영화 경험: 학생들에게 최신 미디어 교육하기

### 교육용 필름의 진화: 미디어를 통한 세대 간 연결
* 🎥 현대의 교육 환경에서 학생들은 미디어에 지속적으로 노출되기 때문에 **시청각 정보를 처리하는 데 더 능숙**해졌으며, 이는 전통적인 교육 방식에 도전이 되고 있습니다.
* 📺 데이비드 소번 교수는 미디어의 역사적 맥락을 이해하는 것이 중요하다고 강조하며, **텔레비전은 기성세대가 이해하기 어려운 복잡한 내러티브 형식**이 되었다고 지적합니다.
* 🎓 그는 자신의 강의인 '영화 경험'의 목표는 영화 비평가를 양성하는 것이 아니라 **학생들이 문학과 영화를 문화 경험의 필수적인 부분**으로 인식하도록 도와 삶을 풍요롭게 하는 데 있다고 믿습니다.
* 🖼 소번은 **장 르누아르와 오슨 웰즈 같은 위대한 예술가들**을 존경하며, 그들의 창의적 업적은 **상업적 성공보다 더 중요한 가치**를 지니고 있으며, 이는 그가 학생들에게 심어주고자 하는 더 넓은 가치 체계를 반영한다고 주장합니다.
* 📜 자신의 교육 경험에서 영감을 얻은 그는 강의에서 **구조화된 개요**를 사용하여 학생들이 복잡한 아이디어를 이해하도록 안내하는 동시에 자발적인 참여와 자료와의 정서적 연결을 장려합니다.
* 📖 그는 셰익스피어를 연구하는 것이 원래의 생생한 맥락과 분리되어야 한다는 생각에 도전하면서 **고급 문화와 대중 매체 사이의 단절**을 깨달은 결정적인 순간을 회상합니다.
* 🌍 영화 교육에 대한 소번의 접근 방식은 기술과 함께 발전해 왔으며, 이제는 학생들이 **영화의 기원과 현대의 산만함이 내러티브 이해에 미치는 영향**에 대해 비판적으로 생각하도록 독려합니다.
* 💡 궁극적으로 그는 모든 형태의 스토리텔링에 대한 평생의 이해를 증진하는 것을 목표로 하며, **직업적 경로에 관계없이 모든 사람이 이야기를 즐기고 해석할 수 있어야 한다**고 믿습니다.

데이비드 소번은 학생들이 문학과 영화의 정서적 가치를 인식하고 평생 즐길 수 있도록 영감을 줍니다.

[MUSIC PLAYING] DAVID THORBURN: I swore to myself that if I became a lecturer, I would never bore my students, that that was a worse sin than almost any other a teacher could commit was to be boring. SARAH HANSEN: Today on the podcast, The Film Experience. In this episode, we'll explore what it takes to reframe historical artifacts, things like classic plays, books, and films, for a modern audience. DAVID THORBURN: And I said to him, what did you actually think Shakespeare's environment was? He somehow had managed to disconnect the literary power of Shakespeare from the fact that it was done on this incredibly popular stage. And it was so sensational. And it was so much more like television or the movies than it was like some process of sitting in a library, in wood-paneled splendor, reading words in silence. That's not what Shakespeare was.

SARAH HANSEN: How can we compare media so that students today might better understand what it originally was? Welcome to Chalk Radio, a podcast about inspired teaching at MIT. I'm your host, Sarah Hansen, from MIT OpenCourseWare. My guest today is a longtime professor at MIT. DAVID THORBURN: I'm David Thorburn. I'm a professor of literature and comparative media. I've taught The Film Experience for 39 years at MIT. SARAH HANSEN: We'll be talking about Professor Thorburn's class, 21L.011, The Film Experience. And like all of the classes we talk about on this podcast, you can check out The Film Experience on OCW's website at ocw.mit.edu. Professor Thorburn made a splash in the academic world by bringing in media that traditionally hadn't existed there. We'll start with how this all came about and what it was like

for him to challenge what might be considered unholy in the sacred space of the classroom. DAVID THORBURN: The story of what made me into a film scholar, or a media scholar, is, at least, interesting to me and still surprises me. I had been teaching at Yale for seven or eight years, and I was offered a chance to do a visitation at the University of California in Santa Barbara. And I was trying to introduce the students to the idea of conventions. What it means when you begin a story once upon a time, and every story begins that way. Or what it means when you say they lived happily ever after to take the simplest example of what a convention is. I was trying to illustrate how, in fact, we internalize these things, and we understand the conventions of the narratives of our own time in our blood without even thinking about it. So what I needed to illustrate the principle

