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Hollywood Film as Public Pedagogy: Education in the Crossfire

Hollywood Film as Public Pedagogy: Education in the Crossfire Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 3 5 . 5 h o lyl W o o d f i l m a s p u B l i c p e da g o g y : e d u c at i o n i n t h e c ro s s f i r e Any analysis of how Hollywood films represent the diverse worlds of teachers, students, and schools must begin with a subtle paradox: by focusing on schools, Hollywood cinema highlights the central importance of education in our society, yet at the same time fails to be self-critical about its own role as a powerful and influential pedagogical site. What is often obscured in this disavowal is that by defining itself almost exclusively as entertainment, the movie industry conceals the political and ideological nature of the pedagogical work it performs. Also missing from this conceit of political and pedagogical neutrality, as Jacques Rancière puts it, is the nature of the authority through which film, as a mode of cultural production, legitimizes “a certain regime of identification, a certain distribution of the visible, the sayable, and the possible.” As forms of public pedagogy, films http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Afterimage: The Journal of Media Arts and Cultural Criticism University of California Press

Hollywood Film as Public Pedagogy: Education in the Crossfire

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Publisher
University of California Press
Copyright
© 2008 Afterimage/Visual Studies Workshop, unless otherwise noted. Reprints require written permission and acknowledgement of previous publication in Afterimage.
eISSN
2578-8531
DOI
10.1525/aft.2008.35.5.7
Publisher site
See Article on Publisher Site

Abstract

Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 3 5 . 5 h o lyl W o o d f i l m a s p u B l i c p e da g o g y : e d u c at i o n i n t h e c ro s s f i r e Any analysis of how Hollywood films represent the diverse worlds of teachers, students, and schools must begin with a subtle paradox: by focusing on schools, Hollywood cinema highlights the central importance of education in our society, yet at the same time fails to be self-critical about its own role as a powerful and influential pedagogical site. What is often obscured in this disavowal is that by defining itself almost exclusively as entertainment, the movie industry conceals the political and ideological nature of the pedagogical work it performs. Also missing from this conceit of political and pedagogical neutrality, as Jacques Rancière puts it, is the nature of the authority through which film, as a mode of cultural production, legitimizes “a certain regime of identification, a certain distribution of the visible, the sayable, and the possible.” As forms of public pedagogy, films

Journal

Afterimage: The Journal of Media Arts and Cultural Criticism – University of California Press

Published: Mar 1, 2008

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