Yet Another One

What movement is a "turn”? After all, as some of the theoretical work discussed in The Turn I and The Turn II shows, turning itself is multiple. Is a turn eventfully singular or recurring? Does it mark a rupture or a return, a turn away or a turn toward? The turn comes in a multiplicity of different figures—revolutionary upheaval, Möbian tautology, fold and unfolding. What does this mean for thinking the different modalities of the turn, not only the shape it takes or the movement it traces, but also its scale, (in)frequency, and number? Is the "turn” we envision one or many? Micro or macro? And what do we make of the paradox that much of our theoretical desires dream of the molar, eventful, cutting-edge, revolutionary, innovative energy of the "turn” when we invoke theoretical innovation while much of our thought is otherwise celebratory of minor figures, of microfolds, multiply pleated surfaces, hosts of warps and whorls, or dynamic constellations of gyrations and turnings?

Gazing or glancing? Mapping student engagement when film studies moves online

This article presents the findings of a study undertaken by a team of three film studies teacher-researchers working with undergraduate students in a course titled 'Histories of Film Theory'. In the context of the transition from face-to-face to remote learning during the COVID-19 pandemic, the authors observed that students' approaches to understanding relevant film theories became increasingly inflected by their experiences of contrasting methods of course delivery, such as that between the cinema theatre or home viewing environment. To investigate this effect, the authors conducted a study of student experience across the 2020 and 2021 cohorts;the purpose was to understand how the shift to online learning shaped students' engagement with set film texts, by analysing the behaviour exhibited when accessing film texts remotely. The study is grounded in the observation that there is an existing body of film theory on screen spectatorship that has potential significance to a scholarly understanding of the pedagogical complexity of online learning and multimodal literacies. This scholarship ranges from analyses of 'traditional' reception environments (Baudry 1974), to accounts of the differentiation in modes of attention introduced by new media (Ellis 1992, Cavell 1982), to analyses of the multiplying second screen practices of the digital era (Casetti 2011). A governing distinction highlighted in the results is between 'gazing', the mode of spectatorship associated with the traditional cinema experience, and 'glancing', the mode associated with home viewing and second screen use. Were the students in the course gazing or glancing, and how did this affect their encounters with films and characterize their remote learning experience more broadly? In asking these questions, the article demonstrates how the intellectual resources of film studies might be applied to contemporary digital pedagogy scholarship to reveal a complex scenario in which remote learning practices both hinder and enhance learning experiences, sometimes simultaneously.

Teaching Indigenous Film through an Indigenous Epistemic Lens

Since the institution implemented a mandatory lockdown due to the Coronavirus pandemic, I felt that teaching primarily with visual media would ease students' transition to the mandatory remote learning environment, and I introduced filmic narratives aimed to promote hózhę or restoration and healing through decoloniality. Because students are required to write about Indigenous creatives and their work, I assign chapters from Gregory Younging's Elements of Indigenous Style: A Guide for Writing by and about Indigenous Peoples (2018). The context reports serve as an introduction to the upcoming film we will screen, and I require students to engage in light research for their preparation. Students are expected to integrate and synthesize reading assignments with the films just screened, and I pose questions for small and large group discussion.

Using Flipgrid in the Online Film Studies Classroom

[...]discussion" often wasn't organic in this platform and could become quite repetitive or stilted as students would offer short responses that tended to stymie a conversation before it had even started. In face-to-face classes, I always try to ensure there are opportunities for students to communicate ideas in both verbal discussion and written activities. [...]I wanted to translate over the same practice in my online asynchronous classes. Twitter provides an active forum in which educators share ideas and exchange questions about using Flipgrid in many types of classes, including foreign languages, mathematics, science, English language and literature, social studies, and much more. [...]a 2018 Pew Research Center Study found that 97% of teens interviewed used a social media platform like YouTube, Instagram, or SnapChat.

