180-degree
A01=Robert Watson
aesthetic education moving images
anderson
Andrei Tarkovsky
Author_Robert Watson
Basil Fawlty
Beverly Hills
Birt Acres
Blind Date
camera
Camera Positions
Category=ATF
Category=ATJ
Category=JN
Category=JNU
Category=YNA
Coca Cola Ads
Commercial American Films
Common Language
Contemporary Society
Continuity Editing
curriculum integration media
Deep Focus
Dining Room Set
eq_art-fashion-photography
eq_bestseller
eq_childrens
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
eq_teenage-young-adult
Fawlty Towers
Girl Friday
ideology in film
lindsay
Long Shot
Make Up
master
media literacy
medium
Moving Picture
multiple
Multiple Camera Shooting
Narrative Art
narrative structure analysis
Pop Videos
Reverse Shot
Reverse Shot Pattern
rule
semiotics in media
shooting
Shooting Script
shot
visual communication theory
Young Man
Product details
- ISBN 9781850007159
- Weight: 294g
- Dimensions: 156 x 234mm
- Publication Date: 21 May 1990
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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First published in 1990. The aim of the series is to define and defend a comprehensive aesthetic, both theoretical and practical for the teaching of the arts. There can be little doubt that of the six great arts which the Library of Aesthetic Education is committed to defending and defining, film has been the most ignored in the curriculum of our schools. There is a grand irony in this for film is not only the one unique art form developed in our own century but also the most unequivocally popular. Film was envisaged as part of a system of communications which had to be decoded in terms of ideology and contextualized in terms of power and control. Robert Watson’s Film and Television in Education with its telling subtitle An Aesthetic Approach to the Moving Image sets out to remedy the neglect.
Robert Watson, At The London SchoolAt The London School of Film Technique (The London International Film School), Robert Watson received a vocational training which he has come to regard, over the last twenty years, as a model of disciplined creativity in education. His sense of the underlying significance of basic film conventions has evolved and been strengthened through a decade of teaching in comprehensive schools and, since 1986, his work at Bretton Hall.
