 |
| >
Laura, please tell us a bit about your own particular PWR 2 course.
My PWR 2 course focuses on the rhetorical effects
of music in film; how musical arguments shape, extend, and give
meaning to the filmic storyline. For the first assignment, “Text
in Translation,” students select a film score and analyze
its particular effects. The first assignment paves the way for
|
| Instructor
Laura Roman, showing one of the texts she works with in her
innovative PWR 2 class. |
the course’s major assignment, “filmography.”
With this assignment, students make a short autobiographical film,
creating a story line, writing a script, and selecting music that
best represents and extends their argument. The final assignment,
“Research Project Analysis,” asks students to reflect
on their choices in shaping the content of their films in relation
to their selection of music.
>That
sounds fantastic. How does oral rhetoric fit into the course?
We are wondering since one of the key goals of PWR 2 is to develop
students’ skills in oral presentations.
Each assignment requires an oral presentation;
these presentations form the basis of the course grade. The final
presentation, where students must reflect on and justify their
rhetorical musical strategy for “filmography,” is
the most heavily weighted component of the course. Through these
assignments students develop and enhance abilities in oral and
multimedia presentation of research by engaging in an interactive
process of autobiography, music and film.
>What
a well-conceived course. How did you come up with the design for
this course?
The idea for this course partly derives from my
research on Paul de Philipsthal’s magic lantern shows from
the early nineteenth century and my work in classical rhetoric.
Phantasmagoria, the name invented for an exhibition of optical
illusions produced by the magic lantern, were the invention of
Philipsthal, whose selections in accompanying music were essential
to the eerie effects he endeavored to create through projected
images. Ultimately, the course is grounded in classical rhetoric
and Quintillian’s emphasis on musical education in the training
of an orator.
>We
see that you practice what you preach. It’s great to know
that your own research in the field of rhetoric contributed to
the development of such an engaging pedagogical plan. What other
factors shaped your strategies for course design and implementation?
Our week-long activities in the PWR
Summer Institute were essential in developing this research into
a viable course that would teach students how to master multimedia
forms of argument and delivery.
>Terrific
testimonial. And where are the students now in their journey to
mastering multimedia forms of argument and delivery?
Students have just completed their first oral
presentation for “Text in Translation.” The selections
and justifications of musical scores matched to film were well-executed
and persuasive; by learning to harness the power of music by analyzing
musical arguments, students in turn shape and develop rhetorical
skills to become powerful orators.
| From
the Editor: If Laura’s course description has
captured your interest, be sure to check back during our Spring
Issue to check out videos of Guest Speakers who came to talk
to her students, include Les Blank, famous documentary film
maker, who visited Wallenberg Hall on February 3, 2005.
Thanks to Melissa Marconi, newly-minted
Acquisitions Editor, for procuring this story!
|
|
|