the shooting and arrangement of scenes so that films
follow a logical and realistic order that is easy for the audience to follow.
An example of this is included in this scene from Hitchcock’s <i>The Birds</i> where we see Melanie looking
forward, then we see the dock, we see her expression change, then see Mitch on
the dock, then the bird, the bird attack, the bird leaving, her touching her
head, and the blood. Even though these scenes were not shot in this order and
show more than one perspective, they have been composed to make a narrative the
audience can put together. For instance, we assume that when we look at the
dock, we are seeing it from Melanie’s perspective. <o:p></o:p></span></div>
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Tudor then shows how these digitally processed films deny
continuity editing for other rhetorical (though she never says the word rhetorical)
purposes. The most interesting to me is her evaluation of Ang Lee’s <i>The Hulk</i> because it utilizes multiple
windows in its shot composition* that resemble the windows used in comic books.
The digital effect reminds us of where the Hulk character started and this new
process is used to remind the audience of an older, static format. So, the 2003
film uses cutting edge technology to create something that feels like it’s from
the 1960s (92). That’s the way the film plays with time. Perhaps the most
interesting aspect of this technique is that, while <i>The Hulk</i> did not do well, this digital tool is used in several
other comic book films, such as <i>Captain
America</i> (2011).</div>
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<span style="background: white; color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The film plays with continuity editing because these split
screens make it unclear as to when many shots begin and end. With a number of
screens playing all at once, does a shot begin when a new screen presents
itself? When a screen shifts off to the side? Tudor mentions that one reason
for this change in aesthetic is that we have become used to viewing multiple
screens along with additional media thanks to computers. Our brains are
programmed to receive multiple kinds of audio-video information at the same
time (101-2). Continuity editing is one of many film elements that may not need
as much anymore. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Space is the last element of the array aesthetics triangle
and <i>The Hulk </i>uses several digital
techniques to play with the sense of realistic space in the film. The multiple
frames discussed above is one of them. Often, these multiple frames give the
viewer several perspectives of the same scene (99). <i>The Hulk</i> also utilizes a cubing effect to shift between scenes that
implies non-space on screen (100). This makes it look as though the ‘shots
surround some other non-represented space” (100) and challenge traditional
understandings of editing.<o:p></o:p></span></div>
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<br /></div>
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<a href="http://www.genderacrossborders.com/wp-content/uploads/2009/07/waltz_with_bashir_movie_image__3_.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="179" src="http://www.genderacrossborders.com/wp-content/uploads/2009/07/waltz_with_bashir_movie_image__3_.jpg" width="320" /></a><span style="background: white; color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">While Tudor never mentions rhetoric, she is certainly looking
at the ways that these digital processes change the rhetorical space of a film.
What we come to expect form these non-narrative elements in narrative film is
important. Also, this notion of nostalgia, which is closely connected with
imagined memory (92) is important to understanding <i>Waltz With Bashir</i>. <i>Waltz With
Bashir</i> is animated in a way similar to how graphic novels are. They are
pulling their own kind of nostalgia into the film. How that functions might be
different from <i>The Hulk, </i>but this
analysis of the process will be useful to my analysis. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="background: white; color: #222222; font-family: Verdana; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">*The internet has failed me and provided no good video
examples of this phenomenon</span><o:p></o:p></div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4443099188181416748.post-48826372138669764592013-02-20T14:00:00.002-08:002013-02-20T14:00:21.715-08:00Animation and War
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Kornhaber,
D. (2007). “Animating the War: The First World War and Children’s
Cartoons.” <i>The Lion and the Unicorn</i>, <i>31</i>(2), 132–146.
