Teaching Gradually Armstrong, Kacie L; Genova, Lauren A; Greenlee, John Wyatt ...
Stylus Publishing LLC,
2021, 2021-09-27, 2023-07-03
eBook, Book
This book covers a wide range of topics designed to appeal to graduate student instructors across disciplines, from those teaching discussion sections, to those managing studio classes and lab ...sessions, to those serving as the instructor of record for their own course.
Teaching Gradually is a guide for anyone new to teaching and learning in higher education. Written for graduate student instructors, by graduate students with substantive teaching experience, this ...resource is among the first of its kind to speak to graduate students as comrades-in-arms with voices from alongside them in the trenches, rather than from far behind the lines. Each author featured in this book was a graduate student at the time they wrote their contribution. Consequently, the following chapters give scope to a newer, diverse generation of educators who are closer in experience and professional age to the book's intended audience. The tools, methods, and ideas discussed here are ones that the authors have found most useful in teaching today's students. Each chapter offers a variety of strategies for successful classroom practices that are often not explicitly covered in graduate training.
Overall, this book consists of 42 chapters written by 51 authors who speak from a vast array of backgrounds and viewpoints, and who represent a broad spectrum of experience spanning small, large, public, and private institutions of higher education. Each chapter offers targeted advice that speaks to the learning curve inherent to early-career teaching, while presenting tangible strategies that readers can leverage to address the dynamic professional landscape they inhabit. The contributors' stories and reflections provide the context to build the reader's confidence in trying new approaches in their his or her teaching. This book covers a wide range of topics designed to appeal to graduate student instructors across disciplines, from those teaching discussion sections, to those managing studio classes and lab sessions, to those serving as the instructor of record for their own course. Despite the medley of content, two common threads run throughout this volume: a strong focus on diversity and inclusion, and an acknowledgment of the increasing shift to online teaching.A
It is widely acknowledged that people are emotionally affected by movies, but how does the physical structure of movies contribute to emotional engagement? To answer this question, we measured ...subjective and objective emotional tension as 40 viewers watched a series of short movies. We mapped the resulting data against the dynamic low-level structure of each movie, isolating the effects of clutter, luminance, motion, shot density, shot scale, and sound amplitude on emotional response. Across all measures, viewers' responses to the movies were notably synchronized, and this synchrony appears to be partly driven by low-level cinematic structure. These findings provide empirical support for several long-standing ideas that lie at the intersection of film theory and the psychology of emotion.
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The perception of facial expressions and objects at a distance are entrenched psychological research venues, but their intersection is not. We were motivated to study them together because of their ...joint importance in the physical composition of popular movies—shots that show a larger image of a face typically have shorter durations than those in which the face is smaller. For static images, we explore the time it takes viewers to categorize the valence of different facial expressions as a function of their visual size. In two studies, we find that smaller faces take longer to categorize than those that are larger, and this pattern interacts with local background clutter. More clutter creates crowding and impedes the interpretation of expressions for more distant faces but not proximal ones. Filmmakers at least tacitly know this. In two other studies, we show that contemporary movies lengthen shots that show smaller faces, and even more so with increased clutter.
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Hollywood movies can be deeply engaging and easy to understand. To succeed in this manner, feature‐length movies employ many editing techniques with strong psychological underpinnings. We explore the ...origins and development of one of these, the reaction shot. This shot typically shows a single, unspeaking character with modest facial expression in response to an event or to the behavior or speech of another character. In a sample of movies from 1940 to 2010, we show that the prevalence of one type of these shots—which we call the cryptic reaction shot—has grown dramatically. These shots are designed to enhance viewers’ emotional involvement with characters. They depict a facial gesture that reflects a slightly negative and slightly aroused emotional state. Their use at the end of conversations, and typically at the end of scenes, helps to leave viewers in a state of speculation about what the character is thinking and what her thoughts may mean for the ongoing narrative.
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Most experiments in event perception and cognition have focused on events that are only a few minutes in length, and the previous research on popular movies is consistent with this temporal scope. ...Scenes are generally between a few seconds and a few minutes in duration. But popular movies also offer an opportunity to explore larger events—variously called acts, major parts, or large-scale parts by film theorists—in which the boundaries often have few if any unique physical attributes. These units tend to be between about 20 to 35 min in duration. The present study had observers watch seven movies they had not seen before and, over the course of several days and with ample justifications, reflect on them, and then segment them into two to six parts with the aid of a running description of the narrative. Results showed consistency across viewers’ segmentations, consistency with film-theoretic segmentations, and superiority over internet subjects who had access to only the scenarios used by the movie viewers. Thus, these results suggest that there are large scale events in movies; they support a view that their events are organized meronomically, layered with units of different sizes and with boundaries shared across layers; and they suggest that these larger-scale events can be discerned through cognitive, not perceptual, means.
Events, Movies, and Aging Armstrong, Kacie L.; Cutting, James E.
Journal of applied research in memory and cognition,
06/2017, Volume:
6, Issue:
2
Journal Article
Peer reviewed
Comments on an article by Lauren L. Richmond et al. (see record 2017-27490-001). Richmond et al. convincingly propose that events are a fundament of human cognition, and even a tool that can be used ...to assess cognitive aging. Richmond et al. outline several promising suggestions, bolstered by evidence from both younger and older adults that movies presented with a tone or a slowed frame rate at event boundaries were better remembered than undoctored movies. This suggests that a signal to integrate information facilitates enhanced encoding of events. Perhaps by borrowing from cinematic techniques of the past that draw attention to event boundaries, interventions that rely on film parsing might do for the aging population what early filmmakers did for their audiences with dissolves, fades, and wipes. That is, the use of salient visual cues to hint at event boundaries provides the viewer with a framework for event segmentation. While such film-parsing interventions may serve to facilitate event encoding in the aging population, Richmond et al. raise an important point that the lifespan trajectory of event perception capacities remains largely unknown, and consequently successful early to mid-life preventative measures have yet to be discovered. (PsycInfo Database Record (c) 2022 APA, all rights reserved)
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This chapter suggests a number of pedagogical strategies to guide students as they learn to grapple with primary literature. It outlines ways in which these strategies can be translated across ...disciplines in both the face-to-face and online classroom. Critically reading primary literature in the arts and humanities chiefly refers to close reading-defined not as reading in the traditional sense of the word but rather as focused attention on a given literary passage or work of art, with an eye for striking features such as salient imagery, rhythm, and structural peculiarities. The chapter presents one of the favorite established methods for introducing students to critical reading across fields: the question formulation technique (QFT). QFT is a group activity that leads students to engage with a piece of literature or work of art by generating as many questions as possible within a given length of time.
Introduction Armstrong, Kacie L.; Genova, Lauren A.; Greenlee, John Wyatt ...
Teaching Gradually,
2021
Book Chapter
Teaching is a craft that one never truly perfects. Effective teaching does not always come naturally, and for this reason, many educators seek some degree of pedagogical training throughout their ...careers. It is worth noting, however, that such training is often delivered by seasoned professionals whose vast experience and accomplishments can distance them from the immediate needs of graduate student instructors. This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book offers targeted advice that speaks to the learning curve inherent to early career teaching, while presenting tangible strategies that readers can leverage to navigate the dynamic professional landscape they inhabit. It encounters a series of engaging stories, anecdotes, and reflections that will help clarify our path forward and inspire us to try new skills in the experimental setting that is the college classroom.
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