Teaching With Digital Video - Watch, Analyze, Create (PDFDrive)

T E ACH I NG
with
digital video
WA T C H • A N A LY Z E • C R E A T E
Edited by
Glen L. Bull
Lynn Bell
International Society for Technology in Education

EUGENE, OREGON • WASHINGTON, DC
T e ac h i ng with digital video
watch • A nalyze • Create
Edited by Glen L. Bull and Lynn Bell
Copyright © 2010 International Society for Technology in Education

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Library of Congress Cataloging-in-Publication Data
Teaching with digital video : watch, analyze, create / Glen L. Bull, Lynn Bell,
editors. — 1st ed.
p. cm.
ISBN 978-1-56484-266-4 (pbk.)
1. Digital video. 2. Interactive videos. 3. Educational technology. 4. Digital
technology. I. Bull, Glen L. II. Bell, Lynn.
LB1028.75.T43 2010
371.33'46696—dc22
2010003694
First Edition
ISBN: 978-1-56484-266-4
Printed in the United States of America
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engaged in improving teaching and learning by advancing the effective use of tech-
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T e a c h i n g w i t h Digi t a l v id e o
iii
About the Editors
GLEN L. BULL is past president of the Virginia Society for
Technology in Education and the Society for Information
Technology and Teacher Education. He is a professor of
instructional technology in the Curry School of Education
at the University of Virginia and co-director of the Curry
School Center for Technology and Teacher Education. He is
co-editor of the online journal Contemporary Issues in Tech-
nology and Teacher Education and is co-editor of the book
Teaching with Digital Images (ISTE, 2005).
LYNN BELL has worked with the Curry School of Education

Center for Technology and Teacher Education at the University
of Virginia for the past decade. She is co-editor of the online
journal Contemporary Issues in Technology and Teacher
Education. She has also co-edited the books Teaching with
Digital Images and Framing Research on Technology and Student
Learning in the Content Areas.
iv
About the Contributors
CURBY ALEXANDER is an assistant professor of education at
the University of Illinois at Springfield. His research interests
include the use of technological innovations in history and social
studies education, as well as the preparation of preservice and
inservice teachers in all disciplines to use technology effectively
in their instruction. Curby taught public school several years in
Texas and Wyoming. His teaching and writing are grounded in
his classroom experiences working with students of all ages, with
technology, and with enrichment activities.
THOMAS C. HAMMOND is an assistant professor of education at

Lehigh University in Bethlehem, Pennsylvania. He taught high
school social studies for 10 years in the United States, Haiti, and
Saudi Arabia. While he was a doctoral student at the University
of Virginia, Tom was a designer, developer, and researcher of
Primary Access (www.primaryaccess.org), the first online video
editor designed for K–12 instruction. His current research and
teaching focus on using technologies to enhance social studies
instruction.
SARA B. KAJDER is an assistant professor of English education

at Virginia Polytechnic Institute and State University (Virginia
Tech). A former middle and high school English teacher, her
current research includes the examination of the impact of
adolescents’ new literacies practices on their work as readers
and writers inside and outside of the secondary English class-
room. She is the author of Bringing the Outside In: Visual Ways to
Engage Reluctant Readers and Adolescents and Digital Literacies:
Learning Alongside Our Students.
JOHN K. LEE is an associate professor of social studies and

middle grades education at North Carolina State University. He
taught middle and high school for nine years and now, in addition
to teaching social studies methods, conducts research on digital
history. He is also interested in new literacies and creative uses
of technology resources. He is author of the book Visualizing
Elementary Social Studies Methods and co-author of the book
Guiding Learning with Technology.
v
About the Authors
MARGARET “MAGGIE” L. NIESS is a professor emeritus of math-

ematics education in the Science and Mathematics Education
Department at Oregon State University. Her research interests
focus on the preparation of preservice and inservice teachers to
teach with technology and the design of mathematics curriculum
that integrates appropriate technologies as learning tools. She
is co-author of the book Guiding Learning with Technology. She
leads the design and implementation of an online MSP master’s
program for K–8 teachers.
JOHN C. PARK is an associate professor of science education at

North Carolina State University. In 1979, John began using com-
puter technology in his high school science classes by creating
simulations using a TRS-80 computer. A few years later, he was
building probeware using Apple computers for data collection
and analysis in the physical sciences. His research interests now
include investigating student learning while interacting with
visual technologies such as microcomputer-based laboratories
and interactive video. He investigates the effects of hands-on
activities on learning and performance at all levels of the physical
and Earth sciences.
BERNARD ROBIN is an associate professor in the Instructional

Technology Program in the University of Houston’s College of
Education. He teaches courses on the integration of technology
into the curriculum and educational uses of multimedia. He has
published works on the emerging technologies in education and
the professional development of teachers. He frequently works
with K–12 students and teachers, as well as university educators
to help them integrate technology into their teaching. Bernard is
co-author of the book The Educator's Guide to the Web and is the
creator of the Educational Uses of Digital Storytelling website
(http://digitalstorytelling.coe.uh.edu).
DINA ROSEN is an assistant professor of early childhood educa-

tion at Kean University, New Jersey. She has more than 10 years
of teaching experience and has served as director of technology
of a K–8 school. Her primary research interests include learning
in technology-rich, digital age environments; social networking
in early childhood years; and STEM education for young learners.
Dina is also interested in qualitative research methods, especially
the use of video and photo ethnography. She has published many
peer-reviewed journal articles and book chapters. Her work has
been presented at national and international conferences.
vi
About the Authors
MICHAEL SEARSON is executive director of Kean University’s

School for Global Education and Innovation. Prior to his work
in higher education, he was a classroom teacher. He continues
to work closely with local school districts on projects involving
innovative application of education technologies. In 2010, he
was co-leader of a strand on Global Education at the National
Technology Leadership Summit at the Punahou School in Hawaii.
He was chairperson of the Xi Hu Conference on 21st Century
Learning, held in Hangzhou, China, in November 2009. His work
often connects local school districts with international partners.
DANIEL TILLMAN is a doctoral candidate in the instructional

technology program at the University of Virginia and a graduate
fellow with the Curry School Center for Technology and Teacher
Education. Prior to coming to the University of Virginia, he
directed and edited documentary films for eight years. Since
2005 he has served as an adjunct professor at George Mason
University, where he teaches introduction to multimedia,
advanced multimedia design, and documentary filmmaking.
His current research focuses on the expansion of VisualEyes
(www.viseyes.org) into the STEM content areas.
JANET M. WALKER is a professor of mathematics at Indiana

University of Pennsylvania, where she has taught for the past
14 years. Prior to this she taught high school mathematics for
eight years. She has presented extensively at state, regional, and
national conferences on topics such as using technology in the
mathematics classroom, gifted education, assessment, and imple-
mentation of the NCTM Standards in the classroom. She was an
associate editor of the journal School Science and Mathematics for
10 years and co-editor of PCTM (Pennsylvania Council of Teachers
of Mathematics) Magazine for 5 years.
CARL A. YOUNG, a former middle grades and secondary English

