| | |
It Didn't All Start on 7 October Part 1: Palestine and Israel | Murphy | |
Top Gun Maverick vs Born to Fly | Elrick | |
Exodus | McArthur | |
Pedagogical Issues in Teaching in the Holocaust | Maitles | |
Review Article: Colin McArthur's Film Criticism | Law | |
The Making of Mole | Kilborn | |
Into the '90s | The CNAA | |
Television Narratives | Wilson | |
View Response | Kear | |
Authorship, Genre, Business | Chown | |
Documentary: Television's Language of Knowledge | Corn | |
Teaching Literature | Petrie | |
Desktop Media | Fleming | |
Defining Media Education | Kumar | |
Introduction to Buffy the Vampire Slayer section | Murphy | |
Superheroes and Superlearning | Paule | |
British English and Britishness | Hills | |
"Hi, honey, you're in grave danger" | Miller | |
Teaching 'Hush' | Allison | |
Film and TV Studies at the University of Glasgow | | |
"The movies made me do it" | Boyle | |
Teaching 'other' cinemas through masculinity | Eleftheriotis | |
Run Lola Run and the MTV aesthetic | Garwood | |
The Problem of Reality Television: Big Brother | Goode | |
The Close-up on television: a study in documentary aesthetics | Lucy | |
Once Upon a Time in China: music and identity in Hong Kong Cinema | Needham | |
London, Dickens and Lean's Oliver Twist | Geraghty | |
Teaching mise-en-scene | Lacey | |
Teaching Harry Potter and the Philosopher's Stone | Hubbard | |
Teaching Pearl Harbor Post 9/11 | Barbour | |
Superheroes and Superlearning | Davies | |
Are you now or were you ever . . . an alien from another planet? Men in Black revisited | Stockman | |
Weaponising antisemitism | Maitles | |
Performing Scottishness | McArthur | |
Are we locked-down in Caves of Steel? Covid-19 and the imaginary worlds of Plato and Isaac Asimov | Stockman | |
Is it on Netflix? Streamers, downloads and windows | Stafford | |
The Band Wagon Cinephilia, auteur, genre, ideology, narrative | McArthur | |
Hustlers and the undermining of the male gaze | Rigby | |
A Right Royal Rammy The British Popular Press, Kate and Meghan | Elrick | |
The Opening Scene of Senso (1954) | McArthur | |
Media North and the Campaign for Press and Broadcasting Freedom | Withall | |
The Message and the Science: Media and Covid-19 | Hollick | |
The Message and the Science: Media and Covid-19 | Law | |
The Message and the Science: Media and Covid-19 | Moir | |
Ida | Stafford | |
Understanding the Holocaust The anger and guilt of Primo Lev | Maitles | |
It’s not TV. It’s HBO Complex Serial Drama and Multiplatform Television | Work | |
The Horror! The Horror! | Stockman | |
Education and Race: From Empire to Brexit | Maitles | |
National Progression Awards in Film and Media | Addison | |
A Fim and Media Teacher's Story | Johnston | |
Ambiguity and Paradox | Stockman | |
Sequence: Spirited Away | Elrick | |
Teaching Spirited Away in BGE | Elrick | |
Peeping Tom | Stafford | |
Decolonising the Curriculum | Daniels-Yeomans | |
Perfume for the Eyes: In Praise of Jacques Kapralik | McArthur | |
Learning from Each Other: Introduction to essays written in the context of Queen Margaret University’s Professional Practice in Film Education course | Munro | |
Adventures in Film Education | Sedgewick | |
Discovering Film: Reflecting on and consolidating the experiece Understanding Cinema | Jamieson | |
The Importance of Experiential Learning for Film Education | Young | |
Reflecting on the Role of Cinema in Film Education and Glasgow Film Theatre’s Young Film Fans Project | McSheaffrey-Craig | |
Focus on Representation | Brown | |
Professional Practice in Film Education: The Classroom Perspective | Roddy | |
Adventures in Film Education: How Film Has Enriched Teaching and Learning in My Classroom | Dunlop | |
The Captain's Paradise | McArthur | |
Reproducing Great Britain: Fatal Diversions of the Monarchy Industry | Blain | |
BBC | Stafford | |
Disinformation: A Digital Threat Glossary | Thornton | |
Winning at Film | Mackay | |
Exterminate the Brutes | Withall | |
Tom Daley's Illegal to Be Me | Mendick | |
Here Come the Robots Is it time to be afraid... very afraid? | Stockman | |