Copyright Under COVID-19 in Film and Media Studies

Film and media educators already rip short film clips for teaching purposes, a practice expressly protected in the United States under a "1201" exemption [https://www.federalre gister. gov / documents /2018/10/26/2018-23241/ exemption-to-prohibition-on-circumvention-of-copyright- protection-systems-for-access-control_t) [https://www.federalre gisten gov / documents /2018 /10/26/2018-23241/ exemption-to-prohibition-on-eireumvention-of-eopyright-protection-systems-for-access-control] у the Librarian of Congress, named for the provision of the Digital Millennium Copyright Act (DMCA) that permits circumvention in certain instances. For years, many scholars have looked to the statements of best practices developed by Patricia Aufderheide and the Center for Media and Social Impact [https: / /emsimpaet.org /resources/teaehing-tools /] : today, as we consider the question of whether and how to continue screening media for our online classes, including full-length films, television episodes and games, we must further develop and refine those practices.[#N1] How have faculty approached the legal issues of copyright and compliance across different national contexts? [...]a number of institutions have made the decision to digitize titles from their own media libraries and make them available to students, often limiting access to those enrolled in specific courses via the university's learning management system (LMS). In the UK and US, risk management decisions also play a part in assessing the mixed case law around whether anti-circumvention prohibitions - in the DMCA (in the US), or the Copyright, Designs, and Patents Act (CDPA) (in the UK) - prevent film faculty from otherwise permissible reliance on fair use.

Copyright Legislation and Online Screening in the Era of COVID-19: The Canadian Context

In Canada, the two primary non-theatrical feature film distribution companies are Criterion Pictures [https://www.criterionnic.com], which operates a Streaming service called Criterion-on-Demand (neither of which should be confused with The Criterion Collection and/or The Criterion Channel);and Audio Ciné Films [https: / /www.arf-film.com] Inc [https: / /www.acf-film.com] .. which likewise makes a portion of its catalog available via streaming. [6] [#N6] Though few should question this during an era in which virtually all class activity is occurring in an online environment, it's important to note that the Act makes it clear, in Section 30.01(3) "Communication by telecommunication ,[https: / /laws-lois.justice.gc.ca /eng /acts /C-42 /page-10.htm1#docCont] " and in Section 30.01(4) "Participation hv telecommunication [https: / /laws4oisjustice.gc.ca/eng/acts /C-42/page-10.html#docCont] " that such online learning environments are in fact, considered to occur "on the premises" of that educational institution. A copy of that DVD, however, made available to stream asynchronously to students, even through that same password-protected university platform, appears to be a more contested issue, with the crucial distinction being tied to the circumvention of an "access control" technological protection measure (TPM). [...]given the language of the Copyright Act, Canadian educational institutions have been reluctant to embrace the practice of circumventing access control TPMs, and a more palatable alternative to making digital copies has been adopted by some instead.

Introduction

Reflecting on the future of documentary pedagogy in a profoundly polarized media landscape and chaotic world, how should we introduce undergraduate students to documentary history and practices, and what pedagogical strategies should we privilege to supervise graduate students working within the field of documentary studies or those making documentaries within MFA and practice-based PhD programs? Documentary Pedagogy: A Burgeoning Field From the first courses in documentary appreciation and production-at the New School for Social Research (1938) and the City College of New York's "Institute of Film Techniques" (1942)-to the plethora of undergraduate, graduate, and continuing education curricula focusing in whole or in part on non-fiction media today, documentary pedagogy has had a remarkable impact on the training of practitioners and the shaping of public tastes. If instead of using the blu-ray (or stream) of a historical film as a substitute teacher, we involved students in the production of non-fiction content, leveraging their skills as digital-native "bricoleurs, sophisticated multimedia rag-pickers,"[#N2] we would be deploying documentary as an active learning tool, one that obviates the hard separation between theory and praxis. In her doctoral dissertation on documentary filmmaking and critical pedagogy, Taiwanese curator and scholar Yng-ruey Jiing articulates the value of research beyond the "ivory tower" as a way to "expand the knowledge of independent filmmaking, popular education, media literacy and social transformation."

Introduction

The resulting articles can be found in Vol 3(1) Winter/Spring 2015. Since early 2020, COVID-19 has forced many universities worldwide to rapidly readjust almost all their teaching from face-to-face to online formats. [...]Hamidreza Nassiri provides detailed analyses on issues of equal access, student collaboration, and online pedagogy in media production classes. [...]Antoni Roig & Talia Leibovitz provide a detailed update on their developments in collaborative creative environments and tools that shows how the early development of online pedagogy for production courses continues to offer teaching challenges and constructive outcomes for instructors and students alike.

Using Films in Online Teaching Under Fair Dealing: A UK Perspective

[3] [#N3] Although this article focuses on UK law, its ideas have broader relevance, as the legal and practical considerations it discusses may be of interest to readers in other countries with fair dealing (such as Australia, Canada, India and Singapore), and to those whose copyright statutes include fair use (such as the United States). The second part discusses the nuts and bolts of the legal arguments in relation to section 32, including practical measures that can reduce an institution's risk exposure. The analysis in this article is predicated on the view that: (1) exceptions are a crucial part of the copyright system because of the important interests they support (research, education, freedom of speech, artistic expression, preservation, and so forth);and (2) exceptions should be given a liberal interpretation that reflects these important goals. [11] [#N11l It is far more difficult for exceptions - and in particular standards like fair dealing and fair use - to occupy a meaningful role in copyright law if users hardly ever rely on them or never defend their approach in the event of challenge.