teacher, is associate professor of English education at North
Carolina State University. He teaches courses in English methods,
teaching composition, content area reading and writing, and new
literacies and emerging technologies. He conducts research on
new literacies, participatory media, e-portfolios, and other tech-
nology applications in English education. Selected publications
have appeared in English Education, English Journal, Journal
of Literacy Research, and Reading Psychology. Carl is currently
co-editing a book highlighting research in technology and
English education.
vii
Contents
INTRODUC TION ■ Teaching with Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Glen L. Bull and Lynn Bell
Digital Video: A Ubiquitous Presence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
A Content-First Framework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Content: Digital Video across the Curriculum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Pedagogy: Student-Centered Classroom Uses of Digital Video . . . . . . . . . . . . . . 5
Watching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Critical Viewing by T. C. Hammond and J. K. Lee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Analyzing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Creating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Technology: New Tools, New Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Acquiring Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Creating Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Communicating: Context for a Social Medium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The SITE Screening Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Part 1 ■ Using Digital Video across the Curriculum . . . . . . . . . . . . . . . 13
CHAPTER 1 ■ Digital Video in Social Studies Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Thomas C. Hammond and John K. Lee
Content-Based Instructional Settings for Digital Video Use . . . . . . . . . . . . . . . 17
Limitations of Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Socially Networked Video and a New Landscape for U.S.
Citizenship by M. Searson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Digital Video Activities in Social Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Watching Digital Video Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Modern Times: American History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Analyzing Digital Video Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Transportation Systems: Social Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Creating Digital Video Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Families and Food: Social Studies—Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
ix
Contents
CHAPTER 2 ■ Digital Video in Mathematics Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Margaret L. Niess and Janet M. Walker
Watching Digital Video Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Abbott and Costello Argue about Addition, Multiplication, and Division:
Mathematics—Place Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Alice in Wonderland: Mathematics—Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Analyzing Digital Video Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
The Path of a Rock Embedded in a Tire: Mathematics—Cycloids . . . . . . . . . . . . . . . . 55
Rates of Change: Mathematics—Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Creating Digital Video Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Train Switcheroo: Mathematics—Problem Solving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Marching Band Choreography: Mathematics—Geometry . . . . . . . . . . . . . . . . . . . . . . . . 71
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
CHAPTER 3 ■ Digital Video in Science Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
John C. Park
Digital Video and Pedagogy of Science Inquiry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Watching Digital Video Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Exploring the Speed of Sound: Physics—Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Where Did the Sugar Go? Physical Science—
Dissolving of Crystals in Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Analyzing Digital Video Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Measuring the Speed of Sound: Physics—Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Analysis of the Motion of a Model Rocket:
Physics—Velocity and Acceleration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Creating Digital Video Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Modeling the Solar Eclipse: Earth/Space Science—Motion of the Moon . . . . . . 102
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
CHAPTER 4 ■ Digital Video in English Language Arts Education . . . . . . . . . . . . . . . . 107
Sara B. Kajder and Carl A. Young
Text, New Literacies, and Multimodality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Bringing Together the New and Known:
Digital Video and Film Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Watching, Analyzing, and Creating Digital Video Activities . . . . . . . . . . . . . . . 111
Northern Exposure Clips—Bridging into Inquiry:
Watching Digital Video in Language Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
x
Contents
Performance Poetry: Analyzing Digital Video in Language Arts . . . . . . . . . . . . . . 119

Digital Book Trailers: Creating Digital Video in Language Arts . . . . . . . . . . . . . . . 124
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
CHAPTER 5 ■ Digital Video and Informal Learning:
Turning the Lens Outside the Classroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Michael Searson, Curby Alexander, and Dina Rosen
Students and New Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Formal vs. Informal Learning Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Digital Video as an Informal Learning Resource . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Media-Enhanced Field Trips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Extended Educational Travel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Connecting with the Local Community . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Structuring Informal Learning Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Teachers and New Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
PART 2 ■ Digital Video Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
CHAPTER 6 ■ Acquiring Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Bernard Robin and Daniel Tillman
Playing Digital Video Clips on a Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Downloading Video from the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
New Media Literacies by M. Searson and D. Rosen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Saving Video to Your Hard Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Capturing Video from Your Computer Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Using Conversion Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Embedding YouTube Videos in Your Web Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
More about the YouTube Site by L. Bell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Capturing Video from Offline Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
VHS Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Broadcast, Cable, or Satellite TV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
DVDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Shooting Your Own Video with a Digital Video Camcorder . . . . . . . . . . . . . . . . . 158
Basic Camcorder Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Creating Videos for Active Viewing by J. C. Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Types of Digital Camcorder Recording Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
xi
Contents
CHAPTER 7 ■ Creating Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Bernard Robin, Daniel Tillman, and Curby Alexander
Making Videos Using Only Still Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Video Editing Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Common Features of Video Editing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Copyright and Music in Your Videos by D. Tillman . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Web-Based Video Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Editing Screencasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Tips for Student-Created Video Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Age-Specific Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Video Project Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Security Issues and Student-Created Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
CHAPTER 8 ■ Communicating with Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Glen L. Bull, Daniel Tillman, and Lynn Bell
Effective Teaching with Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Communicating via Social Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Class Web Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Blog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Wiki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Social Bookmarking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Other Options for Sharing and Discussing Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Videos Students Might Create for Various Purposes by L. Bell . . . . . . . . 190
Synchronous Sharing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Conclusion: The Future of Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
AppendiXes
Appendix A: Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Appendix B: A Few Words about Copyright and Educational Fair Use . . . . . . . . . . . 199
Appendix C: National Educational Technology Standards . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
National Educational Technology Standards for Students (NETS·S) . . . . . . . . . . . . . . . . 201
National Educational Technology Standards for Teachers (NETS·T) . . . . . . . . . . . . . . . 203
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
xii
IN T R O D UC T I O N
Glen L. Bull and Lynn Bell
teaching
with digital video
IN 2005, AT the time digital cameras
were first becoming ubiquitous, we
introduced the book Teaching with
Digital Images to provide a frame-
work for using digital images in the
teaching and learning of the four
core subject areas in the school
curriculum.
1
Introduction
Digital Video: A Ubiquitous Presence

THIS COMPANION book, Teaching with Digital Video, is appearing at a time of great
technological and social change as well. The current generation of youth has been quick
to innovate with digital video. According to YouTube (March 2010), more than 24 hours
of video are uploaded to YouTube every minute (an increase from 10 hours per minute in
March 2008), and youth are largely responsible for creating that content. According to
the Digital Ethnography group at the University of Kansas (http://mediatedcultures.net),
the typical contributor is a teenage author working outside school. The average length of
each video is about three minutes, and 80% of the digital video clips are created by the
users who post them.
Inexpensive, easy-to-use digital video cameras are accelerating this trend. With the Flip
digital video camera, for example, users simply press the record button once to start
recording and a second time to stop. A USB connector flips out and plugs directly into
a computer to transfer the video. The camera functions as a flash drive and includes
built-in video editing software. The software will also transfer video clips to YouTube or
transmit them via e-mail.
The inclusion of video recording and viewing capabilities in mobile devices such as
cell phones has had a profound effect on the spread of digital video as well. The ease of
transfer across formats erases technological boundaries that formerly kept content
confined to its originating medium. A video can be recorded on a cell phone video camera,
edited with a cell phone application, and wirelessly uploaded to YouTube. As these tech-
nologies become more ubiquitous, intuitive, and affordable, digital videos are being
created at an exponential rate.
As a result of technological advances, the definition of digital video is also broader than
in the past. No longer is “video” limited to moving images filmed by a video camera. New
technologies allow students to combine still images with their own narration for digital
storytelling, construct digital animations such as Flash movies, and capture computer
displays to create screencasts, resulting in new forms of digital video.
The availability of video on sites such as YouTube offers oppor-

tunities for learning and engagement that have never before
FULL ARTICLE
existed. Much of what is called educational video on these
Klose’s full article, sites merely features educators talking. Although the value
“OK, Class, It’s Time for
in watching the world’s most creative teachers discussing
their favorite subjects is undeniable, the scope of the video’s
YouTube,” is available potential in education ranges much wider than the mere trans-
at www.csmonitor. mission of lectures.
com/2008/1117/
Robert Klose (2008), a marine biology instructor in Maine,
p19s03-hfes.html. wrote about his experience with digital video in the Christian
Science Monitor.
2
Introduction
He begins:
Nothing I say can do justice to these beautiful creations in their natural

habitats. Yes, I can pass around some sharks’ teeth, allow my students to handle
a dried-out sponge, and let them take a gander at a small octopus preserved in a
block of clear plastic. But there’s a clear lack of dynamism here.
When his son introduced him to YouTube, Klose was a reluctant convert, resisting at
first, commenting that he didn’t want to watch “old rock bands.” However, YouTube (and
other video sites) has a nearly infinite variety of video on almost any conceivable topic,
including “jellyfish with bioluminescent tentacles, octopi on the prowl, a scallop that
swam like a set of animated dentures, sea cucumbers snuffling in the muck, flying fish
soaring over the waves.” Klose waited with great anticipation for an opportunity to use
the clips in class. The result more than met his expectations.
The effect was magical. The blue ocean ebbed and flowed before us as
myriad sea creatures swam, crawled, and flew about. I stood alongside the
screen, narrating the action, occasionally pausing a video clip to point out this
or that detail that illuminated my students’ notes. … The “wows” and “whoas”
from the class confirmed for me that I had struck gold.
A Content-First Framework
DIGITAL VIDEO has now become a common feature of commercial, religious, political,
and government contexts, as well as social interactions. In order for schools to remain
relevant to students’ lives and to the 21st-century workforce, educators must also seri-
ously consider if and when digital video should be adapted for classroom use. An even
more compelling argument for digital video may be made, however. Obviously, the mere
existence of digital video will not, in and of itself, induce better learning. Yet an effective
teaching method incorporating the right video may be one of the most successful means
by which we can engage students’ interest, help them understand a difficult concept, or
improve their long-term retention of knowledge.
Student learning should be the primary objective for using digital video, and best prac-
tices with digital video may differ according to the curricular content to be learned. In
the four subject-specific chapters of this book (Part 1, Chapters 1–4), you will find that
each example activity begins by identifying the content or skill students will learn from
the activity. Following the content description will be tips on how to use video technology
most effectively and, then, an overview of the instructional strategy (or pedagogy).
3
Introduction
Content: Digital Video across the Curriculum

