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IREAD Keystone State Reading Association Forty-sixth Annual Conference October 19, 2013.

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Presentation on theme: "IREAD Keystone State Reading Association Forty-sixth Annual Conference October 19, 2013."— Presentation transcript:

1 iREAD Keystone State Reading Association Forty-sixth Annual Conference October 19, 2013

2 BOOK TRAILERS: Why? (Research) How? (Pragmatics) Wow! (Analysis)) Wow!

3 BUT, let’s start with WHAT! WHAT is a book trailer??? Let’s take a look at one and then define the term! One Crazy Summer.wmv &feature=youtu.be&noredirect=1 ature=youtu.be

4 Your thoughts How would YOU define a book trailer after viewing one exemplar? How would YOU use it?

5 Our thoughts Book trailers are digital matchmakers! – Like a movie trailers because they build anticipation through digital images and sounds. – Like a book talks because they introduce children to new reading material. Book trailers are close cousins to post reading comprehension strategies because their creation requires critical thinking. (And children CAN design these!)

6 For some time, book publishers, authors, & illustrators have created book trailers as promotional tools. Recently, wise educators (Agosto, 2012; Dopke-Wilson, 2009; Kajder, 2008; Woods & Beach, 2009) built on this concept and began using book trailers as a mediated instructional strategy for reluctant or struggling readers.

7 We define book trailers as a literacy tool for ALL learners and ALL levels! Book trailers provide pragmatic and stimulating space for engaging readers of all ages and abilities because they combine literacy practices (i.e., previewing/providing schema/setting purpose) and technological expertise (i.e., embedding images, sounds), in a socially interactive setting.

8 Why use book trailers? Research Support

9 First, let’s look at effective teachers... Effective teachers have a positive effect on students’ reading achievement and these effects persist throughout the elementary grades ( Konstantopoulos & Chung, 2011). They do this by providing their students with many opportunities to engage in meaningful reading and writing activities ( Allington & Johnson, 2002; Helman, 2009; Pressley, 2006; Taylor, Pearson, Peterson, & Rodriguez, 2003 ).

10 Second, let’s consider three points from research 1. Visual art and drama are tools for thinking and interpreting literature (Short, 2011) 2. Children are “hardwired to learn through making and interpreting symbol systems visually, linguistically, and performatively” (Heath & Wollach, 2008, p. 10) 3. When children read closely and critically, they become co-creators with the text (Roser, Malach, & Bomer, 2012).

11 Third, specific research on motivation & reading Study of 3 rd -5 th graders regarding what motivates students to read 4 motivational factors emerged: 1. prior experiences with books [seen on tv in or in the movies] 2. social interactions about books “Children place a high priority on reading books they hear about from others” (p.177). 3. book access 4. book choice (Koskinen, Palmer, Codling, & Gambrell, 1994)

12 Book Choice Student choice is the key for motivation and high performance in reading (Bang-Jensen, 2010) Many states publish quality book lists each year (a means of student self-selection) (Johnson & Blair, 2003) Lists become a “unifying literacy undertaking” helping everyone choose from the same list, rather than from different leveled readers (Bang-Jensen, 2010, p. 173) “Providing students with more choice in their reading selections give students a more positive attitude towards reading and ownership in their education” (Ivey & Broaddus, 2001, p. 21)

13 Self- Awareness Choice & self-awareness—students know their preferences of books Reader identity – sense of control & confidence To expand the reach of children’s choice programs, school media specialists could help to develop readers through student choice lists (Bang-Jensen, 2010)

14 Social Relationships Choice & Social Relationships—Peers talk and influence book choice (Bang-Jensen, 2010) “Some children carefully observed the reading habits of their friends, or their classroom idols, and began reading similar books in order to strengthen their relationship with these friends.” (Pierce, 1999, p. 367). “It is beneficial to support children’s communication through book sharing opportunities, book clubs, read alouds, and discussion groups” (Hoffman, Hunt, Taylor, 2008, p. 24)

15 How? The Pragmatics

16 But first things first YIKES!!! WHAT ABOUT COPYRIGHT?!

17 From Copyright Confusion to Copyright Clarity Lack of knowledge affects the quality of teaching and learning “I heard (or she/he said) that once there was teacher who got fired (lost their license, was marched out of school, stripped naked) for using an image from the Internet.” Truth or Myth?

18 BOTH! It’s TRUE that teachers (and others) are confused about copyright. It’s a MYTH that there is not more to “fair use” than merely to use or not to use. Consider the next slide. Is someone going to jail?

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20 Transformativeness! It will “shake your world” (Hobbes, 2010, p.8) Aristotle had it right: people create new ideas from old ones. (Thus the saying, “There’s nothing new under the sun!” So what is it?

21 Some helpful vocabulary Transformativeness is the term emerging for the repurposing of copyrighted materials as part of the creative process. Attribution (citing) is the practice of acknowledging the use of other people’s ideas as part of your work. Plagiarism is using someone’s work without attribution. It is NOT copyright infringement, but they do overlap a bit.

22 Consider the words of Carrie Russell from the ALA: “Fair use cannot be reduced to a checklist. Fair use requires that people think.” But for this presentation, we provide five principles from The Code of Best Practices in Fair Use for Media Literacy

23 Educators can 1.Make copies of newspaper articles, TV shows, and other copyrighted works and use them and keep them for educational use 2.Create curriculum materials and scholarship that contain embedded copyrighted materials 3.Share, sell, and distribute curriculum materials tht contain embedded copyrighted materials

24 Learners can Use copyrighted works in creating NEW materials Distribute their works digitally if they meet the transformativeness standard.

25 BACK TO OUR REGULARLY SCHEDULED PRESENTATION...

26 How do you make a trailer? Let’s look at two more and distinguish what ingredients are needed. A C3hAgcJ_Z0&feature=youtu.be

27 The WOW! Let’s make a book trailer!

28 Analyzing Connect to CCSS Time for questions

29 Contact us! Anita N. Voelker, Ph.D. Emily Deines Danielle Morabito

30 HELPFUL RESOURCES Hobbs, R. (2010). Copyright clarity. Thousand Oaks, CA: SAGE. School of Communications American University. (2013). The code of best practices in fair use for media literacy education. Available use/related-materials/codes/code-best- practices-fair-use-media-literacy-education

31 References Bang-Jensen, V. (2010). A children's choice program: Insights into book selection, social relationships, and reader identity. Language Arts, 87(3), Hoffman, J., Hunt, C., & Taylor, L. (2008). Who says this is a good book? Students report what they look for when choosing texts. Illinois Reading Council Journal, 36(4), Palmer, B., & Codling, R. (1994). In their own words: What elementary students have to say about motivation to read. Reading Teacher, 48(2),


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