Title
Page
Abstract
Dedication
Acknowledgments
Chapter
1: Introduction
Video, Schools, And
Research
A Cultural-Historical Approach
To
Education
Objectives And
Organization
Chapter
2: Ethnographies Of Video
Production
Methods
Of Entry And Observation
Video Production,
Schools, And Courses From A Distance
Framing Social Relations
Course
Ideologies, Class Activities, And The Material World
Chapter
3: Video Projects And Their
Students
Program
Ideologies In Action
Student Trajectories
In Search Of Development In
Video Production
Cases Of
Questionable
Development
Chapter
4: Mediation By The Material
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
Chapter
5: Conclusions?
The Meaning Of
Video
Production
Evaluation Of A
Methodology
The Affordances Of
Contexs
As
Active Participants
Space And Video Production
Appendix
A: Video Assignments By Course
Appendix
B: Focal Students And Focal Projects
References
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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 were recorded with a serious tone
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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