DIGITAL VIDEO offers important new teaching and learning opportunities across the
curriculum. Today, you can access and view millions of digital resources through the
Internet: movie and TV clips, instructional videos, home movies of natural and cultural
phenomena, and more. Analyses of digital video are made easier than ever by software
that can overlay and combine representations to allow students to visualize underlying
patterns. Using simple, free digital video tools, both you and your students can create
video by combining photographs, documents, maps, audio clips, and even snippets of
other videos. These capabilities allow students to explore concepts that would not be as
accessible otherwise and add an important dimension to communication and conversa-
tions about these concepts.
Uses in mathematics, social studies, science, and language arts are discussed in Part 1.
The best uses of digital video can vary dramatically from one content area to another. You
might use video in language arts instruction very differently from the way you would use
video in math instruction.
In math instruction, for example, digital video can be used to present challenging
questions or improve students’ visualization of mathematical concepts. It can offer
opportunities for students to analyze situations and models leading to mathematical
descriptions of relationships. Digital video, especially when it is layered with other inter-
active media, can also engage students in thinking about mathematics in ways that were
previously difficult to achieve.
In social studies, on the other hand, digital video is taking its place alongside other
forms of historical artifacts, such as photographs, maps, newspapers, and texts. Many
social studies teachers already take advantage of documentaries and Hollywood films
to investigate the big ideas of history, geography, economics, and civics. Video can add
motion, sound, and a sense of real life to social studies instruction. You can even guide
students through documentary projects in which they engage in critical thinking as they
work with digitized primary sources, the raw materials of social studies.
In contrast to social studies, which focuses on history and human endeavors, science
is primarily concerned with natural phenomena explored empirically, often through
visual observation. In the science classroom, digital video—especially when enhanced
by special effects such as time-lapse, slow-motion, and extreme closeup, or paired with
data collected via probeware—provides a wide range of opportunities for engaging in
scientific inquiry. Video allows students not only to see detail in a phenomenon that they
might not otherwise be able to see, but it also invites repeated watching and application
of science-process skills such as observing, inferring, classifying, predicting, measuring,
communicating, and generating hypotheses.
4
Introduction
In science, social studies, and mathematics, digital video is used as a mechanism for
learning about a subject area. In language arts, digital media has become a facet of the
subject area. This new mode of communication should be analyzed as well as utilized in
learning. Students outside the classroom are increasingly consuming and creating multi-
modal compositions that include images, sound, and digital video. Classroom projects
using digital video offer an authentic framework for exploring the concepts of nonprint
text and new literacies.
Because uses of digital video differ by subject area, this book approaches ideas for
teaching with digital video by addressing each of the four core curriculum areas—math-
ematics, social studies, science, and English language arts—in separate chapters. Each
chapter begins with an overview describing a variety of ways digital video can be used
for teaching and learning specific to the subject area, followed by several activity descrip-
tions that will catalyze your thinking about ways to use video in your instruction.
Although the book is structured to emphasize uses of video in specific subject areas,
please don’t limit yourself to reading only one content-area chapter. You’ll be sure to find
ideas in other chapters that you can adapt to multiple subjects and even to interdisci-
plinary projects.
Pedagogy: Student-Centered
Classroom Uses of Digital Video
EACH OF the four subject-specific chapters in Part 1 of this book presents sample activi-
ties categorized according to the primary means by which students are engaged with the
video: watching, analyzing, and creating. These verbs are not meant to specify steps in
a process, nor are they exclusive. For example, students may both watch and analyze a
video, or they may need to create a video before they can analyze it.
Watching
The traditional mode of teaching with digital video involved turning on a film projector
(or laserdisc or VHS or DVD) and stepping out of the instructional role for the next 30 to
60 minutes. Today, the ease of presenting short, 30- to 60-second video clips allows you
to pinpoint the most relevant information and play an active role in the instructional
process. Locating video on the web to illustrate almost any phenomenon is relatively
straightforward. Series of short video clips can easily be combined into a playlist specifi-
cally aligned to the needs of your students and the curriculum.
Watching digital video facilitates knowledge building, enabling students to acquire a

better grasp of curricular concepts or adding to their understanding of the contexts
surrounding instructional topics. For example, during science instruction students
5
Introduction
might view a precise moment in the eruption of a volcano or a close-up of a butterfly

emerging from a chrysalis. In both science and mathematics instruction, video can set
the context for an inquiry. In social studies instruction, students might view video of
new cultures, geographic features, or reenactments of historical events. The videos may
often be secondary sources, or interpretations of events, but could be primary sources
as well.
In each case, you will need to guide students to be active watchers. Watch as used in this
book is not a passive activity.
Critical Viewing
By Thomas C. Hammond and John K. Lee
A challenging point within this book is the difference between watching as a casual consumer
and watching as a learner. Watching as a learner requires a form of critical viewing that incor-
porates at least two forms of awareness. The critical viewer must first be aware of the context of
production—who made the video? When? Why? What genre does it fall into? In this sense, critical
viewing is similar to media literacy, an awareness of the intentions embedded within media.
Whether watching a science instruction video or a political campaign commercial or a Hollywood
film, students must be aware of the video’s intent: This video is commanding your attention, and its
creator had certain goals in mind, such as to deliver information, persuade, or entertain—or there
may even have been multiple goals. Teachers should direct students’ attention to these contexts
before showing the video to the class.
The second layer of awareness in critical viewing is self-awareness. As viewers watch the presentation,
how does information being viewed fit within each person’s existing ways of knowing and under-
standing? What associations is the viewer making with previous knowledge? In what ways does the
information confirm or conflict with this previous knowledge? How is the viewer being affected by
the information in terms of its mood or tone? How does the viewer identify with the subject? What
questions is the viewer left with?
Critical viewing of video parallels critical reading of texts. As with critical reading, critical viewing is
mentally active and requires the viewer to be in dialogue with the material. The critical viewer is ready
to challenge the video and engage it as a text or argument, not just as information or entertainment.
Although these distinctions may not emerge naturally for students, as the teacher you can discuss
critical viewing, encourage it, and even model it while viewing videos with your class.
Analyzing
Activities that engage students in analysis of events can typically be classified as knowl-
edge building as well. However, in these instances the students apply prior knowledge
to reach a conclusion. In social studies the videos to be analyzed by students are often
primary (i.e., original) sources. These might include user-generated content, political
commercials and debates, or propaganda movies from prior eras. In mathematics,
6
Introduction
students can analyze video of physical objects moving or screencasts of Geometer’s