were shared texts. So I began by asking them-- this was in the 1970s, in the early 1970s-- and I asked the students there-- these are bright California public school students-- how many of you have ever seen a John Wayne movie? Maybe 15% of the students raised their hand. Then I said, well, how many of you have read Huckleberry Finn? Maybe 30%. I tried other novels, classic novels. I tried Shakespeare plays. I was at a loss-- remember, this is in the early '70s. Finally, I said, how many of you have seen All in the Family? For those in the audience too young to know this, All in the Family was a television program, a classic and transforming one, that appeared in 1971 on American television and involved a working-class hero who had never-- such characters had never appeared on television before. It was a very important program.

And of course, 100% of the class had seen it. And I began to take my examples from television programs. And I began-- this wore on me. It wore in on me as the term went on. And what I realized was that the literature of our own day, the story forms that belonged to my students and to the generation of kids I was teaching, were visual, not literary. So I became interested in television as a narrative medium. And then I came to realize, as I began to think more seriously about the role of television in American life-- remember, by 1970, American television was the dominant form of entertainment and narrative in American life. And, in fact, this initial understanding, out of which my whole interest in media developed, has shaped-- I realize now just in talking about this-- my way of teaching the film experience. When I got back to Yale after my year's visitation,

I introduced a course called Literature and Popular Culture, in which I explored these ideas in greater depth. I read some bestsellers. I ended the course by looking at The Honeymooners. And I remember, I was teaching the course in a room at Yale College called Linsly-Chittenden Hall, in which legendary figures had lectured on Shakespeare. And one of these legendary professors, the man who had actually hired me at Yale, Maynard Mack-- a great literary scholar-- poked his head in while I was teaching The Honeymooners, and then later called me into his office and expressed great disappointment over the fact that I was polluting this environment. So then I-- and we then had a serious conversation. And I said to him, what did you-- what did he actually think Shakespeare's environment was? And that was when it struck me how narrow my education had

been because he really had not-- even though he was a great man and a great-- he knew the history. But he somehow had managed to disconnect the literary power of Shakespeare from the fact that it was done on this incredibly popular stage. And it was so sensational. And it was so much more like television or the movies than it was like some process of sitting in a library, in wood-paneled splendor, reading words in silence. That's not what Shakespeare was. SARAH HANSEN: Part of why we wanted to talk about Professor Thorburn's film experience class is because teaching film changes as technology and student life evolve. I asked him what this evolution means for the ways in which he presents his materials. His answer? Start from the very beginning. DAVID THORBURN: When I begin the film experience, I ask the students to do something they find increasingly difficult. In the old days,

before the proliferation of smartphones and visual media all over the place and everyone being able to make his own video and so forth, and the ubiquity of DVDs-- before those days, I was able to tell the students, look, we live in an audio-visual age. We live in a televisual age. I want you to think that stuff away. I want you to get-- think yourself back to an age before people understood that there is such a thing as a film. And think of what the original meaning of movie is. Go back to the root meaning. It's a metaphor that is a dead metaphor for us. But it actually-- it tells you what the most fundamental aspect of the movies were for the original audiences and why they were so fascinated by the capacity of this new technology to capture motion. It seemed like-- and it was-- a tremendous new advance in technologies of the representation of human experience because it

captured humans in motion. It captured the movements of the world. The first films, as I try to show my students, were so preoccupied by this wondrous capacity of the medium that it's almost the only thing they filmed. And you can see the evolution of the medium embodied in the way in which, after an initial profound fascination with the novelty of movement begins to wear off, other properties of the film medium begin to be discovered. So I tell my students this principle. And I ask them to try to think their way back into the attitude of these first viewers, who didn't know about the visual media, to play a kind of thought experiment. Today, it's much harder to make them play that experiment because I have to tell them, as I do in that first lecture, think away your iPads. Imagine a world without iPads. Imagine a world without smartphones. Imagine a world without instant communication.

