- The Oxford Handbook of Film and Media Studies
- Digital Media and the Future of Filmic Narrative
- The Latest Laocoön: Medium Specificity and the History of Film Theory
- Visual Media and the Tyranny of the Real
- Radical Aspirations Historicized: The European Commitment to Political Documentary
- Loss of Light: The Long Shadow of Photography in the Digital Age
- Media Celebrity in the Age of the Image
- Film Genre Theory and Contemporary Media: Description, Interpretation, Intermediality
- <i>Gilda</i>: Textual Analysis, Political Economy, and Ethnography
- Television's First Seventy-five Years: The Interpretive Flexibility of a Medium in Transition
- “The End of TV As We Know It”: Convergence Anxiety, Generic Innovation, and the Case of <i>24</i>
- Screen Practice and Conglomeration: How Reflexivity and Conglomeration Fuel Each Other
- The Chinese Action Image and Postmodernity
- When Cute Becomes Scary: The Young Female in Contemporary Japanese Horror Cinema
- Asian Film and Digital Culture
- Popular Cinema and the “New” Media in India
- Dreaming with Open Eyes: Latin American Media in the Digital Age
- The Globalization of Filmmaking in Latin America and the Middle East
- Computers and Cultural Studies
- Film and Media Studies Pedagogy
- Copyright, Fair Use, and Motion Pictures
- Evolution of Modern-Day Independent Filmmaking
- The Digital Revolution
Abstract and Keywords
This article further emphasizes the need for media and film studies pedagogy in higher education. It also surveys the pedagogy debates that occurred in the United States and Britain since the 1960s. The article first outlines the terms of the debate, and then introduces the distinction between surface and deep learning. It also presents personal experience about attempts to study film studies pedagogy through the analysis of film studies textbooks, both in paper and digital form.
Warren Buckland is senior lecturer in film studies, Oxford Brookes University, and author of Directed by Steven Spielberg (2006); Film Studies (2nd ed., 2003); Studying Contemporary American Film (with Thomas Elsaesser, 2002); The Cognitive Semiotics of Film (2000); and editor of The Film Spectator (1995) and Complex Storytelling in Contemporary World Cinema (2008). He is also editor of the journal New Review of Film and Television Studies.
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