Sketchpad animations. (A screencast is a recording of the action taking place on a
computer screen that can be replayed.) In science, a prerecorded event can be viewed
multiple times and sped up or slowed down for analysis. Video can also be overlaid or
paired with graphical or simulated data, supplying multiple representations. In language
arts, video of student poetry slams, for example, can allow students to analyze the
content of the presentations.
Creating
Creating digital video typically is a form of knowledge expression—often divergent
knowledge expression—which permits students more freedom and creativity as they
synthesize and communicate what they have learned. Students have traditionally demon-
strated their learning through composing lab reports in science and written essays in
language arts. Creating digital video can also involve composing, through a written
script, but with an added dimension. Students have become accustomed to communi-
cating outside school using multiple forms of media that combine written language,
audio, still images, and video (sometimes called multimodal writing). The same factors
that make this form of communication engaging in other contexts can also be put to
good use to address instructional objectives in school.
As attested to by the popularity of video sharing services such as YouTube, people enjoy
creating video. Teaching strategies that engage students in creating digital video capi-
talize on students’ desire to express themselves through this compelling medium and
bring this energy into students’ work with curricular content. Sites such as Edutopia’s
Digital Generation Project (www.edutopia.org/digital-generation) and the International
Student Media Festival (sponsored by the Association for Educational Communications
and Technology; www.ismf.net) both illustrate the growing interest in student-created
video and the range of student video production capability by age level.
Technology: New Tools, New Capabilities

INCORPORATING DIGITAL video in the classroom requires some technical skill.
Therefore, we have included three chapters in Part 2 of the book providing an overview
of the tools and techniques needed to acquire and create digital video, as well as ways to
take advantage of new opportunities to communicate with and about video.
7
Introduction
Acquiring Digital Video

You and your students may acquire digital video for classroom use in a variety of ways:
■ Obtain original footage with a digital or still camera, cell phone, webcam, or
screen capture software
■ Go to websites where digital videos are stored (you can either watch from the
website or download video to your computer)
■ Combine a collection of still images, enhanced with pans and zooms and even
narration and background music
■ Digitize television broadcasts or VHS movies
■ Extract video from a DVD
Once you have identified relevant content, there is the matter

of getting it into your classroom. Fortunately, a number of
blocked sites different software applications can be used to download
Note that many school streaming video clips from the web. Once you have downloaded
the file, you can transfer it to your laptop, a CD, or a portable
networks block YouTube
hard drive. One benefit of capturing the content in this way is
and similar sites, and with that you will be able to present relevant video clips to your class
good reason. A great deal even when Internet access is unavailable or unreliable. A more
detailed description of this process is provided in Chapter 6:
of content on the web
“Acquiring Digital Video.”
is not appropriate for
students or school use. Creating Digital Video
You may need to search
The title of Chapter 7—“Creating Digital Video”—refers to
for appropriate video clips taking video that you have acquired and transforming it into a
from home or at some form that is educationally useful. For example, if you film your
other site away from own footage, you will likely need to edit it to a more watchable
length. If you are using video obtained from other sources, you
school.
may need to trim it, rearrange scenes, or combine it with other
video clips. We provide an overview of tools and general tech-
niques for accomplishing the following tasks:
■ Making a movie from still images alone
■ Extracting clips of specific scenes from longer video
■ Trimming or deleting unwanted video footage
■ Rearranging scenes in a video
8
Introduction
■ Combining multiple video clips or combining video and still images
■ Adding special effects and transitions to your video
■ Adding sounds, music, or voice-over narration to your video
■ Adding text-only frames or adding text captions to images or video
In addition, screencasting software such as Camtasia and Captivate allows you to create
interactive quizzes associated with video content, permitting students to assess their
understanding of content viewed. Screencasts also offer capabilities that cannot be
easily replicated in a live presentation. Screencasting software makes it convenient to
add callouts (arrows and bubbles to highlight features of interest), captions, and annota-
tions to the video. It also lets you zoom in to a specific section of the screen or pan across
from one section of the screen to another. Other features, such as “picture-in-picture” (for
example, a headshot of a narrator inset into the larger screen), are also supported.
The resulting product can be customized for dissemination on a traditional DVD or CD,
transmitted to the web or a video service such as YouTube (or educational equivalents
such as TeacherTube), transferred to a video iPod, or simply saved to a portable hard
drive.
Communic ating: Context for a Social Medium

The Pew Internet and American Life Project reports that digital video has also become a
social medium. Youth are not only posting video, but also employing it as a springboard
for dialogue and conversations through associated comments and embedded posts and
reposts in blogs and other websites.
Researchers working within the Pew Foundation note that the desire to share a viewing
experience with others plays an important role in the spread of online video. The major-
ity of online video viewers share links to online video with others. The Internet and
American Life Project reports that “young adults are the most ‘contagious carriers’ in
the viral spread of online video” (Madden, 2007, p. 6).
The ultimate goal of digital video is communication. A new generation increasingly

uses video in the way that previous generations may have used postcards—as a fast and
easy way to connect. We increasingly use digital video in this manner in our teaching
and professional interactions at the university. A short video clip combined with a
background document can quickly provide information, an instructional process, or an
illustration of student engagement in a manner that would be difficult to capture in any
other way.
Much of this communication takes place on the Internet—via Facebook, blogs, Twitter
links, and other social media. This activity contrasts with schools, where the cell phones
9
Introduction
may be blocked and the Internet may be down or intermittent for several days at a time.
Teachers who use video should be aware of ways in which digital video can be linked
or embedded in a class web page, blog, or wiki. Some of these uses are discussed in
Chapter 8: “Communicating with Digital Video.”
Because of this shifting social context, organizations as varied as the National Science
Foundation and the MacArthur Foundation are extremely interested in boundaries
between formal and informal learning. Chapter 5 (“Digital Video and Informal Learning:
Turning the Lens Outside the Classroom”) discusses opportunities in the area of using
digital video in informal learning settings.
The SITE Screening Room

READERS OF this book might expect to find an accompanying CD, as is the case with
Teaching with Digital Images. Instead, all the videos and resources developed by the
authors of Teaching with Digital Video are provided online through the SITE Screening
Room (http://site.aace.org/video/books/teaching), a service provided by the Society for
Information Technology and Teacher Education (SITE). We will provide updates and new
resources through the SITE Screening Room as they become available after publication
of this book. New video editing software, tools, and techniques are becoming available at
a rapid pace. For this reason, specific techniques that apply to a specific software edition
or version are provided through the SITE Screening Room, where they can be updated
as new versions appear. This online resource will also allow educators to submit, view,
and discuss educational digital videos in a variety of content areas. If you are involved
in engaging work with digital video in your teaching, we hope that you will share your
expertise on this site.
In order to recognize and support your work, each year SITE will recognize outstanding
instructional uses of digital video in K–12 subject areas—science, mathematics, language
arts, and social studies. If you or your students have created a noteworthy or innova-
tive video in a content area, we encourage you to submit the video to the SITE Screening
Room. Awards recognizing exemplary uses will be announced at the SITE annual confer-
ence each spring and posted on the SITE website (http://site.aace.org).
10
Introduction
Conclusion
TONY WAGNER (2008), in his book the Global Achievement Gap, said that today’s
students and young workers want to be “interactive producers, not isolated consumers….
They long to interact,” and they “long to learn and to create in a collaborative, collegial
environment” (p. 188). These young people are engaged by learning through multimedia
and connections to others, approaching learning as discovery, and learning by creating,
according to Wagner. In the following chapters, you will find a number of ideas for using
digital video to facilitate these very kinds of learning experiences. The ultimate objec-
tive is to harness and focus the energies of your students, so, as Wagner suggested, they
will use their skills with digital technologies to, “make significant contributions to our
society as learners, workers, and citizens” (p. 187).
References
Klose, R. (2008, November 17). OK, class, it’s time for YouTube. Christian Science Monitor.
Retrieved from www.csmonitor.com/2008/1117/p19s03-hfes.html
Madden, M. (2007). Online video. Washington, DC: Pew Internet & American Life Project.
Wagner, T. (2008). The global achievement gap: Why even our best schools don’t teach the
new survival skills our children need—And what we can do about it. New York, NY: Basic
Books.
YouTube (2010, March 17). Oops pow surprise...24 hours of video all up in your eyes! [Blog
post]. Retrieved from http://youtube-global.blogspot.com/2010/03/oops-pow-surprise24-
hours-of-video-all.html
11
P A R T 1
using
digital video
across the
curriculum
CHA P T E R 1
Thomas C. Hammond and