doi:</span><a href="http://dx.doi.org/10.1353/uni.2007.0021"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">10.1353/uni.2007.0021</span></a><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In “Animating the War: The First World
War and Children’s Cartoons,” Kornhaber asks the question of why animated
renderings of war during World War I are so different from those that follow in
the 1920s and 1930s. Why do animated texts that appear after World War I seem
so much more technical? She also wonders if this shift has anything to do with
the medium of animation and its relationship to children (132).<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Kornhaber takes a cultural/historical
approach to analyzing these questions, looking at the histories of major
animators during the period and the relationships between animation and
children’s animation. Because many have argued that animation was not
originally thought of as a children’s media, Kornhaber takes time to defend the
role of cartoons for children, claiming that the first animation in 1910, <i>Little Nemo in Slumberland</i> is about “the
fantastical dreams of a sleeping boy” (133). She also notes that the connection
between animation and non-fiction have always been present, citing <i>Gertie the Dinosaur</i> as a cartoon that
wanted to accurately portray the movements of a dinosaur (134). <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">After establishing cartoons as
children’s material and scientifically driven, Kornhaber looks at animation
done during and after World War I. She analyzes two cartoons, <i>The Sinking of the Lusitania </i>and <i>A.W.O.L</i>.<i> Lusitania</i> contains “fastidiously detailed depictions of the
technologies involved” (135), but in <i>A.W.O.L</i>
the setting of France during WWI shows no consequences of war (i.e. guns,
soldires or destroyed buildings) (136). During WWI, cartoons seemed to fall
into these categories of either realism or abstractionism. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">After WWI, however, cartoons took a
different approach to depictions of war. Instead of being either realistic or
abstract, “American animation would return to interplay of abstraction and
mimesis in its treatments of the war” (137). One example is the animation <i>Felix Turns the Tide</i>, which features
realistic artillery, but the battle is won when Felix, a butcher clerk calls in
anthropomorphic hot dogs to save the day.
It is also a time when animation turned from being more universal to
focusing on the audience of children, with tie-in merchandise. One of the
reasons for this connection between war cartoons and very realistic depictions
of violence (realistic anatomy and guns) was that many animators were employed
by studios contracted by the military, including animators that would move on
to work for Disney and Warner Brothers (138). Most of them started out drawing
cartoons on cleaning and loading guns or basic first aid (138). So, they drew
what they knew. <o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/D0pT5MsaRyE?feature=player_embedded' frameborder='0'></iframe></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;">From <a href="http://www.youtube.com/watch?v=D0pT5MsaRyE">YouTube</a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">While Kornhaber is not directly
relating her research to rhetoric, she is looking at the way that World War I
was shown to the public. At the time, newsreels were important, but film
quality meant that animation was a new and much needed technology. It also
shows a connection between war and animation from a very early on in the
media’s development, and can clue me into why Ari Folman chose to present his
argument through animation. This interplay between mimesis and abstraction is
particularly significant. In considering <i>Waltz
With Bashir</i>, many parts of it are scientifically accurate; a scene with
dying horses immediately comes to mind. Yet other parts, where interviewees are
describing dreams or events they are unclear on, are more abstract and even
surreal. This can better represent the feeling of those memories. Memory is key
to <i>Waltz With Bashir</i> and in
considering <i>Nemo in Slumberland</i>, the
idea of dreams and disjointed memories haunts the piece. Animation is certainly
a strong rhetorical resource for the film.</span><span style="font-family: Arial;"><o:p></o:p></span></div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4443099188181416748.post-27190689178123342872013-02-06T15:19:00.003-08:002013-02-06T15:19:51.508-08:00Cinema, Television, and New Media<br />
Kiwitt, P. (2012). What is Cinema in a Digital Age? Divergent Definitions From a Production Perspective. Journal of Film and Video , 64 (4), 3-22.<br />
<br />
The research question in this article is what does cinematic mean in an age where the cinematic is conflated with cinema-esque television and broadcasting on instant streaming online applications? How should we encourage students along the paths of film, television, and new media production if we do not understand the differences?<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-XBNf6F6roKA/URLkIav3-5I/AAAAAAAAAC4/WH0K9L4nKwM/s1600/3352925535_160e8fd15b.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://3.bp.blogspot.com/-XBNf6F6roKA/URLkIav3-5I/AAAAAAAAAC4/WH0K9L4nKwM/s320/3352925535_160e8fd15b.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><a href="http://www.flickr.com/photos/missmass/3352925535/sizes/m/">Image</a> by miss mass</td></tr>
