Television in the Classroom: An Update on How This Old Prof Learned A New Trick

by Lynn Clement


A couple posts ago I wrote about a fabulous show I’d found on Netflix and the excitement it inspired in me to use television in the classroom, something I rarely do.  I’ve noticed, as I examine my approach to teaching (and its evolution over the past 15 years) that I often need to fight against the traditional way my own collegiate education was administered.  During undergrad and graduate school my professors followed a very teacher centered pedagogy in which the instructor was in control of the communication of knowledge.  Lectures were the primary, and often the only, class format. While this had (and has) its merits, I’ve found that this approach works less and less the longer I teach.  Although lecturing still has a place in my classroom, active student-centered learning makes up the majority of my class.  Large and small group discussions in which students are asked to lead has been incredibly successful this semester largely due to the stellar group of intelligent and talkative students I’m working with.  Despite my evolution in how I structure my class, and despite the wonderful new material available, I have remained hesitant to incorporate film, television, podcasts, and the like, into my curriculum. Gfp-lecture-hall

Luckily, this old salt has learned much from her contemporaries and acknowledges that the types of educational materials my professors would have spurned are valuable sources to take advantage of, especially with all the new technology available in the lecture hall.  Thus, when I came across an art history related program on Netflix I knew it was finally time to give it a try.  To recap, briefly, from my previous post “Fake or Fortune is a BBC program hosted by journalist, Fiona Bruce and art dealer, Philip Mould.  The two come together, along with various researching side-kicks, to investigate the style, material, and provenance of art works in order to determine their authenticity.”    Last week I finally had the opportunity to test this show in the classroom, and I am happy to report that it was huge success.

So, here I am to give you the update, just in case you also need an excuse to let your students watch tv in the classroom.  First, and I think this was extremely important, I explained the reason I was excited for them to watch. I often do this when discussing what we do in class, or when discussing what requirements I’ve included in the syllabus.  Showing this show wasn’t to give me a break or to fill up time.  I discussed the merits of the show and how it would reveal to them the various ways in which art historians come up with and research a topic.  This was especially timely since we had just discussed their final research project. Film_projector

Next, as we were watching I utilized the wipe board and wrote down the research process as we saw it unfold.  The show is very compelling so it would be easy to get caught up in the “history mystery” and forget how these researchers were uncovering information.  I was able to pinpoint how these researchers developed a topics, how they came up with the questions they wanted answered, when and where they found clues, how they followed that up with research into primary and secondary sources, and how those questions and answers changed as more information was uncovered.  My students were able to see how the show arrived at its “thesis statement” and, again, how they were able to uncover appropriate information that could support, or shift, the main idea.  I have to admit that deconstructing the show helped my students, and myself, rediscover the important process that goes into quality research and writing, setbacks included.

After the conclusion, we not only discussed the content of the show, but also the process that they had seen.  We talked about what surprised them, what confused them, and what excited them about both the research and the outcome.  All in all, I would say that it was a huge success and it made me realize that I had been remiss in overlooking television and film as an important part of the learning process.  While reading a research paper (examples of which I provide each semester) is great at conveying your expectations of the product, being able to see people research conveys important lessons on how that research project actually came together.  As we continued to talk about their ideas I saw that my students seemed more excited and more confident about how they were to go forward.

close up of flower
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I am happy to say I am a changed woman and I think my students, present and future, will be equally happy about this.  So, now I’m curious to what else I’ve been missing all these years.  What films, shows, podcasts, etc. do you use in the classroom?  How have you found them helpful?  I would love to learn more from you, dear reader.

 

Goodreads: Finding Writing Inspiration Through a Monumental Year of Reading

by Lynn Clement


Aging and birthdays are usually not a big deal to me which, now that I really think about it, likely stems from childhood.  Having a summer birthday meant I missed bringing treats to school and birthday parties were useless when everyone was out of town.  Thus, I’ve long been accustomed to marking my journeys around the sun with minimal celebration even at major milestones.  This was the same with turning 40, which I did in August.  While my lovely friends made sure I celebrated properly later, I spent that actual day taking a 7 hour road trip from an indoor water-park hell-scape to home.  The day itself may have felt lackluster, but the anticipation of this monumental number did inspire me to make some challenges for myself months prior.  On New Year’s Day I was making plans for my 40th year. I had planned to run my 6th marathon and a total of 2019 miles in the year, had planned to take a big trip, for fun and for research, and I had planned to read 40 books.  While life shenanigans interfered with the first few, I am happy to announce that I am on schedule to celebrate my 40th year with 40, completed and contemplated, books.