John K. Lee
digital video in
social studies education
THE BACKBONE of social studies such as Ken Burns’ Civil War. These
instruction is media. The big ideas sources are not only significant
of history, geography, economics, historical artifacts (the first battle-
and civics have been power- field photographs, the first world
fully expressed in documentary, atlas, and a massively popular social
Hollywood film, and pictorial form. protest film) but also powerful
As a social studies teacher, you teaching tools. Skillful teachers use
may already use classic resources these resources and others—often
such as Matthew Brady’s Civil War in a digital format—to bring social
photographs or maps from Ortelius’ studies alive for students through
16th-century atlas to make videos. their compelling visuals.
You might also use excerpts from
movies such as Charlie Chaplin’s Today, digital video is taking its
Modern Times or documentaries place alongside other forms of
15
Part 1 ■ Using Digital Video across the Curriculum
F IG U R E 1 . 1 . Examples of historical artifacts that are also visual media for instruction.
media as a record of significant historical events. On the subject of the Iraq War, entire
documentaries have been created using only amateur video shot by soldiers. In 2007,
CNN’s “YouTube Debates” brought homemade digital video into the heart of national
political campaigns. Digital video, even in lower-quality forms, can trigger social and
political action, as demonstrated by the events following the 1991 arrest and beating of
Rodney King in Los Angeles and in the 2006 collapse of Virginia Senator George Allen’s
re-election campaign. Examples of historically significant digital videos will continue to
multiply as digital video cameras in one form or another—handheld, cell phone, webcam,
and so forth—make their way into every household and public space (and classroom!) in
the world.
Digital video also poses important new teaching opportunities for social studies
teachers. Using a simple, free digital video editor, you can compose a documentary on
your computer, mixing together photographs, documents, maps, audio clips, and even
snippets of other videos. Alternatively, you can facilitate student project work. For
example, students can compose a short film about the Civil War drawing upon Brady’s
photographs (Figure 1.2), scanned soldiers’ letters and battlefield maps, period music,
and contemporary video recorded at battle sites or re-enactments. The medium of digital
video opens up possibilities for both you and your students.
16
Digital Video in Social Studies Education ■ Chapter 1
As mentioned in the introduction, digital video can include a wide range of media, such
as film, video captured with a camera, and still images with motion added. We will look at
these and other types of digital video in various content-based instructional settings, but
first we will review some of the strengths and weaknesses of the digital video medium
for social studies instruction.
Content-Based Instructional Settings

for Digital Video Use
RATHER THAN simply relying on the text-intensive treatments available in your text-
book and supplemental materials, you can use video to add motion, sound, and a sense
of real life to your instruction. For example, in a unit about Latin America, traditional
resources would include print texts supplemented with maps and perhaps flags of the
region. Consider, however, the possibilities for enhancing the unit with feature films that
bring the cultures to life as students watch (Vanden, 2007). Students might even watch
F IG U R E 1 . 2 . Working from primary sources to create a digital movie.
17
video produced by the very people participating in the events or located in the places
being studied. If you are teaching a unit on Haiti, for example, you can find YouTube
videos made by people in Haiti that show transportation systems, markets, Carnival cele-
brations, beaches, and even news reports from the country. Participant video content can
provide unique teaching opportunities, such as when you show footage taken by cruise
ship patrons landing on fenced-off beaches in the north and contrasting it with scenes
from food riots in the capital.
As described in the introduction, you can create your own video content for students to
watch, too. For example, in a geography lesson, you can create a video that draws upon
local features to illustrate concepts such as landforms, location, or movement. By inte-
grating local references into the lesson, you are both building students’ interest in the
content and helping students anchor their understanding of the concepts in familiar
reference points.
Digital video is also useful for compressing content, which can be vital in coverage-ori-
ented fields such as history. Research has demonstrated that students learn more
from a combination of words and pictures than from text alone (Mayer, 2005), and by
selecting only the key sections of a video, you can use the minimal instructional time
to achieve the maximum content exposure. For example, rather than show an entire
documentary on World War I, you can create a customized version addressing the
exact concepts specified within the curriculum. Some video services such as Discovery
Education (http://streaming.discoveryeducation.com) make this process easier by
cutting full-length videos into individual chapters or clips.
You can engage students in critical thinking and analysis using digital video as well.
Although an emerging body of research suggests that students are deeply, often uncon-
sciously, influenced by what they see in films (for example, see Dimitriadis, 2000), you
can design activities to counteract this passive absorption of information and emotions.
For example, base a study of American presidential elections on a set of campaign
commercials, such as those available from the Museum of the Moving Image
(www.livingroomcandidate.org). By guiding the class through a careful analysis of
selected commercials, you can help students progress as scholars, citizens, and media
consumers. This approach can also be used with commercial films, where students
learn to “read” films as primary sources rather than viewing them as an authority or a
re-creation of reality.
The most powerful way to immerse students in critical thinking using digital video is to
engage them in authorship, or creating their own video. As students compose a documen-
tary using historical artifacts, they learn the content, develop their research and primary
source analysis skills, and even come to understand the interpretive nature of historical
18
accounts. An ambitious teacher can even have students “re-cut” a finished documentary
to provide alternate emphasis—sometimes just by rearranging the visuals or using a
different motion over an image.
Limitations of Digital Video

USING DIGITAL video in social studies instruction has limitations as well. In terms of its
mechanics, video is a linear format: it progresses frame by frame, second by second, from
the beginning to the end of the clip. In terms of content, instructional videos are often
unidimensional, conveying only one idea at a time. Although these characteristics of
linearity and focus can be useful in directing students’ attention, they can also be a trap.
When learning history, for example, students often struggle to understand how different
issues and events unfold simultaneously, how living conditions can vary widely within
the same region, and how events emerge from multiple and conflicting influences and not
linear chains of causation.
If a film focuses on a single sequence of events or suggests a linear chain of causation, it

may reinforce students’ misconceptions rather than challenge them. Students may arrive
in your classroom with preconceptions about watching videos stemming from their expe-
riences watching movies, television, and Internet-based media. Rather than viewing a
video with the intended critical eye and careful ear for content, your students may apply
habits formed during recreational media consumption. If, for example, students view
footage from a Vietnam battlefield and think of it as a Hollywood action sequence, they
will miss the point that this is a real war—they are watching tragedy, not entertainment.
A reflective teacher will, therefore, consider how to compensate for these disadvantages
when using digital video. Before showing a video to students, differentiate between
watching a video as a casual viewer and watching as a scholar. You may also wish to
explain to students the learning purpose of the video and their expected behaviors (for
example, watching and analyzing, or creating).
You can interrupt the video. In a geography lesson about regions, for example, you could
stop and restart the video or select key frames that focus on other geographic themes,
such as movement or place. For a history lesson about triangular trade, you might use
clips from multiple sources to discuss or illustrate the different aspects of the trade
routes rather than rely on a single video.
19
Socially Networked Video and

a New Landscape for U.S. Citizenship
By Michael Searson
Recent events suggest that engagement with emergent media and digital video might become
important elements of active and responsible citizenship.
During and since the historic 2008 campaign for the U.S. presidency, the impact of socially networked
digital video (e.g., YouTube) has seemed ubiquitous. In fact, near the end of the presidential
campaign, the popular political website Politico posted a selection of campaign-related videos it
called “the 10 most viral videos of the campaign” (www.politico.com/news/stories/1108/15182.html).
As defined by Wikipedia, a viral video “is a video clip that gains widespread popularity through the
process of Internet sharing, typically through e-mail or instant messaging, blogs and other media-
sharing websites.” In other words, these videos gain their notoriety because they are shared widely
among users of the Internet. Certainly, the 2008 presidential campaign was replete with examples of
socially networked videos that grabbed headlines for days (and sometimes weeks), such as the video
showing the fiery sermons of the Reverend Jeremiah Wright.
Shortly after he was elected, President Barack Obama posted his first weekly address to the website
he set up during the transition period from the election to his inauguration (www.change.gov, which
is no longer accessible). This site contained a number of socially networked tools that allowed users
to view and make comments and suggestions as the transition team prepared to assume governance.
Even after moving into the White House, President Obama has continued this practice of posting
digital videos of his addresses to social networks.
Although the Whitehouse.gov site is somewhat less Web 2.0 oriented than the change.gov site, a
White House YouTube channel was created (www.youtube.com/user/whitehouse) that makes full use
of Web 2.0 tools. For example, the president’s weekly address videos are posted to this site, which also
allows viewers to submit comments. Additionally, as the White House unveiled its economic stimulus
plan, it launched a website, www.recovery.gov, where citizens can track how stimulus monies are
being spent and even make suggestions to help the economy.
It appears that citizenship in the United States (and likely in other parts of the world) will increasingly
become connected to digital video-related literacy in Web 2.0 environments. Imagine a classroom
project that draws the attention of the White House. For example, in the “Share your recovery story”
section on the Recovery.gov website, students and teachers could document community stories and
submit them. The larger story to be told is that the U.S. president and the White House have fully
embraced digital video and social networking tools. Educators should do the same!
20
Digital Video Activities in Social Studies

