Teachers’ Perspectives on Moving Image as a digital literacy tool in Creative Classrooms

Eight Creative Classroom (CCR) elements are used as a framework for analysing teachers’ current attitudes towards the use of moving images as a tool for teaching digital literacy to pupils aged 11-18 years in the context of ‘Creative Classrooms’. This paper reports on the challenges being faced by innovative teachers willing to adopt moving image (as a new ICT) into their teaching, and highlights the gaps currently present in the systemic support structures in schools which need to be addressed for innovative pedagogical practices to occur in these Creative Classrooms. By ensuring educators learn from their experiences of poor ICT uptake in the past and utilise these lessons for future innovations in classrooms, it is hoped that the transition to moving image, and its associated digital literacy skills, will be smooth and beneficial to the learners.

Using film as a source

This book is a hands-on study skills guide that explores how film and moving image can be used as sources. It is aimed at those who want to use film and moving image as the basis for research and offers advice on research methods, theory and methodology, archival work and film-based analysis. It draws on the disciplines of film and history to offer advice for students and researchers in these fields.

The book includes sections on working with different kinds of moving images, how to explore visual sources, how to undertake film-related research and how to use film theory. In addition to providing detailed case studies, the guide also offers advice on research, writing and studying, creating a methodology, visiting archives, accessing material and exploring films from a historical perspective. The guide's focus is on good research practice, whether it be conducting an interview, visiting an archive, undertaking textual analysis or defining a research question.

Moving Object Scanning Apparatus and Method

Apparatus for scanning a moving object includes a visible waveband sensor oriented to collect a series of images of the object as it passes through a field of view. An image processor uses the series of images to form a composite image. The image processor stores image pixel data for a current image and predecessor image in the series. It uses information in the current image and its predecessor to analyse images and derive likelihood measures indicating probabilities that current image pixels correspond to parts of the object. The image processor estimates motion between the current image and its predecessor from likelihood weighted pixels. It generates the composite image from frames positioned according to respective estimates of object image motion. Image motion may alternatively be detected be a speed sensor such as Doppler radar sensing object motion directly and providing image timing signals

The Violent Maintenance of the Portuguese Colonial Identity and the Search for a Postcolonial one: literary images of Portugal as a colonial and postcolonial nation

Through the examination of Camões's Os Lusíadas , Sena's Os Grão-Capitães and Saramago's A Jangada de Pedra , this article explores violence as a means of shaping Portuguese identity in different historical contexts, and how these works portray the continued recourse to violence as Portugal moves from colonizing to postcolonial nation.

Making Risk Visible. The role of images in the assessment of (cancer) genetic risk

Whilst analysis of 'risk' (in its many conceptual shapes) has loomed large in both medicine and social sciences over the past 25 years, detailed investigations as to how risk assessments are actually put together (in either lay or professional contexts) are few in number. The studies that are available usually focus on the use of words or everyday conversation in assembling risk. Talking about risk is, of course, important, but what tends to be ignored is the fact that risk can be and is often made visible. For example, it can be made visible through the use of tables, charts, diagrams and various kinds of sophisticated laboratory images. This paper concentrates on the role of such images in the context of a cancer genetics clinic and its associated laboratory. Precisely how these images are tied into the production of risk estimates, how professionals discuss and use such images in clinical work, and how professionals reference them to display facts about risk is the focus of the paper. The paper concludes by highlighting the significance of different kinds of visibility for an understanding of genetic abnormalities and how such differences might impact on the attempts of lay people to get to grips with risk.