</tbody></table>
To understand the differences between film, television and new media, Kiwitt plans to take “a pragmatic approach, built on defining terms, to what can otherwise be a vexing questions the nature of cinema” (4). He does this by first looking at the way that other theorists have defined cinema, then breaks down the differences between form and medium. Finally, he looks at the history of intertwined cinema and television and then puts that relationship into the context of the digital convergence media.<br />
<br />
Kiwitt considers the definitions that cinema greats like Robert Gessner (5) and Lev Manovich (6) have defined cinema and finds those definitions to be wanting. They easily conflate cinema and television and sometimes conflate cinema and painting. He notes that, as academics, we have a tendency to think distinctively about exhibition, when some of the biggest differences between the mediums lie at the production level (7). Kiwitt then separates cinema and television into form and medium (9). Cinema form is “a form of expression composed of edited live-action moving images, ideally emphasizing artistic form or content” (9) though its medium demands that it be shown to an audience in public (11). Television form is “a form of expression composed of switched live-action moving images as well as edited live-action moving images emphasizing communication (11) while its medium is that it is show “separately and simultaneously” (12). After making these differentiations, he looks at the development of cinema and television and, while cinema came first, the two have utilized and influenced each other for much of history. He then discusses convergence and how it is not new to new media. Film and television have practiced convergence with different levels of success for since their inceptions (16). This continues into new media mediums of distribution. Kiwitt concludes that it will be even more difficult to advise students on the correct discipline to study with new media. Students who want to make films or cinematic television (shows like Lost) should study film; students that want to make other kinds of television should study television; students who want to code movies for the web or produce online content should study new media. He argues that students who should be studying cinema or television might study new media instead, but that it will not give them what they need to develop good film or television (18) and maybe not even enough skills to provide great productions in new media (19).<br />
<br />
To be honest, I thought that this article would have a lot more to do with animation, rhetoric and digital film production, based on the abstract. However, what I learned from it, and what will be useful is the reminder that all these forms work differently and that their mode of production changes the resources and resources change the way rhetorical strategies are used. For instance, television shows are most often shot on three walled sets, with multiple stationary cameras (think about the fact that you never see one wall of most homes in situation comedies). Digital animation has these same limitations based on the engine a production company uses/creates. Considering the limitations will help me in analyzing the visual rhetoric of Waltz with Bashir.<br />
<br />
<br />
<br />
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4443099188181416748.post-3997847979406153062011-10-23T17:42:00.000-07:002011-10-23T17:43:13.653-07:00Marrying the classroom and the Cineplex<div style="font-family: Times,"Times New Roman",serif;">
Plantinga,
Carl. "The Sensual Medium." <i style="mso-bidi-font-style: normal;">Moving
Viewers: American Film and the Spectator's Experience</i>. Berkley et al:
University of California Press, 2009. Print.</div>
<div style="font-family: Times,"Times New Roman",serif;">
<br /></div>
<div style="font-family: Times,"Times New Roman",serif;">
Carl
Plantinga's book, <i>Moving Viewers</i> is about the physical responses viewers
have while watching films. In Chapter four, "The Sensual Medium,"
Plantinga starts by arguing against the idea of 'reading’ films because that
puts the focus on the work the brain is doing while viewing (112). The really
important reactions viewers have to films are their physical reactions: “That
the film spectator isn’t merely a conscious thinker but also an embodied,
biological human being has been the subject of considerable attention in film
theory recently” (115). </div>
<div style="font-family: Times,"Times New Roman",serif;">
<br /></div>
<div class="MsoNormal" style="font-family: Times,"Times New Roman",serif;">
<span style="font-size: 12pt; line-height: 115%;">Plantinga continues on to show what
those physical reactions to film are. The chapter explains the our natural
inclination to mimic the actions and emotions of those around us. Plantinga looks at how films use this human
social conventions to create different emotions. He uses the close up as an
example of this: “the film can affect the viewer through framing, editing, and
camera movement. The close-up can be used to create intimacy with a protagonist
or to elicit disgust and revulsion toward an unsympathetic character” (120).