book page
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I am also happy to announce that most of the books I’ve read this year (currently working on numbers 33 and 34) have been wonderful.  I decided to be choosey about the titles so I would not get derailed from my goal, which can often happen since I am stubborn and hate to give up on any book, no matter how terrible.  In addition, even though cancer treatment made exercise and travel almost impossible, it did afford me some uninterrupted time for reading.  The hours spent in cars, waiting rooms, infusion chairs, on radiation tables were given to memoirs, biographies, historical fictions, historical non-fictions, true crime, poetry, etc., etc., etc.   They provided much needed escape, and I must take a moment here, dear reader, to assure you that I didn’t just choose short stories to help reach my goal.  In fact, one of the more enjoyable of the books was The Goldfinch by Donna Tart, a 771 page journey detailing lost lives, lost art, and lost souls.  The story centers around a lost painting and equally lost young man, and although it was not without its faults, it was worth the effort.

Fabritius-vink

The Goldfinch was recommended to me by many because of its connection to art history. I usually shy away from these types of books because of my background, but I gave it a chance, and I’m glad I did. I have to admit that it was fun to think about art in a new way.  Contrary to my expectations, the visual details of the painting and its history amounted to only about 2 pages of the more than 700.  The Goldfinch (aka Het Puttertje) is an actual painting Donna Tart saw during a visit to the Mauritshuis museum at the heart of the Hague. Measuring little bigger than a sheet of paper, and depicting an even smaller, chained, pet bird by the little known artist Carel Fabrutus, the reader might initially question the value of a work such as this, especially when it enters the narrative amidst Vermeers, Hals, Rembrandts, and other master works of the Dutch Golden Age.  However, our understanding of the value of this work is established on a personal level as it anchors itself to times, places, and people that mean so much to the main character.

This led me to thinking about the possibly for fictional tales centered on factual events and objects. History and its imagery is filled with a wealth of possibility for invented stories and a basic Google search on making the transition from non-fiction to fiction brings up a wealth of sites with advice and success stories.  Would it be worthwhile to approach my own research topics similarly and could these histories be told in new ways? Or, perhaps more importantly, should they? I don’t know the answer to these questions yet, but the thought of this type of experimentation with research and writing excites me.

business calligraphy close up composition
Photo by Pixabay on Pexels.com

I have been dealing with a bit of a writing dry spell, particularly in regard to my academic research.  However, the possibility of using what I’ve learned to create a new, imagined story provides the kind of inspiration I’ve been needing.  Writing community, I would love to hear if you’ve tried something similar!  Please comment or tweet your advice, tips, or experiences!  My own updates to come…

 

Subject Matter Expertise: Historians and Documentaries

Last month, I was approached by Joseph Hill, documentary filmmaker, about his current project on the United States Colored Troops (USCT) in the Civil War. He was coming to Nashville to film at Fort Negley, and a few other sites related to enslavement and the USCT and asked if I could serve as a subject matter expert. He interviewed me on camera and asked some incredibly complex and insightful questions. The whole experience was thoughtful and thought-provoking.

Filmmaker Joseph Hill and I in Fort Negley’s archive room, 2019.

This was because he knows his audience, and knows that they enjoy grappling with the complexities and intricacies of history that I live for. Mr. Hill didn’t just want to know about the history of USCT, he wanted to explore it in the context of global enslavement, and why his topic mattered so much in this particular moment in time.

As director of the Fort Negley Descendants Project, I’ve been able to interview two descendants of the USCT, Mr. Gary Burke and Mr. Bill Radcliff, and have gotten to know them over time through the events at Fort Negley that bring us together multiple times per year. We’ve spoken a lot about history, legacy, enslavement, freedom, and race. I bring to the table the historical source material, and they their lived experience and family histories. They have been generous with their observations, and with me when mine have been off. These conversations have been crucial to my own development as a person who shares the history of a topic that has left its mark on the country today. They have helped me understand how to balance what I know, with my own identity and with how I explain what I know, to whom I explain it, and why.

Continue reading “Subject Matter Expertise: Historians and Documentaries”

Nadine Labaki’s “Capernaum”: Film Thoughts & Historical Background

Movie going

In an attempt to elevate my self-care routine, I’ve started to take myself out on dates a little more often. I actually *love* to spend time alone. I’m probably not the only Humanites PhD who feels blissfully energized by an evening of solitude and reflection in the company of art, film, and food.

This goal has resulted in an uptick of visits to my local independent theater. Given my penchant for female artists and francophone media, when I saw the trailer for Capernaum, a film directed by Lebanese director Nadine Labaki, I immediately knew that it would figure into my solo-night-out calendar. I’ve been fascinated with Lebanon ever since I read Etel Adnan’s novel Sitt Marie Rose in a French feminisms grad seminar (so much so that it became the focus of a dissertation chapter!).

Continue reading “Nadine Labaki’s “Capernaum”: Film Thoughts & Historical Background”