The Cinematic Representation of the Personal and Professional Lives of Teachers.
2001; Volume: 28; Issue: 3 Linguagem: Inglês
ISSN
0737-5328
Autores Tópico(s)Cinema History and Criticism
ResumoFor years, I have been interested in a genre of popular films that can be called films.' Generally, I define a school film as a movie that in some way—even incidentally—is about an educator or a student. This broad definition has allowed me to conceptualize the school film genre as being comprised of well over one hundred movies (Trier, 2000). Examples of very well-known school films are Dead Poets Society, Stand and Deliver, and To Sir With Love. Examples of lesser-known school films are Maedchen in Uniform, Small Change, Waterland, Welcome to the Dollhouse, and Zero for Conduct. My long-standing interest in school films eventually began informing my research projects and teaching practices as a supervisor of practicum students at the University of Wisconsin-Madison. My main goal as a supervisor is to engage preservice teachers in a critically reflective practice, which I will define here by drawing on Zeichner James D. Trier is a (1990), who contrasts critical reflection with benign supervisor of student or generic conceptions of reflection. Critical reflec teachers with the College tion involves not only focusing one's attention in of Education at the wardly, on the more technical aspects of teaching, but University of Wisconsinalso focusing one's attention outwardly at the social Madison, Madison, conditions in which [individual and collective teach Wisconsin. ing] practices are situated (p. 59). A critically reflec
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