International Journal ofHigher Education Pedagogies, 2023
The aim of this paper is to explore the boundaries and potential of both EDU 4.0 and Web 4.0, wit... more The aim of this paper is to explore the boundaries and potential of both EDU 4.0 and Web 4.0, with a particular focus on how advances in the future will influence and alter teaching approaches. The paper begins by examining the history of EDU 4.0 and Web 4.0, as well as what proceeded them; it goes on to list key criteria that can help define these terms. Using Google Classroom as an example, the utilization of both EDU 4.0 and Web 4.0 is examined, and practical applications of various Google Classroom functions are mapped onto the aforementioned criteria. In so doing, it is hoped that both EDU 4.0 and Web 4.0 can be more concretely understood, and that their application in contemporary learning environments can be more easily visualized and appreciated. The findings in this paper are influenced and supported by Klaus Schwab's writings on the Fourth Industrial Revolution, and George Siemens' Connectivism model for online learning.
IJHEP International Journal of Higher Education Pedagogies ISSN: 2669-2333Volume 3, Issue 3, 2022
This study looks at current employment practices and terms in the field of tertiary education in ... more This study looks at current employment practices and terms in the field of tertiary education in Japan. The importance of this study is highlighted by the growing prominence of the academic underclass, or university teachers who are undervalued and underappreciated by their employer and in turn lacking in motivation and fearful of their lack of job security.
A co-authored paper with Benjamin Filer of Nanzan University. ER Course designers could also use ... more A co-authored paper with Benjamin Filer of Nanzan University. ER Course designers could also use non-traditional forms of classroom material, such as magazines, comic books, and graphic novels.
One of the biggest challenges of Extensive Reading is making sure that students retain an enthu- ... more One of the biggest challenges of Extensive Reading is making sure that students retain an enthu- siasm for reading and constantly take in new and exciting material that will help their apprecia- tion for reading grow. As time passes, students can become very much aware of their own tastes; what books they branch of literature. However, sticking to one type of text can lead to their reading habits stagnating. They may grow tired of familiar tropes, and this familiarity can become tedious. If this over-familiarity leads them to no longer enjoy what they perceive as their favourite corner of the library (be it a metaphorical library or not), they may lose enthusi- asm for reading as whole.
International Journal of Media, Journalism and Mass Communications (IJMJMC), 2019
This research article hopes to look at the prolific rise of VHS and home cinema in the 1980s; how... more This research article hopes to look at the prolific rise of VHS and home cinema in the 1980s; how it altered the viewing experiences of film-lovers, how the industry adapted to accommodate to this new market and how these viewing habits that started decades ago, still resonate today. The article will be drawing parallels between the VHS based home cinema of the 1980s to the subscription based streaming applications which are prolific today, using Netflix Inc. as the main point of focus.
Mise-en-scène | The Journal of Film & Visual Narration, 2018
40 S eijun suzuki was a Japanese filmmaker who found himself in a very similar position in the 19... more 40 S eijun suzuki was a Japanese filmmaker who found himself in a very similar position in the 1960s to the American film noir directors that came decades before him: he was under contract at a major studio (in his case Nikkatsu Studios) and expected to provide a high volume of B-List films to pad out the production. With a very limited budget, and strict time constraint, he made an astonishing 40 films between 1956 and 1967. Whilst at a forum honouring his work in Los Angeles in 1997, Suzuki spoke very frankly about his time at Nikkatsu: Nikkatsu Studios released two movies per week. The scripts were already written and those scripts were passed down to the direc-tors[…]The schedule was tight[…] two movies a week. On average, we only had 25 days for shooting the film and three days for editing and sound mixing. A whole production usually took place in 28 days. (The Japan Foundation) These constraints allowed Suzuki, like the noir directors that came before him, some space to explore the tropes in the genre films he was assigned. Whilst it could be argued that his earlier work with Nikkatsu was comparatively generic when put next to his last dozen or so films with Nikkatsu Studios, his latter projects were constantly pushing the boundaries of contemporary cinema. These experimental films amazed a small audience and while profitable, made the studios executives increasingly nervous. Suzuki was finally fired from Nikkatsu after releasing Branded to Kill in 1967, and he retaliated by suing the production company. He won the court case, but effectively found himself-black listed for a decade from all the major movie studios in Japan. His third to last film with Nikkatsu (and the beginning of the tipping point of his status at the studio), was Tokyo Drifter, a 1966 film that bent the expectations of the yakuza genre to breaking point. It was surreal in its use of colour, framing, and editing. It used exaggerated tropes from Western pulp fiction, while retaining a sense of being wholly Japanese. The lead character is silent, focused and untameable like a P.I. torn from ABSTRACT Seijun Suzuki is an oft-overlooked Japanese filmmaker who evolved from a studious, hardworking genre filmmaker, to a director who wilfully contorted tropes and rules he had spent years learning. In his heyday, he worked for Nikkatsu Studios, and made 40 films for them in the space of just 15 years. In 1967, he was unceremoniously fired from Nikkatsu after releasing Branded to Kill, now a cult classic that garners critical acclaim, which was deemed nonsensical and unprofitable by the head of Nikkatsu, Kyusaku Hori. Tokyo Drifter was the third to last film Suzuki made with Nikkatsu, and its psychedelic colour palette, lack of continuity, and counter-intuitive framing and editing confused and annoyed Suzuki's bosses. It caused so much tension that Suzuki was ordered to recreate the final scene, which is far more action-packed than his original vision, but no less strange. This paper tries to break down this rushed reshoot, and argues that some of Suzuki's original ideas remain, albeit in a very coded manner.
