Titlebook: Representing Education in Film; How Hollywood Portra David Resnick Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Arts educ

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Sports Coach as Educatorlywood stereotype of the macho coach, the ideal movie coach is supportive of his players, including emotionally supportive. On the other hand, the abusive, egomaniacal coach in . highlights how important all the stakeholders in high school sports are in promoting—or protesting—a culture of “winning

Conjuction

Arts Educationo achieve the spiritual. Conservatives see this kind of arts education as subversive. The film includes two poles of arts education: the relativist, “child-centered expressivism” up to the 1970s, followed by the “aesthetic field” approach which sought a firmer basis in the art disciplines, leading t

Antagonism

終端

Civic Education of schools as either a wasteland (.) or a dictatorship (.). Neither film promotes identification with the public school as a communal space which can balance the rights of the individual with the common good. Moreover, . perpetuates the gender gap in the civic life of schools. In contrast, . is mor

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The Rearview Mirror the amount of time needed for change in individuals and groups, as well as the role of talent. Movies themselves sometimes try to influence their audiences, but that attempt rarely qualifies as education. Hollywood “happy endings” may be an attempt to guide society’s search for “the good life” whic

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Book 2018wide range of educational thinkers and fields of research to examine issues not discussed before. Resnick challenges our assumptions and enriches our general knowledge on critical issues like funding for arts education, what we mean by successful civic education, and the educational value of sports.

重疊

David ResnickFirst book to comprehensively examine a broader scope of education in film.Incorporates a variety of education models to illuminate contrasting viewpoints.Examines the educability of human nature itse

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