Here, film creators replicate how people create closeness naturally and use it
to their advantage to create meaning. The term ‘emotional contagion’, what
Plantinga describes as </span><span style="font-size: 12pt; line-height: 115%;">“the
phenomenon of ‘catching’ the emotions of those around us or of those we
observe” (125), sums up the biological situation that film exploits to connect
readers and create pathos in film.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Times,"Times New Roman",serif;">
<span style="font-size: 12pt; line-height: 115%;">The last
section of the chapter is dedicated to sound. He discusses how sound is used to
heighten the affect of the film. The example of <i style="mso-bidi-font-style: normal;">Vertigo</i> is used as the soundtrack gets louder and softer, creating
a sound match to the feeling of vertigo itself (131). However, sound does not only develop emotion,
it can foreshadow what is to come (136), like scary music before a girl is
attacked in a horror movie. Music gives the viewer additional information.</span></div>
<div class="MsoNormal" style="font-family: Times,"Times New Roman",serif;">
<span style="font-size: 12pt; line-height: 115%;"> </span></div>
<div class="MsoNormal" style="font-family: Times,"Times New Roman",serif;">
<span style="font-size: 12pt; line-height: 115%;">The book is all about how film uses pathos appeals to create intimacy with the
viewer. While the entire book is on film rhetoric, I chose this chapter because
it is focused on instant physical reactions, the same ones my students will
have and discuss in class. The book is focused on film rhetoric and theory and
no mention is made of teaching. This is fine though. I looked at many
composition based texts that talked about the ‘power of film’ but never really
explained it. This book does a wonderful job of explaining just how film
affects the viewer, what films strengths are, rhetorically speaking. My job is
to marry film rhetoric with composition rhetoric for the purposes of this
paper. It’s a great source. I plan to discuss the oral/aural nature of film in
my final paper and appreciated his focus on this topic as well. Plantinga’s
chapter notes the medical studies he’s referencing, which I may look at as I write
my own paper. </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4443099188181416748.post-25166168079604883322011-10-19T09:22:00.001-07:002011-10-19T09:22:29.853-07:00Conference Handout<!--[if gte mso 9]><xml>
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<span style="font-family: "Arial Black","sans-serif"; font-size: 12.0pt; line-height: 115%;">Rhetoric
and the Short</span></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">This paper looks at the use
of film in the multi-modal freshman classroom. Arguments for multimodality
claim that the use of different modes supports the learning environment because
we learn in different ways. This paper takes on the mode of film because it is
a very common media mode. Computers and projectors are available in most
classes and access to short films and movie clips is near limitless because of
movie sharing sites like YouTube.</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">The paper will look first at
what film has to give as a social medium, both in the way it is created and
consumed. It will look at ways in which the very social nature of watching a
film affects the way we view it and what that has to say about evaluation.
There are also implications in the teaching of process through the network film
production creates.</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">After looking at how the
structure supports composition strategies, the paper looks at ways to teach
rhetoric using film rhetoric. The paper focuses on two examples: consideration
of ethos through an examination of mise-en-scene and the power of pathos
through visual cues and the close up. Both of these examples intend to expand
these rhetorical strategies often usurped by logos heavy print. The hope is
that the examination of rhetoric in this different mode helps students to apply
the rhetorical conditions highlighted by them across modes and disciplines they
might encounter outside of the freshman composition classroom.</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Sources:</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;">Crawford, Gavin.
"A Message from Severus Snape." 2011. Web.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in; text-indent: -.5in;">
<i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;">Gilda</span></i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;">. 1946. Columbia Pictures,
March 15, 1946.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in; text-indent: -.5in;">
<i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;">Harry Potter and the
Deathly Hallows Pt. 2</span></i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;">.
2010. Warner Bros., November 21, 2010.<span style="mso-no-proof: yes;"></span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto; mso-layout-grid-align: none; text-autospace: none; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 150%;">Jewitt,
Carey. "Multimodality and Literacy in School Classrooms." <i>Review
of Research in Education </i>32 (2008): 241-67. Print.</span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto; mso-layout-grid-align: none; text-autospace: none; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 150%;">Plantinga,
Carl. <i>Moving Viewers: American Film and the Spectator's Experience</i>.
Berkley: University of California Press, 2009. Print.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;">Rice, Jeff.
"Networks and New Media." <i>College English </i>69.2 (2006): 127-33.
