Abstract
Dedication
Acknowledgements
Video, Schools, And
Research
A Cultural-Historical Approach To
Education
Objectives And
Organization
Methods
Of Entry And Observation
Video Production,
Schools, And Courses From A Distance
Framing Social Relations
Course
Ideologies, Class Activities, And The Material World
ProgramIdeologies In Action
Student Trajectories
In Search Of Development In
Video Production
Cases Of
Questionable
Development
To Transcribe Or
Not
To
Transcribe
Location, Location, Location!
The Meaning Of Bounded
Areas
Participation Style And The
Further
Definition Of Places
Cases
Of Changing
Student-School Relations
The Meaning Of
Video
Production
Evaluation Of A
Methodology
The Affordances Of Contexs
As
Active Participants
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Table 1:
Observation Schedule
Table 2:
Summary Of Official School Statistics
Table 3:
Summary Of Program Qualities
Table 4:
Numbers Of Projects Observed And Obtained By Course
Table 5:
Summary Of Influences On Student Activity In Each Program
Table 6:
Number Of Edited And (Unedited) Video Projects By Genre With Distinct
Tactics For Broadening Constraints
Table 7:
Number Of Edited And (Unedited) Video Project By Course With Distinct
Tactics For Broadening Constraints
Table 8:
Summary Of Production Activity And Indications Of Development
Table 9:
Camera Operator Actions According To The Strategic/Tactical Dichotomy
Table 10:
Camera Operator Actions According To Potential Strategic Or Tactical
Effect
Table 11:
Camera Operator Actions According To The Level Of Solidarity Expressed
Table B1: Descriptions of Focal Students
and Their Interviews
Table B2: Video Projects Copied for
Analysis
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Illstration
1: Stills From Student Projects That Show Urban And Suburban Campuses
Illustration
2: Still Images
From Shots That Show Hallways
Illustration
3: Still Images Of
The Campus At Boarding High
Illustration
4: Boarding High's
Student-Made Murals
Illustration
5: Tiffany And
Rachel, in their "Public Service Announcement" about Safe Sex, Project
12, present a format more similar to a classroom talk
Illustration
6: Examples Of
Shots With Aesthetic Value
Illustration
7: In Project 8,
Skinny shows with a movement of his arm that he is "downtown" but
nothing shows his location
Illustration
8: Project 8,
Segment 86, Showing Skinny's Position During Classroom Interviews
Illustration
9: Jerome's Day 1,
Shot 1, Project 15, In Which The Mural Becomes A Defining Moment For
Wicket's Identity
Illustration
10: Still Shots
From Urban High Drunk Driving PSA, Project 9, showing different
positions for recording a car's driver
Illustration
11: Still Shots
From Suburban High Drunk Driving Commerical, Project 4, showing
different positions for recording a car's driver
Illustration
12: Boarding High
Video Graffiti From Project 15
Illustration
13: Wicket's Day 1,
Shot 3, of poster that was transformed
Illustration
14: Strategic
Displays
Illustration
15: Tactical
Displays
Illustration
16: Stills of Turkey,
Ed, and Abbey during interviews and off-task shots that demonstrate
differences in shot closeness
Illustration
17: The only
extreme close-up shot, taken of Rosemary during off-task activity at
Urban High
Illustration
18: Skinny asking
Lynn to answer a few questions in Interview 1
Illustration
19: The camera
operator waiting for student to ready herself for Interview 23
Illustration
20: Interview 2,
demonstrating the interviewer's and camera operator's cooperation with
interviewee's assertiveness
Illustration
21: Shot in which
Skinny lowers himself to mediate height differences
Illustration
22: Shot from
Luke's Shot 31 with Strategic Display
Illustration
23: Shots of the
teacher, which are routinely taken from far away
Illustration
24: The only shots
from Project 5 that contain close-ups
Illustration
25: The difference
in the position of the anchor desk
Illustration
26: The interview
from Shot 36 in which the interviewees decided on the topics
Illustration
27: Shot 2, Showing
Luke's most subjective camera work
Illustration
28: A student
offers a comment about being non-white and describes his Mexican music
Illustration
29: Jerome's Shot's
12-14 from Day 1 showing transition between worlds without and with
authorities
Illustration
30: Still from
Jerome's Day 1, Shot 15, showing increasing distance
Illustration
31: Jerome's Shot
15, Day 1, in which he acts strategically by defining the event,
limiting people's participation, and teasing students
Illustration
32: Wicker's Shot
6, Day 1, in which suddern shifts demonstrate chaning positions and
relative intimacy
Illustration
33: Various shots
that demonstrate serious interest
Illustration
34: Stills from
each of the four shots from the edited piece, showing concern with
authority
Illustration
35: Wicket's Day 2,
Shot 1, of a student running from security
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