4th World Conference on Research in Teaching and Education( WORLDTE), 2022
The aim of this paper was to look at how the COVID-19 pandemic impacted tertiary education in Jap... more The aim of this paper was to look at how the COVID-19 pandemic impacted tertiary education in Japan, and how curriculums were suddenly shifted to accommodate these new and urgent guidelines that needed to be followed. The paper focuses in particular on how the shift from physical to online classes was handled, and whether or not there is any merit in continuing any of the practices educators were forced to adopt. In order to gain a better understanding of how this transition was managed, two senior teachers in separate Japanese universities were interviewed. The qualitative data that was collected from these interviews underwent thematic analysis, to explore how curriculums were changed, how these changes were introduced, and what (if any) practices are likely to continue in the future. While both interviewees were fully aware of the disruption and stress the pandemic had on both teachers and students, they were both hopeful that many of these lessons learnt could assist tertiary education in Japan, even as the limitations on classrooms subside and their continued use are no longer mandatory. These findings are also triangulated with the wealth of studies written in recent years that focus on the Fourth Industrial Revolution (4IR), the pandemic, curriculum change and leadership roles in education.
International Journal ofHigher Education Pedagogies, 2023
The aim of this paper is to explore the boundaries and potential of both EDU 4.0 and Web 4.0, wit... more The aim of this paper is to explore the boundaries and potential of both EDU 4.0 and Web 4.0, with a particular focus on how advances in the future will influence and alter teaching approaches. The paper begins by examining the history of EDU 4.0 and Web 4.0, as well as what proceeded them; it goes on to list key criteria that can help define these terms. Using Google Classroom as an example, the utilization of both EDU 4.0 and Web 4.0 is examined, and practical applications of various Google Classroom functions are mapped onto the aforementioned criteria. In so doing, it is hoped that both EDU 4.0 and Web 4.0 can be more concretely understood, and that their application in contemporary learning environments can be more easily visualized and appreciated. The findings in this paper are influenced and supported by Klaus Schwab's writings on the Fourth Industrial Revolution, and George Siemens' Connectivism model for online learning.
IJHEP International Journal of Higher Education Pedagogies ISSN: 2669-2333Volume 3, Issue 3, 2022
This study looks at current employment practices and terms in the field of tertiary education in ... more This study looks at current employment practices and terms in the field of tertiary education in Japan. The importance of this study is highlighted by the growing prominence of the academic underclass, or university teachers who are undervalued and underappreciated by their employer and in turn lacking in motivation and fearful of their lack of job security.
A co-authored paper with Benjamin Filer of Nanzan University. ER Course designers could also use ... more A co-authored paper with Benjamin Filer of Nanzan University. ER Course designers could also use non-traditional forms of classroom material, such as magazines, comic books, and graphic novels.
One of the biggest challenges of Extensive Reading is making sure that students retain an enthu- ... more One of the biggest challenges of Extensive Reading is making sure that students retain an enthu- siasm for reading and constantly take in new and exciting material that will help their apprecia- tion for reading grow. As time passes, students can become very much aware of their own tastes; what books they branch of literature. However, sticking to one type of text can lead to their reading habits stagnating. They may grow tired of familiar tropes, and this familiarity can become tedious. If this over-familiarity leads them to no longer enjoy what they perceive as their favourite corner of the library (be it a metaphorical library or not), they may lose enthusi- asm for reading as whole.