Print.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in; text-indent: -.5in;">
<i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;">The Shining</span></i><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt;">. 1980. Warner Bros.,
May 26, 1980 </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4443099188181416748.post-65794505049763955912011-10-11T19:46:00.000-07:002011-10-11T19:46:13.326-07:00The Network<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://upload.wikimedia.org/wikipedia/en/f/fc/Networkmovie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://upload.wikimedia.org/wikipedia/en/f/fc/Networkmovie.jpg" width="208" /></a></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin: 0in 0in 0.0001pt;">
<span style="font-family: "Calibri","sans-serif";">Rice, Jeff. "Networks and New Media." <i style="mso-bidi-font-style: normal;">College English</i> 69.2 (2006): 127-33.
Print.</span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Rice's article "Networks and New Media" argues that the
focus of English studies should be new media and "the problems and demands
new media pose for the work done in literary studies, film studies,cultural
studies, composition studies, or other areas associated with college English,
principally as these areas engage with writing" (127). What Rice
specifically focuses on is new media's ability to network and to show
connectivity. He argues that in our everyday lives we see everything as
connected, but the idea of the writer is still one of the lone author: "English
studies maintains a fixed point of view through a singular notion of writing as
static, fixed, and individually composed (typically via the essay or the exam),
taking place in a unified realm of thought deemed 'English'" (129). In
explaining what these connections are, Rice gives the examples of “[a]ssociations,
combinations, and juxtapositions” (130). So, if paper is the medium of creation
for the individual, new media can become the place of interconnection and group
texts. </span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Rice further argues that looking at writing through new media
changes knowledge and notes that writing in new media is social and he calls it
“a process of working with information” (131). If writing becomes a process it
means that knowledge is in flux and “higher education has meant the mastery of
a mostly stable body of information” (131). In Rice’s conclusion he asks the
questions “How can we rethink a model based on connections and linkages rather
than on individual identities (as English itself and its areas of thought still
propose to be)?” (132).</span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Rice’s short article really gets at the heart of some of the
issues with new media and mulit-modality in the English classroom, especially
in writing. When we ask students to work in new media, we are asking them to
work in different ways than they would in a more traditional classroom. To use
new media is to argue for this fluctuation in thinking, which opens a lot of
possibilities and (in my opinion) makes teaching more challenging, but more
productive. </span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">My project is on film, and while film straddles the fence of old
and new media I think the way it’s often used in the classroom can be included
in Rice’s argument (usually through the computer to allow for easy referencing
and even the digital creation of student’s work) . At first, I thought this
connection between new media and combination, juxtaposition, and association
was odd because I had been taught these terms through print literature. Yet,
being taught one way does not mean there can’t be a better way. <span style="mso-spacerun: yes;"> </span>Certainly film is a great way to teach these
concepts visually/aurally. </span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "Calibri","sans-serif"; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">This article’s defense of how a new way of writing is a new way of
thinking ties in well with Carey Jewitt’s article, the one I read for my first
post. It will be very helpful for theorizing what I plan to write on. </span></div>
<div class="MsoNormal">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4443099188181416748.post-74798743295200765352011-10-03T17:10:00.000-07:002011-10-03T20:05:19.675-07:00Electrifying Rhetoric<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-layout-grid-align: none; text-autospace: none; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif"; font-size: 12pt;">Jackson, Brian and Jon Wallin.