Postscript to "Designing and Assessing Hybrid Cinema Studies Courses": Redefining "Hybrid," Modular Design, and Student Evaluations as Research

Because I had previously taught hybrid and fully online courses, my colleagues deemed me lucky when University of Washington shifted to online instruction at the end of last winter. [...]a survey I distributed early in the quarter indicated that enrolled students' computers and Wi-Fi could handle Zoom's system requirements, although some had to cut their video feeds to maintain connection stability. Lynette Watts' 2016 review of research on synchronous and asynchronous discussion observes that "asynchronous interactions allow students to take time to consider their thoughts [and] engage with the content more deeply," findings my students' work affirms (see Figure 1 for a sample discussion board and Figure 2 for a student posting).

When Zoom Replaces the Cinema: Reimagining Film Studies Online During COVID-19 Through Collaborative Teaching and Community Building

The progression of real world circumstances in Australia enforced a series of rapid and significant transformations from a face-to-face teaching model to an entirely digital learning experience for our cohort of 340 students. [...]we will consider the fundamental impulse behind these remaking processes: how to create a dynamic film culture online to make film studies meaningful (personally, politically, intellectually, socially) and also a site of relief for our students during this catastrophic moment. While this is an efficient system as a secondary port of call, finding a format that replicated the feel and function of inperson synchronous lectures while mediating the online space as the primary delivery for weekly material required us to experiment with form and style. Anecdotally, students responded extremely positively to this format, noting that it provided conceptual and theoretical challenges with the advantage of greater flexibility and control (the ability to pause, return to an earlier part), and opportunities to absorb the material (the relationship between the direct lecture and additional resources).

Teaching Nontheatrical and Useful Media

Teaching nontheatrical film and useful media poses a number of challenges for instructors and students alike. Because these subjects lie at the limits of conventional disciplinary historiographies-organized around aesthetics, artistic movements, entertainment industries, national cinemas, etc.- they receive little attention in most introductory film and media textbooks. [...]while many nontheatrical films have become easier to access online, their availability remains decentralized and often outside of traditional (state/government) institutions. By illustrating how she incorporates these overlooked film histories into her survey course "International Cinema to I960," Goldman effectively demonstrates how doing so can complicate histories of documentary film, contextualize national cinemas and film movements within broader histories, and reveal the ways in which film was enmeshed in colonial discourses and imperial power. [...]she shows how paying attention to amateur and student films enables one to diversify what often amounts to a "greatest hits" survey of feature films, addressing the marginalization of specific groups within the commercial film industry as well as the film canon. Tayara, a film studies undergraduate at Seattle University and a student in SchultzFigueroa's course "Film 8c Science," applied film-studies concepts in the development of a virtual reality tool for analyzing the possible habitability of distant planets while working for VR Ulysses, a software startup founded within the Astrobiology Program of the University of Washington.

From Ninochtka to Sunset Blvd: Screenwriter Charles Brackett and Hollywood's Golden Age, 1936–1950

Screennwriting appears to be a lost art in the early twenty-first century. Attenuated attention spans and mainstream films more aimed at adolescent-minded audiences make the craft of molding serious character, plot, and dialogue more of a species revered than continued. This trend may accelerate due to the Covid-19 pandemic. But perhaps not: excellent screenwriters still remain Paul Thomas Anderson, Christopher Nolan, Alexander Payne to name a few. A continuing influence on these creators' attempts to continue the excellence of screenwriting is Sunset Blvd., named bv the Screen Writers Guild of America West as one of the best ten screen-plays created in the twentieth century. Although the collaboration between the screenwriter from Saratoga Springs, New York and the cosmopolitan from Vienna, Austria ended in apparent acrimony and regret, the Brackett-Wilder partnership nonetheless constituted the most important scrcenwriting collaboration during the golden years of Hollywood. Not only did the duo receive unprecedented success five Academy Award nominations and two Oscars they helped break new ground with The Lost Weekends unsparing examination of alcoholism and Sunset Blvd.'s dark and biting analysis of film stardom. The examination of naivete from the United States meeting, but not defeating, the cynical sophistication in a seemingly crushed Europe in World War II found in A Foreign Affair, moreover, does not seem far behind the two other films. Thus Charles Brackett's scrcenwriting achievements deserve more consideration than their present status overshadowed by his more famous and formidable collaborator.