THE SELECTED pedagogical themes of this book—watch, analyze, and create—are
designed to provide a lens for making the most of your instructional use of digital video.
What follows are three detailed instructional examples of how digital video can be used
in social studies. In presenting these examples we seek to highlight digital video in the
context of rich content and authentic classroom settings. Each activity will highlight the
actions of the students. As you read, observe the ways in which you can use digital video
to enhance or compress content and engage students in critical thinking, thus avoiding
shallow or passive modes of student interaction.
Watching Digital Video Activity

THE POSSIBILITIES for using digital video in social studies are truly endless. As histo-
rian Gary Nash noted, today teachers and students have “at their fingertips ... millions
of photographs, paintings, sculptures, buildings, primary documents, film clips, and
secondary readings that spring into one’s
computer screen through thousands of Internet
websites” (Percoco, 1998, p. xiii). These digital
sources can provide opportunities to engage
students in powerful and authentic social
studies instruction.
Charlie Chaplin’s character The Tramp (or Little

Tramp) is one of the most recognizable symbols
of the silent film era. Over the course of two
decades of film appearances, the character
became an American cultural icon, evoking
individualism and longing amidst the turmoil
of 20th-century life. The Tramp made his final
appearance in Modern Times in 1936. This
film frequently appears on lists of the greatest
American movies, and several sequences from
the film have become part of the foundation of
comedic film. The film makes a great tool for
teaching about the social and political aspects of
F IG U R E 1 . 3 . Charlie Chaplin
the Great Depression.
(as The Tramp) in a scene from the
1921 movie The Kid.
21
Modern Times
American History
G R A D E L E V E L : 11
Objectives
■ Students will be able to describe the economic uncertainties facing Americans in the 1930s, both
in terms of employment and in the role of technology.
■ Students will understand that film is a historical source that reflects the cultural context of its
production as well as the viewpoint of its creators/financiers.
National Council for the Social Studies Thematic Strands Addressed

VI Power, authority, and governance
VII Production, distribution, and consumption
VIII Science, technology, and society
X Civic ideals and practices
National Educational Technology Standards for Students (NETS·S) Addressed

1. Creativity and Innovation
a. apply existing knowledge to generate new ideas, products, or processes
4. Critical Thinking, Problem Solving, and Decision Making
a. plan strategies to guide inquiry
6. Technology Operations and Concepts
a. understand and use technology systems
Technology/Materials Needed
■ DVD or online video of Modern Times
Content
Modern Times can be used to address many content areas, from civics to economics
to history. Here, the film is used to address American history, specifically the Great
Depression (1929–39). In the film, Chaplin, who was simultaneously the writer, director,
producer, and star, expresses the fears and hopes that society experienced during those
uncertain times. The film captures ideas common during the Great Depression, such
as the tenuous nature of employment, struggles over unions (e.g., the International
Workers of the World), and attacks on socialist or communist organizations (e.g., Palmer
Raids of 1919). By watching Modern Times, students can consider the human side of the
Depression.
22
Technology
Modern Times is available in a variety of formats, including DVD and online clips. Using
these formats will allow you to control stopping and starting points more easily and to
rapidly leap from one scene to another. If you are showing the film on a DVD, you can do
this manually, provided that you are able to skillfully fast-forward and pause as needed.
If you are showing the film via a media player (e.g., Windows Media Player), you can move
the cursor to the correct starting times. Finally, the film is available (in sections) on
YouTube; you can arrange the clips in order and skip ahead using the cursor. Note that
the resolution of the online clips may not be high enough for students to pick up details of
facial expressions and body language. We recommend finding a copy of the DVD at your
local library.
Pedagogy
Although students will enjoy watching Chaplin and may already be familiar with the
character and some of the scenes, their work will require careful scaffolding so that they
will grasp how the action on-screen connects to the larger framework of American life
and ideas during the 1930s. The activity described here is designed to engage students
in a critical, reflective form of watching. You will be asking them to do something chal-
lenging and very different from what they normally do. Students will watch the film and
(we hope!) enjoy the comedy, but they will also note where the action on screen parallels
events in real life and what ideas or people from history are portrayed in the film. There
may also be moments when the students are confused or have questions.
Before beginning the movie, you should check for students’ prior knowledge about the
Depression era, and especially the character of The Tramp. Also, before beginning the
study of the film, you should describe for students its use of sound. Modern Times has
been identified as one of the last silent movies, but it is only quasi-silent. Sound effects
and music are used, and there is some spoken dialogue and even singing. However, in
these instances, the voice is not fully synchronized to the film, and pantomime and
music are still the primary storytelling vehicles. These concepts should be explained in
advance to the students; otherwise, questions might arise in the middle of a sequence
when students are supposed to be focusing on content.
Finally, you should situate the movie within its time period: the 1930s, during the Great
Depression. Again, ask students to discuss what they know about this era and identify
the topics and events that they expect to see in the film.
Once you are ready to begin, distribute to the students a sheet with the text from the title
cards in the scenes you are showing. As a silent (or quasi-silent) film, title cards were
used to set up each scene. This text will serve both to introduce the characters (e.g., “The
gamin—a child of the waterfront, who refuses to go hungry”) and to structure students’
discussion of the movie. As you reach these title cards, you can pause the film to explore
the ideas presented.
23
We suggest showing only sections of the film. For this activity, four scenes are most
relevant:
■ The opening, which is focused on The Tramp’s factory work
■ A scene that involves Chaplin’s interactions with the police and prison system
■ A scene with his wife that focuses on their visions of a happy future
■ The closing scene
The film’s opening (about 15 minutes) helps establish the key elements of the film,
including the setting, characters, tone, and theme.
■ The setting is an urban, industrialized, technological society, and, specifically,

the factory of the Electro Steel Corp.
■ The main characters are The Tramp and The Gamin, played by Paulette
Goddard, Chaplin’s real-life wife at the time.
■ The tone is expressed through both the music (ominous horns and dramatic
strings—not a score that suggests slapstick comedy) and the opening shots (a
ticking clock, a flock of sheep moving forward intercut with crowds of workers
exiting a subway and entering a factory).
■ The theme is delivered explicitly through a title card: “A story of industry, of