Teaching Moonlight | de Smith | |
Teaching Heartstopper | Addison | |
You're Queer, You're Here - Now Buy Our Stuff | Elrick | |
Barbie: A history and styudy guide | Stockman | |
Constructing Fear: Images of Facism in Popular Film | Law | |
Guns at Batasi and the Kiplingesque | McArthur | |
The Materialist turn in Environmental Literacy | Brereton | |
Teaching UnforgottenL a different kind of police series | Stafford | |
Pedagogy and the narrativelycomplex television series | Chown | |
Disney Princesses: dream big? | Elrick | |
Mad Max Fury Road: Challinging Narrative and Gender Representation in the Action Genre | Barrett | |
The Long and the Short of Adam Curtis' Documentaries | Laing | |
Who needs semiotics? | McArthur | |
Considering the politics of the films of Ken Loach | Stafford | |
Peter Pan: Action Hero or Fallen Angel | Stockman | |
Understanding Comics: a social semiotic approach. Part 2: Analysis of Persepolis | Instrell | |
Gaelic Scotland and Post-colonialism | McArthur | |
Media teaching in New Zealand Secondary Schools | Lealand | |
All the News that Fits | Budge | |
NCEA and Teacher Training in New Zealand: fit for purpose? | Greenstreet | |
Creative Restrictions in Student filmmaking: the Lessons of Dogme 95 | Barrett | |
The Role of the Media – tips for teaching concepts to N5 and Higher | Brown | |
Understanding Animation: a Social Semiotic Approach Part 3: Analysis of Persepolis | Instrell | |
Fighting in the Shadows: Empire and Moral Regeneration in Skyfall | Ahmed | |
Film as a medium for learning | Lane | |
Renée Houston and Film | Brooks | |
Rick Instrell | | |
Life After Twin Peaks | Instrell | |
Complex Narrative Structure | Griffith | |
Dying is easy… Analysing Comedy | Griffith | |
Music and the Film Industry | Stafford | |
BFI Film Academy | Quickfall | |
Role of the Media: Social Media and the Colorado Avalanche | Elrick | |
Cinema versus ‘fake news’: unthinking Orwellian doublethink | Martin-Jones | |
YouTube-Based Programming and Saudi Youth: Exploring the Economic, Political and Cultural Context of YouTube in Saudi Arabia | Daoudi | |
Reality check – the potential and problems of Virtual Reality documentary | Sorensen | |
Gender, Race and Representation in the Star Wars franchise: an Introduction | Harrison | |
Ringside Reality: Viewer Engagement in Contemporary Television Wrestling | Kroener | |
The Worst Movies of All Time | Bartlett | |
The Talent Industry: Television, Cultural Intermediaries and New Digital Pathways | Boyle | |
The Square Ring | McArthur | |
Of Mice and Media Studies | Stockman | |
Teaching The Chilling Adventures of Sabrina and TV Teen Horror | Elrick | |
Horror: Devil’s Advocates | Brown | |
Fear Images and the Eclipse of Utopia | Law | |
Self identifcation: The Hate U Give | Stafford | |
The Wild West: Accuracy, Authenticity and Gameplay in Red Dead Redemption 2 | Donald | |
The Wild West: Accuracy, Authenticity and Gameplay in Red Dead Redemption 2 | Reid | |
Teaching Mad Max: Fury Road | Propp-Shaw | |
Albert Lamorisse and the Legacy of Le ballon rouge (1956) | Pickavance | |
Dystopia Academy The School of The Future? | Stockman | |
Journey into The Hearts Of Darkness Teaching Apocalypse Now | Mattinson | |
How Soon is Now? Science fction flm since the 1960s | Lacey | |
Unwrapping the Twin Peaks Universe | Laing | |
Teaching 'Society' | Elrick | |
The imprint of Sam Peckinpah’s television work on his early cinema films | McArthur | |
‘Understanding Cinema’ in Scotland 2012 – 2020 | Satchel | |
Teaching Get Out | Brown | |
Close up and personal: Don't Look Now | Allen | |
The Rise of Quality TV Drama | Roberts | |
Reviewing the Whoniverse: books on Dr Who | Stockman | |
Mediating the Scottish Independence Debate | Law | |
“You’re a marshmallow, Veronica Mars”: Veronica Mars and fanpowered resurrection | Elrick | |
Barriers and Thresholds in Learning Media Studies: Part 2 | Instrell | |
Stealing The American Dream: the corrupting influence of wealth and celebrity in Sofia Coppola’s The Bling Ring | Teviotdale | |
