Conception participative d’un cours basé sur des ressources libres.Marcelo Maina
Nous présentons un processus de conception participative d’un cours portant sur les ressources éducatives libres destiné aux professeurs universitaires de l'Amérique Latine. Le cours vise à favoriser l'innovation pédagogique chez les professeurs. La démarche de conception du cours implique la participation des différentes parties prenantes de l'enseignement supérieur et la collaboration des professeurs qui sont invités à utiliser le web social dès le début du processus. En ce sens, l'approche sert à fois à mettre en place un cadre favorable à l'élaboration de politiques institutionnelles relatives aux ressources éducatives libres et à la formation des enseignants, ceux-ci étant considérés comme des agents de changement. Ces actions font partie du projet OportUnidad financé par la Communauté Européenne.
Présentation des deux filières Sport en France : celle universitaire (STAPS) et celle du Ministère de la Jeunesse et des Sports (BPJEPS,..) et focus sur les BPJEPS de l’IRSS
Corps et santé : une étude de la mise en image du corps dans les manuels scol...Santesih
Professeur des Universités
Mail : jacques.gleyse@wanadoo.fr
Équipe de recherche Santesih, Université Montpellier 1
Présentation lors du séminaire méthodologique sur les images des 13 et 14 Novembre 2008 organisé par la Jeune Équipe de Recherche Santé Éducation et Situations de Handicap (JE 2516) à la Maison des Sciences de l'Homme Montpellier.
http://www.images-du-handicap.santesih.com
Conception participative d’un cours basé sur des ressources libres.Marcelo Maina
Nous présentons un processus de conception participative d’un cours portant sur les ressources éducatives libres destiné aux professeurs universitaires de l'Amérique Latine. Le cours vise à favoriser l'innovation pédagogique chez les professeurs. La démarche de conception du cours implique la participation des différentes parties prenantes de l'enseignement supérieur et la collaboration des professeurs qui sont invités à utiliser le web social dès le début du processus. En ce sens, l'approche sert à fois à mettre en place un cadre favorable à l'élaboration de politiques institutionnelles relatives aux ressources éducatives libres et à la formation des enseignants, ceux-ci étant considérés comme des agents de changement. Ces actions font partie du projet OportUnidad financé par la Communauté Européenne.
Présentation des deux filières Sport en France : celle universitaire (STAPS) et celle du Ministère de la Jeunesse et des Sports (BPJEPS,..) et focus sur les BPJEPS de l’IRSS
Corps et santé : une étude de la mise en image du corps dans les manuels scol...Santesih
Professeur des Universités
Mail : jacques.gleyse@wanadoo.fr
Équipe de recherche Santesih, Université Montpellier 1
Présentation lors du séminaire méthodologique sur les images des 13 et 14 Novembre 2008 organisé par la Jeune Équipe de Recherche Santé Éducation et Situations de Handicap (JE 2516) à la Maison des Sciences de l'Homme Montpellier.
http://www.images-du-handicap.santesih.com
The document discusses plans for shooting a music video at multiple locations including a park, house party, and skate park in London. Costumes for the party scene would be casual or themed depending on the type of party. Props like luminous paint, feathered pillows, and mobile phones would be used. Both known actors and random people filmed naturally would appear in the video. A group on Facebook may be used to gather additional volunteers to participate.
The document discusses plans for shooting a music video at multiple locations including a park, house party, and skate park in London. Costumes for the house party scene would follow typical party rules like colorful or fanciful outfits. Props like luminous paint, feathered pillows, and mobile phones may be incorporated. Both known actors and random people filmed naturally will be included, with a focus on the lead singer at the beginning and end. A group on Facebook may be used to gather additional volunteer participants.
The document discusses plans for shooting a music video at multiple locations including a park, house party, and skate park in London. Costumes for the party scene would be casual or themed depending on the type of party. Props like luminous paint, feathered pillows, and smartphones would be used to create lively scenes. Both known actors and random people naturally filmed would be included in the video, with a focus on the lead singer at the beginning and end. A group on Facebook may be used to gather additional volunteer participants.
The document discusses plans for shooting a music video at multiple locations including a park, house party, and skate park in London. Costumes for the party scene would be casual or themed depending on the type of party. Props like luminous paint, feathered pillows, and mobile phones would be used. Both known actors and random people filmed naturally would appear in the video. A group on Facebook may be used to gather additional volunteers to participate.
The document discusses plans for shooting a music video at multiple locations including a park, house party, and skate park in London. Costumes for the house party scene would follow typical party rules like colorful or fanciful outfits. Props like luminous paint, feathered pillows, and mobile phones may be incorporated. Both known actors and random people filmed naturally will be included, with a focus on the lead singer at the beginning and end. A group on Facebook may be used to gather additional volunteer participants.
The document discusses plans for shooting a music video at multiple locations including a park, house party, and skate park in London. Costumes for the party scene would be casual or themed depending on the type of party. Props like luminous paint, feathered pillows, and smartphones would be used to create lively scenes. Both known actors and random people naturally filmed would be included in the video, with a focus on the lead singer at the beginning and end. A group on Facebook may be used to gather additional volunteer participants.
The document discusses how a music video can be created using Blumler and Katz's uses and gratifications theory and Richard Dyer's utopian solutions. It recommends that the video inform, educate, allow for personal identification and entertainment, and enable social interaction and escape. It also suggests offering solutions to audiences' inadequacies like providing abundance for poverty, accessibility regardless of social status, variety of choices, and clarification to reduce confusion. The video aims to solve exhaustion through fun and energy, isolation through creating a sense of community, and meeting audiences' wants based on these theories.