individual enterprise—humanity crusading in the pursuit of happiness.”
Beyond establishing the key elements, the opening scene of Modern Times can be used
to initiate discussion about industrialization and working conditions in the 1930s. In
the opening scene, The Tramp suffers a nervous breakdown while working, ultimately
running amok throughout the factory (approximately 15 minutes into the film). Ask
students to recap the big ideas presented in the opening scene. These may include indus-
trialization, efficiency, and dehumanization.
Encourage students to draw a contrast between the pain and anguish demonstrated by
Chaplin’s character and the factory owner’s vision of happiness, which is an automated
eating machine that will help his workers to keep working nonstop, thus allowing him
to “get ahead of [his] competition.” This is the heart of Chaplin’s critique of 20th-century
life: when taken to its extreme, industrialization dehumanizes people and literally drives
them insane. This anti-mechanization perspective was a common theme in the 1930s
(see, for example, William Ogburn’s You and Machines [1934]). Especially insightful
students may be able to make the connection between Chaplin’s dim view of techno-
logical progress expressed in the film (e.g., the sales pitch comes from a “mechanical
salesman,” and the inventor pantomimes speaking) and Chaplin’s refusal to embrace
spoken dialogue.
24
After showing the first 15 minutes of the film, you can skip ahead to The Tramp’s release
from the hospital. The title card for this scene says, “Cured of a nervous breakdown but
without a job, he leaves the hospital to start life anew.” The subsequent action shows
Chaplin being confused for a communist and thrown in jail. At this point we recommend
skipping further ahead to the title card “Happy in his comfortable cell” (approximately
10 minutes), showing The Tramp lolling on his prison bunk, reading about strikes and
riots outside the jail. The Tramp is freed from prison but begs to stay. (“Can’t I stay a little
longer? I’m so happy here.”) At this point, you may have to stop the film to explain the
reason he is being pardoned (he helped quell a prison riot), and you should also discuss
the viewpoint being suggested by Chaplin that life outside the prison is worse than life
inside. Inside the prison, you are fed and sheltered; outside the prison, you are on your
own.
Following his release from prison, skip ahead to the point where The Tramp and his wife,
The Gamin (a take on gamine, which is French word for a homeless girl), have met and
are envisioning a future together (approximately 40 minutes into the film). Sitting in a
suburb, The Tramp asks, “Can you imagine us in a little home like that?” The following
dream sequence presents a vision of Utopia in which the two characters are living happily
together in a neat, suburban house. A cow provides milk, and grapes are growing imme-
diately outside the door. Dinner is a massive steak, and the scene transitions back to
reality with Chaplin pretending to eat it. This scene captures the middle class aspira-
tions of the 1920s, such as the Republicans’ 1928 presidential campaign ads featuring
“a chicken in every pot.” You may wish to revisit this scene when discussing suburban
life in the 1950s and ’60s, when this accomplishment was first realized on a large scale—
employment for unskilled and semiskilled labor was steady and wages were high enough
for workers to become homeowners. In the depths of the Great Depression, however, it
appeared to be a dream.
Close the viewing by showing the last scene of the film: The Tramp and The Gamin sit by
a road, disconsolate. When The Gamin asks, “What’s the use of Trying?” she is cheered
by The Tramp, who says, “Buck up—never say die. We’ll get along!” The two walk off, arm-
in-arm into the sunset. You can situate this scene in the political promise expressed by
Franklin Roosevelt at the time that, although no one knew how the Depression would
end, the people would persevere. You can discuss Roosevelt’s Fireside Chats as a national
form of encouragement (e.g., 1934’s “On Moving Forward to Greater Freedom and Greater
Security”).
Note that this activity does not require showing the entire film but rather selected
scenes. The primary ideas in the activity can be conveyed using only a few key scenes. In
a film class, you would want to show the entire movie. For a social studies class, on the
other hand, you should show only what you need. Think of yourself as an editor. Just as
Chaplin cut out scenes to focus the film on selected ideas and characters, you will do the
same, making selections for the purposes of social studies content learning.
25
More Ideas for Watching Digital Video in Social Studies

■ View documentaries that include multiple perspectives. For example, They
Marched into Sunlight is an award-winning book and documentary, avail-
able from PBS, that provides a rich treatment of the Vietnam War. The title
explores two events in October 1967: (1) an ambush of an American battalion
40 miles outside of Saigon and (2) an antiwar demonstration at the University
of Wisconsin–Madison that turned into a riot. This dual focus allows students
to see multiple aspects of the conflict—the war in Vietnam versus the war at
home, supporters versus opponents, people’s actions and statements at the time
versus their beliefs after decades of reflection.
■ View feature films that present unfamiliar perspectives on issues. As an

example, consider the topic of illegal immigration. El Norte (1983) is a narra-
tive of two siblings who flee Guatemala for the United States. The Belgian film
La Promesse (1997) is set in Western Europe and focuses on the demiworld of
those who provide services to the illegal immigrants. As with any film, be sure
to screen these titles in advance to see whether the nature of the language and
imagery is acceptable within your school, and consider omitting scenes for the
purposes of appropriateness or time constraints.
Analyzing Digital Video Activity

TRANSPORTATION SYSTEMS are both ubiquitous and invisible. We see and use
multiple transportation systems every day, but we also tend not to think about them.
They are familiar, so they recede into the background. In contrast, consider the excite-
ment of a child just learning about transportation and related words as he or she calls
out, “Truck! Train! Airplane!” Additionally, we tend to understand only the transporta-
tion networks we are directly familiar with. A child who has grown up in the suburbs
may understand cars and the road system but may have little conception of high-density
urban subways and buses as a dominant mode of commuter transportation. Commercial
transportation, such as long-haul freight and local agriculture, may also be entirely unfa-
miliar to children or understood in only a superficial sense.
Digital video provides a powerful opportunity to visualize different transportation

networks around the world, giving students a window into culture, economics, and
government. This activity uses as its starting point two videos about trains in Tokyo,
Japan. As with all the activities described in this chapter, many permutations are
possible, such as different starting points or final projects focused on other transporta-
tion networks.
26
Transportation Systems
Social Studies—Transportation Systems
GRADE LEVELS: 5–8
Objectives
■ Students will be able to identify contrasting cultural patterns in transportation systems and
cultural expectations or patterns of behavior.
■ Students will be able to identify and explain patterns of historical change over time and connect
them to changes in policy and/or economics.

III People, places, and environments
VII Production, distribution, and consumption
VIII Science, technology, and society

2. Communication and Collaboration
c. develop cultural understanding and global awareness by engaging with learners of other
cultures
a. identify and define authentic problems and significant questions for investigation
c. collect and analyze data to identify solutions and make informed decisions
Digital videos available online on YouTube:
■ Actually Full Train in 1991 (Why Flex Time is a Good Idea)—
www.youtube.com/watch?v=Lf8Ig2M3Zq0
■ Less Crowded in 2008—www.youtube.com/watch?v=8ScexNfYbBQ
27
Content
Students in the United States may not be familiar with the phenomenon of “train
packing.” This practice originated in Japan on the commuter rail systems running
through densely populated urban areas. The rides on tightly packed trains are uncom-
fortable and unpleasant, but they serve to move millions of people around cities each day.
White-gloved employees of the train companies are an essential part of the system. These
train packers herd and push people onto the trains working to maximize the number of
people who can fit.
For this activity, use two digital videos taken by Lyle Saxon, an Australian living and
working in Japan. In the videos and associated blog postings, Saxon captures the
flavor of train packing. The first video, from 1991, shows people boarding a train at the
Hibarigaoka Station on the Seibu-Ikebukuro Line. The second video, from 2008 at the
same station, shows that trains have become less crowded, thanks to additional train
lines and the innovation of “flextime,” allowing Japanese workers to arrive at work at
hours of their own choosing, as long as they make up the time later.
Technology
Saxon (the creator of these Tokyo train videos) has blog postings that can be used,
among other resources, to provide context. The address for the page containing links to
the videos and providing his thoughts on them is www5d.biglobe.ne.jp/~LLLtrs/blog/
prev/blog2008.html. Scroll down to the entry for 2008/07/21, “Tokyo Morning Trains
(February 1991).”
F IG U R E 1 . 4. YouTube video embedded on a teacher-created web page.
28
Figure 1.4 shows a YouTube video embedded on a teacher-created web page. Part of the
reason for embedding the video is pedagogical. With an embedded video you can orga-
nize contextual information that will support the class discussion. For example, the 1991
video title mentions flextime. You might want to rename the video so that students do not
have this information until they have viewed both videos.
F IG U R E 1 . 5 . YouTube video with highlighted embed code.
A second reason to embed videos rather than show them directly from YouTube is to
control for inappropriate material. YouTube videos often come with comments, not all of
which are appropriate for K–12 classrooms. The list of “Related Videos” may link to mate-
rial that is highly objectionable. Accordingly, the best practice (almost always) is
to place the video in a different page or to embed
it in a slide show. The instructions are provided
on the YouTube page itself (see Figure 1.5). For BLOCKED SITES
more information, see Chapter 6: “Acquiring
Digital Video.” Don’t assume you will be
able to acquire YouTube
Pedagogy video clips at your school.
Saxon’s videos on Japanese trains can serve as Many school networks block
an anticipatory set. In the setup, tell students
YouTube and similar sites.
they are about to see a video of people boarding
a train, then show the first video. Provide some
29
of the context immediately (e.g., this video was taken in 1991), but draw out the rest by
posing questions to the students:
■ Where do you think this video was recorded?
■ What time of day is it?
■ Where do you think the people are going?
■ Is it a short trip or a long trip?
Other questions that may elicit student observations:
■ Why do they do that?
■ Why don’t they wait for the next train?
■ Don’t people get angry?
■ Why don’t they just drive to work in cars?
Answers to these questions might include ideas such as:
■ The train is fast and reliable, and they have to get to work on time.
■ The next train will be just as crowded.
■ Yes.
■ They are more expensive to buy, operate, and park, and traffic jams can be just
as unpleasant.
Students can record the questions, conduct research, and report back later, or you may
want to post the questions to a blog or wiki page and have students answer them on their
own over the course of the activity.
Once you have established the context of the first video, conduct a brief discussion
around the question “What can be done to improve the situation?” Logical responses are
to add more trains or otherwise provide alternative transportation routes. You may have
to point out to students the costs of these alternatives. Adding new tracks may mean
tearing down buildings, and in a densely populated city, doing so is not easy.
After students have explored the issue and discussed some possibilities, explain that
they will now analyze another video, taken at the same station in 2008. Again, elicit
observations. At first, students might not be able to detect any differences. They will
likely notice that there are still large numbers of people cramming onto the trains.
However, careful replaying should allow students to observe that the commuters do
30
enter in a more orderly fashion, far fewer people are being pushed on at the end, and
(tellingly) there are fewer packers. The driver of the train, in fact, is visible leaving the
steering compartment and acting as a packer.
Once the class has discussed the second video and noted differences, ask students what
might have changed in the 17 years between the two videos. Again, you can either provide
the answer (the introduction of flextime) or have students research it themselves. An
important part of this process is to help students expand the context of this video to
include historical information. Such work might involve using population data from 1991
and 2008 or reviewing the political and economic situations at the two times.
You may also have students watch more videos by Saxon, many of which deal with Tokyo
commuting and nightlife. If you wish to discuss Saxon as the author of the video, he
makes a brief appearance in at least two of the other videos featured in his site.
To conclude the activity, ask students to review the videos and write answers to the
following questions:
■ What do these videos allow us to infer about the transportation system

