| | |
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 | |
