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The study builts on Bateman and Schmidt’s (2011) and Tseng’s (2009) research on film as a form of “cinematographic document,” and continues their efforts to construct a semiotic mode of film. The author recognizes the complexity of undertaking research in the domain of semiotic discourse. This study argues that as film analysis is about ways of seeing and synthesizing different cinematic styles, strategies; learnt cinematic conventions and reflective viewing is imperative. The interaction of robust multimodal resources, well-defined analytic units, based on dependable models, and conducted through a discursive process should align to produce fruitful filmic discourse. The study premised on the assumption that film is more than a “self-enclosed signification system” but a crucial “cultural practice” that “reflect and inflect culture.” Taken together, this view underscores the importance and interactivity of cinema, culture and society. To this end, the study contributes to filmic meaning making, the New Hong Kong Cinema, and finally, the present study invariably serves as a form of “social document” or “cultural artifacts” in its exploration of Hong Kong ever changing identity, culture and moods.
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This chapter explores the ways in which a relational understanding of the education process and the use of collaborative technologies in the connectivist tradition might inform and transform university teaching.
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Phenomenography is a well-known empirical research approach that is often used to investigate students' ways of learning programming. Phenomenographic pedagogy is an instructional approach to plan learning and teaching activities. This theoretical paper gives an overview of prior research in phenomenographic studies of programming and shows how the results from these research studies can be applied to course design. Pedagogic principles grounded in the phenomenographic perspective on teaching and learning are then presented that consider how to tie students' experiences to the course goals (relevance structure) and how to apply variation theory to focus on the desired critical aspects of learning. Building on this, an introductory object-oriented programming course is described as an example of research-based course design. The insights gained from the experience of running the course are shared with the community of computer science educators, as also the benefits and responsibilities for those who wish to adopt the phenomenographic perspective on learning to plan their teaching. The development of an increased awareness of the variation in students' ways of experiencing programming and the need to broaden the context of the programming course are discussed.
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