The document discusses how a music video can be created using Blumler and Katz's uses and gratifications theory and Richard Dyer's utopian solutions. It recommends that the video inform, educate, allow for personal identification and entertainment, and enable social interaction and escape. It also suggests offering solutions to audiences' inadequacies like providing abundance for poverty, accessibility regardless of social status, variety of choices, and clarification to reduce confusion. The video aims to solve exhaustion through fun and energy, isolation through creating a sense of community, and meeting audiences' wants based on these theories.
The document discusses identifying the target audience for a music video by considering their social grouping, media interests, and social status. It recommends using Fiske and Hartley's social grouping theory to determine the audience's age, gender, and place in society. Graeme Burton's media grouping model can provide insight into the audience's relationship with different media and entertainment preferences. Abraham Maslow's hierarchy of needs suggests focusing on fulfilling the biological, safety, affiliation, and esteem needs of the target audience to increase the success of the music video.
The document provides an analysis of three music videos: "Try Sleeping with a Broken Heart" by Alicia Keys, "Fallin'" by Alicia Keys, and "Like You'll Never See Me Again" by Alicia Keys. The analysis describes the use of camera shots, editing techniques, props, locations, and outfits to convey meaning and set the mood in each video. Key elements analyzed include close-up and full-length shots of the artist, split screens showing two scenes at once, changes in lighting, and continuity in camera movements.
The document provides an analysis of three music videos: "Try Sleeping with a Broken Heart" by Alicia Keys, "Fallin'" by Alicia Keys, and "Like You'll Never See Me Again" by Alicia Keys. The analysis describes the use of camera shots, editing techniques, props, locations, and outfits to convey meaning and set the mood in each video. Effects like split screens are used in "Try Sleeping with a Broken Heart" to show different shots simultaneously. Facial expressions and piano playing are important in conveying emotion in "Fallin'." Various locations and props are featured across the three videos.
The document provides an analysis of three music videos: "Try Sleeping with a Broken Heart" by Alicia Keys, "Fallin'" by Alicia Keys, and an unnamed third video. Key points made about "Try Sleeping with a Broken Heart" include its use of split screens, location shots in run-down areas, and changing outfits. For "Fallin'" the analysis notes photos spread on the floor representing memories and a shot of a bus implying a prison visit. Editing techniques like close-ups, zooms and tracking shots are discussed throughout.
The document discusses identifying the target audience for a music video by considering several audience grouping and needs theories. It will analyze the audience's social grouping, media interests, and social status to narrow down choices. It aims to use Richard Dyer's utopian solutions to compensate for inadequacies in the audience's lives by providing abundance, fun, and a sense of community. The document also discusses applying Blumler and Katz's uses and gratifications theory and Maslow's hierarchy of needs to inform, entertain, and fulfill the audience's basic biological, safety, belonging, and esteem needs through the music video.
The document discusses identifying the target audience for a music video by considering several audience grouping and needs theories. It mentions Graeme Burton's social and media groupings to help narrow down the target age, gender, and interests. It also discusses considering the audience's social status, fulfilling inadequacies in their lives per Richard Dyer's theory, and meeting needs like information, identity, entertainment, social interaction and escape per Blumler and Katz's uses and gratifications theory. Maslow's hierarchy of needs is also referenced as important to fulfill biological, safety, affiliation and esteem needs.
Our media product uses conventions from real R&B magazines to develop our own magazine for a target audience of females aged 17-25. We analyzed magazines like Vibe to inform our layout, fonts, images and writing style. While following conventions, we also challenged stereotypes by including more emotive photos of artists smiling and laughing. Our goal was to provide a magazine for women that discusses both female and male artists.
The document discusses planning for the design of a magazine cover and interior pages. It includes potential magazine titles, fonts to use for the title, photos of artists for the cover, and proposed article titles and sections inside the magazine. Layout mockups are presented with placeholders for the magazine title, cover image, and other design elements. Production details like the magazine size and inclusion of color boards with potential color schemes are also noted.
The document discusses how the media product uses conventions from real R&B magazines in its layout, design elements, and content. It aims the magazine at females ages 17-25 by including stories and images focused on female artists. The target audience represents a social group not well served by existing magazines. A small independent company would be suited to distribute the niche product.
The document discusses planning for a double-page magazine spread. It includes topics like locations, makeup, hair, clothing, lighting and styling for photos. Several students share their ideas - one suggests using a plain background for the main photo to make it stand out, while another favors taking photos in a garden to tell a story. They also discuss styling the female model with dark eye makeup and flowing hair, and dressing models in bright, contrasting colors that fit R&B music genres.
The document contains plans for images and layout for the contents page of a music magazine. It discusses using a main image of an artist with a plain background to make them stand out, with smaller additional images. Clothes and hair should contrast with the background. The layout would include the contents title, issue number, main image, and editor's comment, with additional images to separate sections of the magazine.
The document discusses plans for the front cover of a magazine about music. It includes a list of possible magazine titles and colors. There are also photos of artists being considered for the cover with notes on the lighting, makeup, hair, clothing and location. The document discusses layout options for the cover including the main image, headlines and other details like barcodes and dates.
We conducted interviews and distributed questionnaires to gather both qualitative and quantitative data about preferences for a new music magazine. Interviews allowed participants to elaborate on their answers, providing more in-depth responses. We were surprised by the interest from females in a music magazine focused on R&B artists, as we had thought the genre may only appeal to males. The interviews revealed a demand for magazines catering to female music fans and including both male and female artists.