And of course, this is much harder for the students to do. And of course, at one level, they are much more capable of processing audio-visual information than I am, and than my parents' generation, and than all of the generations older than they are, because they've grown up in an environment in which, essentially, they're surrounded 24/7 by audio-visual stimuli, by audio-visual signals. Many people might see this as dangerous. Perhaps it is. But it develops new capacities. And one can see this in the history of television in which, at a certain point, there are certain kinds of television programs that become too complex for older generations. And only the younger generation that was used to going to the movies and had been watching television and had been watching MTV-- they were able to understand this very easily. SARAH HANSEN: Professor Thorburn's class

includes a two-hour lecture, with one more hour of discussion. In our conversation, he talks about the changing popular opinion surrounding lectures, namely, that they're outdated and less effective than other styles of teaching. In short, he disagrees. I'll let him explain. DAVID THORBURN: I've thought a lot about what it means to lecture to undergraduates. I hated bad lectures. I thought they were the pits of higher education. And I swore to myself that if I became a lecturer, I would never bore my students, that that was a worse sin than almost any other a teacher could commit was to be boring. And I have also felt that in recent years especially-- although it's always been an undercurrent in education-- there's been a kind of growing negative feeling about lectures as if they're herding students into a herd experience. And it doesn't give them hands-on experience.

And I think, intellectually, that's a foolish perspective. Professors know more than students. It's appropriate for students to listen to professors sometimes. Professors should take the responsibility when they talk to students very seriously. And in a small classroom, they should certainly encourage discussion and interaction. And I think at my best-- I'm not sure I always am at my best. I know I'm not. But when I am at my best, I think I'm doing something that can't be captured in printed form or couldn't be captured if you gave students a transcript of what you had done, which is that I'm modeling thinking. I'm modeling how you make connections. It seemed to me, as I thought about the most inspiring lectures that I had as an undergraduate, there was one professor I had especially. He's now dead, but he was a wonderfully inspiring man.

His name was Lawrence Holland. His lecture was on American literature. And his strategy in lectures I've tried to copy. One thing he always did was he presented an outline. It was not the text of the lecture, but it was three or four central, digestible points that organized the lecture in sequence. It didn't capture the whole lecture, but you could use that sheet to organize your understanding of the lecture. I thought that was a wonderfully helpful-- I found it wonderfully helpful both for review but also because what it showed me was that professor Holland had planned what he was doing, that he was presenting material to me that he had thought long about, that he had organized in a serious way. But the second great thing about Larry Holland's lectures was that they were not completely written out. There were parts of them that were written out, very eloquent moments often at the beginning and the end.

And I've sometimes imitated that. But the greatest part of his lectures was his lectures seemed spontaneous. Even though he was following his lecture, it seemed as if he was not. He was speaking to me. And I tried to capture-- I've never been as good as he was. There was a kind of passion, a kind of feeling in what he did. And I realized that another aspect of what he was showing me was how-- not just intellectually engaged, but how passionately engaged, how emotionally valuable studying literature could be. SARAH HANSEN: Maybe the most telling feature of this course is its intended outcome for students. Professor Thorburn isn't trying to create film critics, or even experts, in his classes. His goal is much more significant. DAVID THORBURN: One of the ways that the study of literature, the study of film differs from the study of technical things,

and the reason I teach it is that it belongs to everyone, that it's valuable for everyone. Not everyone needs to know about quantum mechanics. But I believe everyone should—and if they don't, I feel they're impoverished—know how to read a good story, enjoy plays, know how to enjoy the movies. So I feel that what I'm giving my students is in some sense something even more valuable to them because it will be something that they'll have with them for their whole lives, their whole careers. One of the things MIT students sometimes often do not realize is that a very large number of them do not end up making their living in the areas in which they majored. But all of them end up wanting to go to the movies. All of them end up with the capacity to read and enjoy literature. And I hope that coming out of my classes, they'll do those things with greater joy.