"Rediscovering the ‘Back-and-Forthness’ of Rhetoric in the Age of
Youtube." <i>College Composition and Communication </i>61.2 (2009):
W374-W96. Print.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In “Rediscovering the ‘Back-and-Forthness’ of Rhetoric in
the Age of Youtube” Brian Jackson and Jon Wallin argue that public forums are a
great way to introduce the idea of oral dialectic to rhetoric/composition
students. The paper begins with the example of Andrew Meyer, the University of
Florida student who was tazed by police at a town hall meeting with John Kerry
(W374). The authors note that this video received 25,000 comments in just over
a month (W375) and that is why they chose it as a source for their research on
dialectic.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/SaiWCS10C5s?feature=player_embedded' frameborder='0'></iframe></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Jackson and Wallin do not argue that teachers should be
teaching students to write as individuals do in comment forums. Instead, they
use it as a starting point to talk about where students are debating. The focus
is that most students are writing and the writing they are doing is online. The
debates they see are online as well: “one way we can anticipate and compliment
students’ online literacies is to teach the back-and-forthness of rhetoric—the often
informal, messy process of exchange that takes place when two or more people
argue with each other over public issues” (W375). This is, for many students, a
real life application of the theory taught in class and a much more realistic
application of rhetoric than an academic paper for most students. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Jackson and Wallin spend a great deal of the article
discussing the history and origins of back-and-forth rhetoric and arguing for
the necessity of such study in the composition classroom. Because that history
equates written rhetoric with the monologue (not participatory, not interactive)
(W377), Jackson and Wallin argue that the composition class should work on
creating writings that are dialectic in nature. An example of this would be to
assign two students a theme that they would write back and forth to each other
on over the course of a few weeks (W392-3). </div>
<div class="MsoNormal">
Review:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This article gives a wonderful overview of the
strengths/weaknesses of informal/dialectic and formal/monologue rhetoric. It
makes clear why formal writing is not interactive and why informal writing
should be taught at a college level. I will say that I was a bit misled by the
title of the piece. I was instantly drawn to it because I originally planned on
doing my paper on teaching with Youtube and I thought that the
back-and-forthness that the paper was going to address was going to be either
on the way that members on Youtube make videos in response to other videos or
the intertextuality of Youtube and use of memes. Those would have both been
interesting for my project. It took ten pages for me to realize that those
topics were never going to materialize. This article would be great for those
studying online written rhetoric, but right now I do not see how it fits into
my paper topic. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4443099188181416748.post-25760340496381019542011-09-23T10:56:00.000-07:002011-09-23T11:02:58.129-07:00What Video Compositon Classes Look Like<!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>X-NONE</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> <w:splitpgbreakandparamark/> <w:dontvertaligncellwithsp/> <w:dontbreakconstrainedforcedtables/> <w:dontvertalignintxbx/> <w:word11kerningpairs/> <w:cachedcolbalance/> 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mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--><!--[if gte mso 9]><xml> <o:shapedefaults ext="edit" spidmax="1026"> </xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout ext="edit"> <o:idmap ext="edit" data="1"> </o:shapelayout></xml><![endif]--> <p class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in; font-family: verdana;font-family:verdana;"><span style="Arial","sans-serif"font-size:12.0pt;" >Lovett, Maria, et al. "Writing with Video: What Happens When Composition Comes Off the Page?"<i><span style="mso-spacerun:yes"> </span>Raw (Reading and Writing) New Media</i>. Eds. Ball, Cheryl and James Kalmbach. Cresskill, NJ: Hampton Press, 2009. Print.</span></p> <p class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in; font-family: verdana;font-family:verdana;"><span style="Arial","sans-serif"font-size:12.0pt;" > </span></p> <p class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in; font-family: verdana;font-family:verdana;"><span style="Arial","sans-serif"font-size:12.0pt;" > </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: verdana;font-family:verdana;"><span style="Arial","sans-serif"font-size:12.0pt;" >This chapter, co-authored by Katherine Gossett who very recently taught at Old Dominion, looks at a class taught at the University of Illinois at Urbana-Champaign (U of I) entitled Writing with Video, considered an advanced composition course. Students in this course use the writing process to create films for class. Lovett et al explain: “</span><span style=" GillSans","sans-serif";mso-bidi-font-size:12.0pt;" >The course seeks not just to have students write more or create slick videos but to have students recognize the multiple modes available to them in making meaning” (5).