International Journal of Media, Journalism and Mass Communications (IJMJMC), 2019
This research article hopes to look at the prolific rise of VHS and home cinema in the 1980s; how... more This research article hopes to look at the prolific rise of VHS and home cinema in the 1980s; how it altered the viewing experiences of film-lovers, how the industry adapted to accommodate to this new market and how these viewing habits that started decades ago, still resonate today. The article will be drawing parallels between the VHS based home cinema of the 1980s to the subscription based streaming applications which are prolific today, using Netflix Inc. as the main point of focus.
Mise-en-scène | The Journal of Film & Visual Narration, 2018
40 S eijun suzuki was a Japanese filmmaker who found himself in a very similar position in the 19... more 40 S eijun suzuki was a Japanese filmmaker who found himself in a very similar position in the 1960s to the American film noir directors that came decades before him: he was under contract at a major studio (in his case Nikkatsu Studios) and expected to provide a high volume of B-List films to pad out the production. With a very limited budget, and strict time constraint, he made an astonishing 40 films between 1956 and 1967. Whilst at a forum honouring his work in Los Angeles in 1997, Suzuki spoke very frankly about his time at Nikkatsu: Nikkatsu Studios released two movies per week. The scripts were already written and those scripts were passed down to the direc-tors[…]The schedule was tight[…] two movies a week. On average, we only had 25 days for shooting the film and three days for editing and sound mixing. A whole production usually took place in 28 days. (The Japan Foundation) These constraints allowed Suzuki, like the noir directors that came before him, some space to explore the tropes in the genre films he was assigned. Whilst it could be argued that his earlier work with Nikkatsu was comparatively generic when put next to his last dozen or so films with Nikkatsu Studios, his latter projects were constantly pushing the boundaries of contemporary cinema. These experimental films amazed a small audience and while profitable, made the studios executives increasingly nervous. Suzuki was finally fired from Nikkatsu after releasing Branded to Kill in 1967, and he retaliated by suing the production company. He won the court case, but effectively found himself-black listed for a decade from all the major movie studios in Japan. His third to last film with Nikkatsu (and the beginning of the tipping point of his status at the studio), was Tokyo Drifter, a 1966 film that bent the expectations of the yakuza genre to breaking point. It was surreal in its use of colour, framing, and editing. It used exaggerated tropes from Western pulp fiction, while retaining a sense of being wholly Japanese. The lead character is silent, focused and untameable like a P.I. torn from ABSTRACT Seijun Suzuki is an oft-overlooked Japanese filmmaker who evolved from a studious, hardworking genre filmmaker, to a director who wilfully contorted tropes and rules he had spent years learning. In his heyday, he worked for Nikkatsu Studios, and made 40 films for them in the space of just 15 years. In 1967, he was unceremoniously fired from Nikkatsu after releasing Branded to Kill, now a cult classic that garners critical acclaim, which was deemed nonsensical and unprofitable by the head of Nikkatsu, Kyusaku Hori. Tokyo Drifter was the third to last film Suzuki made with Nikkatsu, and its psychedelic colour palette, lack of continuity, and counter-intuitive framing and editing confused and annoyed Suzuki's bosses. It caused so much tension that Suzuki was ordered to recreate the final scene, which is far more action-packed than his original vision, but no less strange. This paper tries to break down this rushed reshoot, and argues that some of Suzuki's original ideas remain, albeit in a very coded manner.
4th World Conference on Research in Teaching and Education( WORLDTE), 2022
The aim of this paper was to look at how the COVID-19 pandemic impacted tertiary education in Jap... more The aim of this paper was to look at how the COVID-19 pandemic impacted tertiary education in Japan, and how curriculums were suddenly shifted to accommodate these new and urgent guidelines that needed to be followed. The paper focuses in particular on how the shift from physical to online classes was handled, and whether or not there is any merit in continuing any of the practices educators were forced to adopt. In order to gain a better understanding of how this transition was managed, two senior teachers in separate Japanese universities were interviewed. The qualitative data that was collected from these interviews underwent thematic analysis, to explore how curriculums were changed, how these changes were introduced, and what (if any) practices are likely to continue in the future. While both interviewees were fully aware of the disruption and stress the pandemic had on both teachers and students, they were both hopeful that many of these lessons learnt could assist tertiary education in Japan, even as the limitations on classrooms subside and their continued use are no longer mandatory. These findings are also triangulated with the wealth of studies written in recent years that focus on the Fourth Industrial Revolution (4IR), the pandemic, curriculum change and leadership roles in education.
Uploads
Papers by Adam Miller
asm for reading as whole.
Conference Presentations by Adam Miller
asm for reading as whole.