Teaching in Your Dreams: Screen-play Pedagogy and Margarethe von Trotta’s The Second Awakening of Christa Klages

Abstract

health sciences, history THE CANADIAN HISTORICAL REVIEW utpjournals.press/chr Offering a comprehensive analysis on the events that have shaped Canada, CHR publishes articles that examine Canadian history from both a multicultural and multidisciplinary perspective.

Becoming Teachers’ Little Epics: What digital storytelling might reveal

“…We also make use of Robertson's (2004) "Screenplay Pedagogy," as it calls on viewers to take note of and work with deeply felt emotional or somatic moments experienced during the screening of a film; these moments signal the unconscious at work. Robertson, who has worked with transferential provocations in the teacher education classroom, wrote, "having viewers represent, discuss and revisit screen experiences can function as a form of digestion, as they learn to become attentive to meaning making, participants learn to think more analytically about those processes" (p. 5).…”

Aesthetic Archives: Pre-Service Teachers Symbolizing Experiences through Digital Storytelling

“…These moments, we suggest, signal the unconscious at work. Robertson (2004), who has worked with transferential provocations in the teacher education classroom, suggests that "having viewers represent, discuss and revisit screen experiences can function as a form of digestion, as they learn to become attentive to meaning making, participants learn to think more analytically about those processes" (p. 5). Our belief is that having students return to their critical or uncomfortable moments in relation to the screenplay process will increase their understanding of that which resists symbolization.…”

“…We also chose to ask students to place their critical incident at the center of the film-making process. Finally, in returning to Brushwood-Rose (2009), who describes the unexpected in her experience of viewing and reading her own digital story, we considered the importance of creating our own films, We then produced our own digital stories about critical incidents and decided to use our films as provocateurs, with our students, in the screenplay process (Robertson, 2004).…”

Burning at the Edges: Judith P. Robertson and the Provocations of Reading

“…As Robertson (1994) expresses it, there is an "error inherent in reading" (p. 169), and it is through taking up the intangible implications of this error as a given-recognizing the inescapable and contradictory silences that persist in language and speech, as a slippage and a passionate imprecision-that I will latch myself onto Robertson's words, as an avowed reader of reading, and stage a performance of theorizing at the brinks of what in reading is unplumbable and unfigured. With reference to Freud, Robertson (2004) writes, "There is at least one spot in every dream at which it is unplumbable-a navel, as it were, that is its point of contact with the unknown" (p. 89). And so, figuring that the unknown will likely and mostly remain so, I will here venture into Robertson's various-and sometimes co-authored-considerations of reading's phantasmal provocations, or what she and McConaghy call "the psychosocial dynamics that give shape to shadows in reading" (Robertson & McConaghy, 2006, p. 13).…”

“…Although latching, at the beginning of this discussion, was initially expressed in its nature as a conscious act, it is often not really so, and like brambles in the forest that latch onto sweaters, as words get spoken and attached to meaning they latch onto histories unintended and unplumbable. The methodologies of latching inherent in reading are thus, as Robertson (2004) expresses it, "a world of radical play, a risky business whose outcome can never be preordained" (p. 79). For, a curriculum that takes instability as its locus is one that also recognizes the subjects of education as breathing and, thus, inscrutableshifting, slippery, bodies and minds.…”