* The writers continue on by saying that what they aim for students to get out of such a class is the realization that multimodal texts do rhetorical work (6). <span style="mso-spacerun:yes"> </span>While film making and editing is an obvious part of this process, the students take scrupulous notes or organize and journals to reflect on their composition process during the semester. One student has more than 20 pages of written text based on her ten minute film (13). The article concludes with some very practical looks at how to incorporate what is an interdisciplinary class at U of I, including funding of technology and teachers, departmentalization, and the cross teaching of instructors. The premise behind the whole article is to explain why such classes should be taught and then to inform others on how to go about incorporating into a curriculum.</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: verdana;font-family:verdana;"><span style="GillSans","sans-serif"; mso-bidi-font-size:12.0pt;" > </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; font-family: verdana;font-family:verdana;"><span style=";font-size:12.0pt;" >The article makes the point that film making is a key resource in the teaching of composition and applying rhetoric outside of writing. In some ways it is exactly what I need to be reading, to see how a class was created around the ideas of rhetoric, composition, and film. The article is theory and pedagogy driven with practical examples of that theory in practice. It’s not a perfect match, though. The article is looking at an advanced composition course and I am thinking more of an introductory class for my paper. It does, however, give great insight as to what great things using multimodal techniques in introductory classes can lead to in later classes. 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mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> </p><p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;mso-layout-grid-align: none;text-autospace:none"><span style="font-size:12.0pt;font-family:"GillSans","sans-serif"; mso-bidi-font-family:GillSans">*Note: I am actually working from an unpaginated pdf of the chapter. I will borrow the book from the library if I choose to use this source for my paper. This is my current source: </span><a href="http://web.nmsu.edu/%7Ejasheppa/multimedia10/pdf/lovett_writing_video.pdf"><span style="font-size:12.0pt;font-family:"GillSans","sans-serif";mso-bidi-font-family: GillSans">http://web.nmsu.edu/~jasheppa/multimedia10/pdf/lovett_writing_video.pdf</span></a><span style="font-size:12.0pt;font-family:"GillSans","sans-serif";mso-bidi-font-family: GillSans"></span></p> <p class="MsoNormal"> </p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4443099188181416748.post-4415388387898641902011-09-13T08:46:00.000-07:002011-09-13T10:48:25.631-07:00A Good Start<!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> 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</w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <p class="MsoNormal">Jewitt, Carey. "Multimodality and Literacy in School Classrooms." Review of Research in Education 32 (2008): 241-67. Print.<br /><br />Carey’s article serves as an introduction to multimodal teaching and literacy in the classroom. She is actually looking at how using multimodal technologies and techniques affect the way that we learn. She argues that the presentation of information in the classroom changes both what is learned and how it is learned. She later argues that if we are going to use multimodal examples in class, we need to be creating multimodalt exts as well. </p> <p class="MsoNormal">Carey’s article covers a lot of area in 28 pages. Based in England, she is studying the use of digital media, print, image, and body language in classrooms that span preschool, primary school, and higher learning (and three countries). Carey starts by explaining the move from a focus on literacy to literacies that has happened over the past 15 years. This has happened as a result in our culture’s shift from print to digital. Communication has in no way decreased as a result, but, as Carey notes, “writing as the dominant mode is increasingly brought into new textual relations with, or even exchanged for, visual and multi-modal forms of expression (244). The understanding becomes that teaching only writing as words limits students’ understanding of current culture and may even work counter to their understanding of text. Simply put, students ‘read’ more than just books.</p> <p class="MsoNormal">She goes on to discuss studies done in multimodal teaching. Modes are different forms of communication that include, but do not end at, language. Carey’s examples range from the creation of a cross-cultural alphabet book a class created to the study of music or pictures in a class. No mode should be put above another and technology is not the only mode that can be brought into the classroom. In the classroom, this is a shift from lecture and discussion to creation. Students will bring themselves and their literacies into the classroom to create these new texts. </p> <p class="MsoNormal">She ends by realizing some of the challenges that multimodal teaching brings into the classroom. Variances in modes mean that students must ‘read’ multiple texts in class, often converting what they know of one mode into another. She adds that body language is another mode in the classroom. A teacher’s body language can really affect the way a class learns. So, students must become expert readers and teachers must do all they can to relay meaning.</p> <p class="MsoNormal">I am planning on doing my project on multimodal teaching, especially how to creating multimodal texts in a writing classroom. Carey’s article works as a good introduction to the idea of multimodal teaching and is a great place to start. The wealth of information she tries to take on means that she touches on a lot of ideas, but doesn’t go into anything with depth. She acknowledges at the end that her discussion of multimodal teaching leaves open a lot of discussion. What she does give is a good definition of multimodal teaching and a lot of great examples of what that can look like. I think it’s a useful article to establish one in the conversation.</p>Unknownnoreply@blogger.com0