Hattie, J. (2015). What works best in education: The politics of collaborative expertise. Open Ideas series by Pearson retrieved June 23, 2015 https://www.pearson.com/content/dam/corporate/global/pearson-dot-com/files/hattie/150526_ExpertiseWEB_V1.pdf
Watching The Imposter with Year 12 students as they anticipated their school ball on Friday night wasn’t such a challenge after all.
The documentary is riveting.
Continued interruptions to the film’s diegetic effect proved useful while examining
- selection of detail
- setting and
- film language.
Our role play of characters – costumes chosen for a hearing we staged in class – highlighted tensions between the family who took Frederic in as their own missing boy (despite marked differences – brown eyes, bleached hair and French accent), and the confidence trickster who disarmingly worked his charm on us.
Schizophrenic, then? Two students undertook to play his part in the role play.
Later, we discussed these comments by the film’s director:
Positioning deliberately designed as part of the film’s impact. We were waylaid, manipulated.
Conman? We worked around questions left unanswered at the heart of the narrative. Wasn’t Frederic portrayed as an abandoned, vulnerable youngster? Qualities he shared with missing boy, Nicholas Barclay, we realised.
Sociopath or genius? Couldn’t make up our minds on that debate, either.
Compelling, charismatic and entirely convincing. Our shifting views mirrored the positions we adopted as viewers. Until the end, that is.
What about the soundtrack?
Notes are shared here as an overview (posted on Edmodo for ticket in the door):
Remorseless bravado from this evocative closing montage:
And the potential for a dream segue into our Semester Two reading of that ultimate confused teen classic, The Catcher in the Rye.
Photo credit from the promotional poster for The Imposter via Flickr.
Priestley, M., Biesta, G.J.J., Philippou, S. & Robinson, S. (2015). The teacher and the curriculum: exploring teacher agency. In D. Wyse, L. Hayward & J. Pandya (Eds.), The SAGE Handbook of Curriculum, Pedagogy and Assessment. London: SAGE Publications Ltd.
My week that was involved look at me, Mum, no-hands, non-stop, wheelie-burnout, donut-turning, dragstrip racing mayhem.
Probably much like yours.
Sequencing creates an impression of order:
- Moderated Years 7-12 exams
- Drafted Semester Two Course outlines
- Proofread reports
- Attended Year 10 Parents’ night
- Met with the Humanities team to reflect on exam marking
- Phoned parents to share inspiring put-ups
- Assessed Year 7 tour guide presentations (together we undertook virtual travelling from Paris, to Great Britain and Fremantle jail, shared Frazer’s backyard, dreamscapes, considered animation characters’ settings, fished on the Swan River and were sold an imaginary cruise by Giaan and Hannah).
Here’s our task cover page:
With their self-reflective statements due for collection next week, I’ll be ready to confirm learning successes, but early signs were positive: Comments to peers as feedback were warm, and they particularly enjoyed seeing photos of Frazer’s house, as well as listening to Tiannah’s highly expressive analysis of characterisation in her favourite TV show judging from the laughter.
Rather than “No Cycling” as per the signage above, perhaps the instruction can be re-purposed as “Go Cycling!”.
Certainly felt like a speeding ride.