and with greater intelligence. One thing I've thought about that-- I don't-- I haven't actually said this in my courses yet. But I think implicit in my film course is an admiration for a certain kind of achievement, an admiration for a certain kind of artist, an artist like Jean Renoir, the great filmmaker, or Monet, the great painter, whose cathedral series I often talk about in my teaching. And I realized that I shouldn't leave it implicit because I want to set up as a candidate for their admiration an alternative to Wall Street, an alternative to entrepreneurial genius. I admire Jean Renoir's genius or Orson Welles's genius or James Joyce's genius universes more than I admire what entrepreneurs do. I respect what entrepreneurs do, but I am in awe of what great artists do and of what great doctors do, while we're on the subject. We've become so preoccupied by what

we might call commercial or financial success instead of the kind of lasting success that great art or the practice of medicine or the practice of nursing or, dare I say it, the practice of teaching might also embody. [LAUGHS] SARAH HANSEN: Professor Thorburn shares additional thoughts on teaching The Film Experience in a series of videos within the Instructor Insights section of his OCW course. You can find them at ocw.mit.edu. And while you're there, download the teaching resources from this course and find so many other materials shared by faculty across all of the schools at MIT. Thank you for listening. We're so glad that you're tuning into what makes MIT such an exciting place to learn, conversations with people passionate about impacting the world in positive ways. We hope you'll open MIT to more people by sharing this podcast and OCW with your own colleagues and friends. Until next time, I'm Sarah Hansen,

Film is for Everyone with Prof. David Thorburn (S1:E5)

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현대의 청중을 위해 역사적 유물을 재구성하기

데이비드 소번은 오늘날의 학생들을 위해 고전 작품을 재구성하는 것을 목표로 참여적이고 열정적인 교육의 중요성을 강조합니다.

그는 셰익스피어의 문학적 힘과 공연의 감각적인 특성 사이의 단절을 강조합니다.

소번의 목표는 전문가를 양성하는 것이 아니라 관습에 도전하고 학생들이 자신의 시대적 서사를 내면화하도록 돕는 것입니다.

영화와 텔레비전이 교육에 미치는 영향

1970년대 초, 한 교수는 캘리포니아 공립학교 학생 중 고전 영화를 보거나 유명한 소설을 읽은 학생이 극소수에 불과하다는 사실을 발견했습니다.

그는 텔레비전 쇼 '올 인 더 패밀리'가 노동자 계급 영웅의 묘사에 변화를 가져온 중요성을 강조했습니다.

이 교수의 영화 체험 수업은 매체의 진화를 강조하고 학생들에게 현대 기술이 없는 세상을 상상하도록 도전합니다.

텔레비전이 교육과 학습에 미치는 영향

학생들의 이야기 형식이 문학적이지 않고 시각적이라는 사실을 깨달은 저자는 이야기 매체로서 텔레비전에 관심을 갖게 되었습니다.

미국인의 삶에서 텔레비전의 지배적인 역할에 대한 이러한 이해는 영화 경험을 가르치는 저자의 접근 방식을 형성했습니다.

저자는 이러한 아이디어를 심도 있게 탐구하고 학생들에게 평생 동안 이야기와 문학을 즐길 수 있는 귀중한 기술을 제공하는 것을 목표로 문학과 대중문화에 관한 강의를 개설했습니다.

데이비드 소번 교수는 39년 동안 MIT에서 '영화 경험'을 가르치며 영화의 본래 의미와 영화가 인간의 경험에 미치는 영향을 강조해 왔습니다.

그는 강의가 시대에 뒤떨어진다는 관념에 도전하며 강의가 학생들의 흥미를 유발하고 효과적일 수 있다고 믿습니다.

소번 교수의 강의 방식은 다양한 미디어를 도입하여 학생들의 마음을 사로잡고 영감을 불어넣는 데 중점을 두고 있습니다.

교수는 학생들을 지도하고 비판적 사고를 모델링하는 데 중요한 역할을 합니다.

연사는 위대한 예술가와 의사들을 존경하며 성공에 대한 전통적인 관점에 대한 대안을 제시하고자 합니다.

연사의 교수 전략은 개요를 사용하여 강의를 구성하고 사려 깊고 계획적인 방식으로 자료를 발표했던 전직 교수로부터 영감을 받았습니다.

시청각 자극이 학생에게 미치는 영향

오늘날 학생들은 24시간 자극적인 환경에서 자란 덕분에 시청각 정보를 처리하는 능력이 더 뛰어납니다.

이러한 변화로 인해 특정 텔레비전 프로그램은 기성세대에게는 너무 복잡해졌지만 젊은 세대는 쉽게 이해할 수 있게 되었습니다.

소번 교수의 강의는 상업적 성공과 훌륭한 예술과 교육의 지속적인 영향력의 차이를 강조하며, 추가 자료는 MIT OCW 웹사이트에서 확인할 수 있습니다.