ZINIO logo
Movies, TV & Music
Screen Education

Screen Education No. 92

Screen Education is essential reading for those with an interest in media literacy. Produced by educators, scholars and critics, the magazines content is tailored to the primary and secondary classroom, as well as some tertiary-level material, offering a unique and engaging perspective on screen education.

Read More
Australian Teachers of Media Incorporated
SPECIAL: Save 40% on your subscription!
$10.89(Incl. tax)
$39.60$23.76(Incl. tax)
4 Issues

in this issue

15 min.
the greatest love of all confronting conformity in a wrinkle in time

Madeleine L’Engle wrote A Wrinkle in Time from 1959 to 1960. From when she finished her manuscript, this beloved book was always destined for an unconventional path, one that broke with what had been done before. L’Engle was a writer of mainly young adult fiction since making her debut in 1945 with the semi-autobiographical The Small Rain, focusing on fractured families and recurring characters. But while L’Engle’s protagonists had been engaged in science before, A Wrinkle in Time was her first book explicitly about it, conceived while she was reading about quantum physics on a ten-week-long camping trip. It doesn’t talk down to its pre-teen audience, whether through its densely descriptive prose, extensive exploration of Christian and philosophical themes or use of scientific terms. In an afterword commissioned for the…

13 min.
every other day lena dunham’s girls

The pre-credit prologue to the first episode of the final season of HBO TV series Girls in 2017 achieves many things in less than two minutes. In a montage comprising twenty rapid shots, it sums up plot elements (especially from the previous, fifth season); reminds us of all the key, familiar characters in the series; and sets out a new milestone in the life of young adult Hannah Horvath (Lena Dunham): she has a candid, autobiographical story published prominently in The New York Times. But there is so much more than mere plot information embedded here. As directed by Dunham, the short sequence is complete ecstasy for any Girls fan. Carefully set to the musical rises and falls, swells and lulls, in a performance of ‘Amsterdam’ by Gregory Alan Isakov (backed…

16 min.
cinema science the small wonders of ant-man and the wasp

Ant-Man and the Wasp (Peyton Reed, 2018) is the twentieth film in the durable Marvel Cinematic Universe (MCU). Coming in the wake of Thanos’ (Josh Brolin) genocidal devastation in Avengers: Infinity War (Anthony & Joe Russo, 2018), this instalment is comparatively lightweight, offering up a fun and frothy film set just prior to the events of the preceding one. That lightness of touch seems appropriate, given that the defining ability of Ant-Man – as played by Paul Rudd in this and Ant-Man (Reed, 2015) – is miniaturisation. Ant-Man may not be the most prominent hero in the Marvel universe, but given the dominance of his franchise at the box office, you can pretty well guarantee that your average secondary student will be halfway familiar with Rudd’s interpretation of the character. Ant-Man…

18 min.
imagination and invention alice in wonderland on screen

In the century-and-a-half since Lewis Carroll’s Alice’s Adventures in Wonderland was first published in 1865, it (along with its successful sequel, Through the Looking-Glass, and What Alice Found There, published in 1871) has been welcomed by an enthusiastic audience of young readers delighted by its mixture of humour, fantasy and sheer nonsense. Funny, silly, fantastical and full of unexpected characters, images and ideas, Alice’s adventures quickly entered the public imagination, and over time have gone on to exceed their narrative context. The Alice books are among the most quoted and referenced texts in the English language, and are a recurring visual and thematic source within the creative arts and popular culture. There are also myriad moving-image adaptations of Carroll’s books, beginning with Cecil M Hepworth and Percy Stow’s Alice in…

13 min.
supremacy with a smile white saviour complex in the blind side

According to sociologist Hernán Vera and film critic Andrew Gordon, the ‘white saviour’ is defined as ‘the redeemer of the weak, the great leader who saves blacks from slavery or oppression [and] rescues people of color from poverty and disease’. Though this theme existed well before the 1960s, scholars have attributed its prevalence in film to an American post–civil rights climate in which African-Americans were expected to attain racial equality and whites were expected to be colourblind. In film, specifically, narratives about white saviours have several characteristics. Although they often include African-American characters and may seem to tell diverse stories, white saviour films are told from white characters’ perspectives, oftentimes marginalising diverse points of view. These characters are initially unaware of societal or structural racism, and eventually develop into anti-racist heroes…

1 min.
additional resources

The following resources can support teachers and students eager to learn more about Michael Oher, The Blind Side and white saviour films. The Blind Side: Evolution of a Game The inspiration for Hancock’s film, Michael Lewis’ book features two primary storylines: (1) an examination of American football’s evolution, which has led to an increased emphasis on the role of the offensive left tackle; and (2) the life of Oher, from his impoverished childhood and adoption by the Tuohy family to his experience as a high-profile college-football recruit who would go on to play as an offensive lineman at the University of Mississippi. I Beat the Odds: From Homelessness , to The Blind Side , and Beyond Teachers and students can consider another perspective on Oher’s upbringing and his experiences – both on the field…