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Leann Erickson’s Top Secret Rosies (2011) and The Computer Wore Heels : The Female Mathematicians of World War II (2014)—A Transmedia Reframing of Documentary Audience and Purpose

Leann Erickson’s Top Secret Rosies (2011) and The Computer Wore Heels : The Female Mathematicians... Transmedia Reviews Although it has been used by the commercial film and television industries for many years, transmedia has been embraced by documen tary film and mediamakers relatively recently. By employing multiple forms, mediamakers are exploring new ways to deliver their stories to different audiences. One such path is that employed by LeAnn Erickson with the story that is the subject of Top Secret Rosies (2011), her documentary about the female "computers" of World War II, and The Computer Wore Heels: The Female Mathematicians of World War II (2014), an iPad ebook. Whereas Rosies is a more traditional featurelength documentary, it has been reimagined in Heels as a teaching tool for middleschool audiences. At a time when STEM education has taken such a piv otal role in children's education in the United States, this reframing of the story material is especially timely. The role of working women during World War II has historically been represented by Rosie the Riveter, that image of a sternfaced but beauti ful woman flexing her muscles, hair tucked sensibly into a red polkadot bandana, topped by the caption, "We Can Do It!" Much has been made of the women who worked in factories http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Leann Erickson’s Top Secret Rosies (2011) and The Computer Wore Heels : The Female Mathematicians of World War II (2014)—A Transmedia Reframing of Documentary Audience and Purpose

Journal of Film and Video , Volume 68 (1) – Mar 9, 2016

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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018
Publisher site
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Abstract

Transmedia Reviews Although it has been used by the commercial film and television industries for many years, transmedia has been embraced by documen tary film and mediamakers relatively recently. By employing multiple forms, mediamakers are exploring new ways to deliver their stories to different audiences. One such path is that employed by LeAnn Erickson with the story that is the subject of Top Secret Rosies (2011), her documentary about the female "computers" of World War II, and The Computer Wore Heels: The Female Mathematicians of World War II (2014), an iPad ebook. Whereas Rosies is a more traditional featurelength documentary, it has been reimagined in Heels as a teaching tool for middleschool audiences. At a time when STEM education has taken such a piv otal role in children's education in the United States, this reframing of the story material is especially timely. The role of working women during World War II has historically been represented by Rosie the Riveter, that image of a sternfaced but beauti ful woman flexing her muscles, hair tucked sensibly into a red polkadot bandana, topped by the caption, "We Can Do It!" Much has been made of the women who worked in factories

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Mar 9, 2016

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