Public Education and Teacher Understanding of Dakota and Lakota Culture

This project was designed to collect and to share information in order to better prepare teachers of Native students. This study involved five in-depth, in-person interviews with Dakota and Lakota elders between 40 and 70 years old. Elders provided reflections on experiences of past generations, on their own educational experiences, on the preferred learning methods of Native students, and on their visions for teachers‟ practices and influences on Native children. Through grounded theory, data analysis was conducted to identify themes. Stories and comments from elders were organized around those themes. Future studies might include use of the videotaped interviews in MSU courses for future teachers and evaluating attitude shifts among the viewers

Three scenarios for TV in 2015

By offering three visions of the future of television through 2015, this article aims to highlight some of the socio-economic changes that the television sector may experience in the long term. It highlights the structuring impact that PVR could have on the sector, as well as the upheavals that may arise from a new paradigm of internet TV. It also highlights the options now open to TV channel operators wishing to set up a mobile TV service and the threats facing mobile telecommunications operators in the development of this market as a result.television; forecast; media usages

Film adaptation for knowing audiences: analysing fan on-line responses to the end of Breaking Dawn – Part 2 (2012)

Critics of film adaptations of literary works have historically evaluated the success or failure of the movie on the grounds of its fidelity to the original book. In contrast popular arguments for medium specificity have questioned whether fidelity is possible when adapting one medium to another. This article follows recent academic work which has focused awareness on the processes of adaptation by examining evidence of reading and viewing experience in online and social media forums.      The broader research project explored the online Twilight fan community as an example of a ‘knowing audience’ acquainted with both novel and film. Here we focus on the strong response within fan forums to the surprise ending of the final film adaptation Breaking Dawn – Part 2 (2012). The research uses the forum, blog and facebook page as sites for evidence of reading experience as defined by the Reading Experience Database (RED). The analysis sheds new light on the tensions that exist between fidelity and deviation and the article positions fan audiences as intensive readers who gained unexpected pleasure from a deviation from a canon. It argues that fans are also collaborators within the adaptation process who respect authorial authority and discuss the author’s, scriptwriter’s and director’s interpretation of the novel for the screen. The research identifies the creative and commercial advantages to be gained from a collaborative and open dialogue between adaptors and fans.  Keywords: Adaptation, fandom, online fan communities, Twilight, reading experience, film, audiences, fidelity, canon, collaboration, screenwriting, franchise, Stephenie Meyer, Melissa Rosenberg, Bill Condo

Ageing in Action: Hollywood’s Ageing Ensemble Action Hero Series

This paper explores the treatment of ageing in the ensemble action hero series RED (2010 and 2013) starring Bruce Willis and Helen Mirren and The Expendables (2010, 2012, and 2014) starring Sylvester Stallone and other 1980s action stars. These two series combine action with comedy to thematize two sets of issues in relation ageing—first, about competence and usefulness and, second, about meaningful relationships. In the RED series, these two overarching concerns are linked explicitly to ageing whereas, in the Expendables films, these concerns replace those about ageing. In other words, the Expendables series mainly ignores ageing and presents its heroes as operating in a continuum of middle-age action, while the RED series explores many of the key issues of ageing in twenty-first century America. The RED and Expendables series rewrite the established narrative of ageing and it is this departure from stereotyped representations of ageing which generates the comedic moments in the films but also what makes them interesting to ageing audiences. The stars and heroes of RED and Expendables are popular precisely because they are not acting their age

Art+Politics

For the exhibition Art + Politics, students worked closely with the holdings of Gettysburg College\u27s Special Collections and College Archives to curate an exhibition in Schmucker Art Gallery that engages with issues of public policy, activism, war, propaganda, and other critical socio-political themes. Each of the students worked diligently to contextualize the objects historically, politically, and art-historically. The art and artifacts presented in this exhibition reveal how various political events and social issues have been interpreted through various visual and printed materials, including posters, pins, illustrations, song sheets, as well as a Chinese shoe for bound feet. The students\u27 essays that follow demonstrate careful research and thoughtful reflection on the American Civil War, nineteenth-century politics, the First and Second World Wars, World\u27s Fairs, Dwight D. Eisenhower\u27s campaign, Vietnam-War era protests, and the Cultural Revolution in China. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1009/thumbnail.jp

Beauty as Pride: A Function of Agency

This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago’s The Dinner Party , Witkin’s photos can be judged as potentially offensive. But they are also objects of beauty—both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I’m not sure that everyone will agree