The ‘Early Cinema in Scotland’ Project Goes to School | Velez-Serna | |
The ‘Early Cinema in Scotland’ Project Goes to School | Bohlmann | |
A Dream of Stirling: Celebrating Norman McLaren’s Scottish Dawn | Magee | |
High art, mass art and classic Hollywood narrative: Rhapsody in Blue as paradigm | McArthur | |
Close Up and Personal: M (Restored version) | Withall | |
Representing Heterosexual Romance, Whiteness and Place in Notting Hill | Dudrah | |
By the pricking of my thumbs, Francis Underwood this way comes: a study of the Macbeth factor in Netflix House of Cards | Birch | |
Studying Video Games as ‘Texts’ | Donald | |
Your Country Needs You! Part 1: The Scottish Referendum | Brownlee | |
The concept of mise en scène and ‘The Ball’ sequence from Vincente Minnelli’s Madame Bovary (1949) | McArthur | |
Barriers and Thresholds in Learning Media Studies: Part 3 | Instrell | |
Close-Up and Personal: Facing Up To Franju: Les Yeux sans visage (Eyes Without a Face) | Stockman | |
A Framework for Film Education for Europe: Screening Literacy | Reid | |
Teaching the The Hunger Games | Stafford | |
Getting the New Media Qualifications off the Ground | Elrick | |
Teaching Media in the Broad General Education Phase | Hay | |
Understanding Islamophobia: Muslims in Popular Media | Saeed | |
Structuralism and the opening of Lonely Are the Brave | McArthur | |
Close Up and Personal: A Lethal Game of Chance – War and Russian Roulette in The Deer Hunter | Teviotdale | |
Reading About Asian Cinemas: an extended review | Withall | |
Jessica Jones | Elrick | |
Exploring Utopia | Murphy | |
Exploring Utopia | Robb | |
Realism and the attack on General Ripper’s air base in Dr. Strangelove | McArthur | |
Looking at Scottish Cinema | Barrett | |
Complex Television | Work | |
RTÉ Commemorates the 1916 Easter Rising | Sweeney | |
Ethics, Morals and Film | Withall | |
Barthes' Codes and Carry On… Up the Khyber | McArthur | |
Renewal of the BBC Charter | Hutchison | |
Emotion in early movie-watching | Bazalgette | |
Teaching journalists about the refugee crisis | Briant | |
Monarchy, Media and Power | Blain | |
1984: Adaptations & Reformulations | Withall | |
Gender and Agency in Breaking Bad | Work | |
Goodbye, Showbiz Sam! | Allen | |
The Big Bang Theory | Stockman | |
What's the point of Feminist Media Studies? | Boyle | |
Post-truth and fake news | Law | |
Storyboarding a short film | Griffith | |
Understanding Comics: a Social Semiotic Approach Part 1: Theory | Instrell | |
Arrival – a study in circularity? | Stafford | |
Strictly Brexit (or the part played by ballroom dancing in the transition from EU to Brexit) | Stockman | |
‘Poverty Porn’ and The Scheme: Questioning Documentary Realism | Law | |
‘Poverty Porn’ and The Scheme: Questioning Documentary Realism | Mooney | |
The Next Generation: An Overview of Video Games and Education in 2011 | Donald | |
Narrative vs Gameplay: A Catalyst for Creativity | Galloway | |
Heat – an Appraisal | Swan | |
Disciplining the Curriculum for Excellence | Instrell | |
British-Irish Representations on TV, Beyond the Troubles A case study of EastEnders (1997 special set in Ireland) and Father Ted | Brereton | |
Social Realism Re-imagined: Irish Television Drama and the Celtic Tiger | O'Connell | |
Reframings: Art and the Moving Image in Contemporary Northern Ireland | Blair | |
The media and popular representations of Irishness in Scotland | Bradley | |
Media Literacy through Community Film: Participatory Approaches in Fatima Mansions, Dublin | Leahy | |
Irish Documentary: Reel Impact | McGivern | |
Think B4 U Click – an educational online safety resource for the Irish CSPE curriculum | Grehan | |
Think B4 U Click – an educational online safety resource for the Irish CSPE curriculum | McLaughlin | |
Think B4 U Click – an educational online safety resource for the Irish CSPE curriculum | O'Neill | |
The Enigma of Frank Ryan: Interview with Des Leslie Bell | Murphy | |
Reading the Monster in del Toro’s Pan’s Labyrinth | Rose | |
Making a Low Budget Movie - Electric Man | Jackson | |
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