in Japan?
■ What do these videos allow us to infer about Japanese culture?
■ How did the policy of flextime change Japanese transportation and culture?
■ What other information sources can help us analyze the Japanese transporta-
tion system and Japanese culture?
More Ideas for Analyzing Digital Video in Social Studies

■ Examine clips from presidential primary debates to explore the range of
ideas within the Democratic and Republican parties. For example, the 2008
primaries featured a crowded field of candidates and multiple debates before
producing party nominees. CNN hosted these debates and has made them
available on its website (www.cnn.com/ELECTION/2008/debates). By studying
the candidates and their stances on the issues, students can learn about the
constituencies represented by each party and observe where their interests
overlap and where they conflict.
■ Analyze feature films to learn about history and its selective portrayal. James
Percoco is a history teacher in Virginia and has written several books about his
teaching practices. In A Passion for the Past (1998), Percoco describes how he
uses Glory (1989), Sergeant York (1941), and other films to have students learn
about the difference between “real history” and “reel history.”
31
Creating Digital Video Activity

EARLY ELEMENTARY social studies instruction typically addresses topics such as fami-
lies, holidays, and cultures. These topics can all come together in the discussion of the
special meals featured at holidays. In November, for example, children can discuss both
El Día de los Muertos (Day of the Dead), which is commonly celebrated in Mexico, and
Thanksgiving, which is a traditional holiday in other North American countries, particu-
larly Canada and the United States. Each holiday is observed with family gatherings,
traditional customs, and special foods such as sugar skulls for Dia de los Muertos and
pumpkin pie for Thanksgiving. Both holidays also have rich histories that reflect values
and traditions in the places where they are celebrated.
You can use digital video to explain the cultural traditions associated with these holi-
days, showing students how the special foods are made and showing examples of families
observing the holidays, and even showing historical examples of the holiday being
celebrated. A topic as local, personal, and ubiquitous as holidays presents a unique oppor-
tunity to support students in creating their own digital videos about their families and
the ways they observe the holidays.
This activity involves students’ selecting a particular holiday or celebration, locating an

image of the event, and constructing a digital video narrative about the event. Ideally, the
photo should be a family photo. In this activity, students will describe the activities in
the photo. If possible, the photo should show the student’s family
at a holiday occasion, preferably gathered around food or other-
content wise engaged in a traditional activity. The students will then
provide a voice-over narration, describing the circumstances of
standards
the photo.
The Social Studies
Standards are sponsored
by the National
Council for Social Studies,
www.socialstudies.org/
standards/strands/.
32
Families and Food

Social Studies—Culture
G R A D E L E V EL S: K– 4
Objectives
■ Students will understand that holidays and food are parts of cultural expression.
■ Students will be able to use images to document or analyze a culture.
■ Students will be able to construct a digital documentary from one or more images.

I Culture
III People, places, and environments

b. create original works as a means of personal or group expression
a. interact, collaborate, and publish with peers, experts, or others employing a variety of digital
environments and media
b. communicate information and ideas effectively to multiple audiences using a variety of media
and formats
cultures
d. contribute to project teams to produce original works or solve problems
3. Research and Information Fluency
b. locate, organize, analyze, evaluate, synthesize, and ethically use information from a variety of
sources and media
b. plan and manage activities to develop a solution or complete a project
b. select and use applications effectively and productively
33
■ Windows Photo Story 3 (for PC users) or iMovie (for Mac users)
■ Options for completing the project on the web: PrimaryAccess
(www.primaryaccess.org) or VoiceThread (http://voicethread.com)
Content
This lesson will allow you to branch off into many different directions, such as family
structure, holidays, and culture. For example, you may want to study the cultural impor-
tance and timing of holidays such as Halloween and Diwali. These holidays often occur
at the same time of the year, but because Halloween is a North American and European
holiday and Diwali is a South Asian holiday, various calendars will place the holidays on
different days each year. The lunisolar Hindu calendar is commonly used in South Asia
and is used to mark Diwali. Halloween is dated according to the solar Gregorian calendar.
You can find plenty of other examples when important holidays do not align. For example,
on some years, Chinese New Year will fall in January on the Gregorian calendar and not
February and, thus, be within a few weeks of the Western New Year’s Day on January 1.
As another example, the Muslim holy month of Ramadan falls near the Christian holiday
of Easter in some years and the Jewish observance of Yom Kippur in other years. By
comparing across holidays, particularly familiar and unfamiliar holidays, you will be
able to broaden students’ cultural perspectives and demonstrate the universal nature of
some cultural practices.
Technology
When working with young students, simplicity is the key. Maintaining a simple focus
will help prevent the technology from overwhelming the content. You may even complete
much of the technology work, but leave portions as students’ hands-on work. In all cases,
you will be able to focus on the content and pedagogy more if you keep the technological
aspects simple.
For creating the video, Windows Photo Story 3 is an excellent choice for PC users. The
narration can be recorded with one visual at a time and utilizing appropriate pans and
zooms. For example, if a video is describing a Thanksgiving dinner, you may want to
include one copy of the image to focus on groups of family members, one to show main
courses, one to show desserts, and so forth.
A good choice for Mac users is iMovie. Be sure to load the required photos into the library
before trying to access them from iMovie. You may also want to include multiple copies of
the image(s) to allow pans and zooms to highlight different aspects of the photograph.
PrimaryAccess (www.primaryaccess.org) and VoiceThread (http://voicethread.com) are

options for completing the project on the web. Both of these online tools host the working
34
materials on the web, meaning students and

teachers can work from anywhere without
SHARING VIDEOS
having to move files from computer to computer.
Learn more about sharing
In some situations, it will be easier for you to
handle loading the images into the editing videos in Chapter 8:
program or website instead of the students. “Communicating with
Once the photos are loaded, students can record
Digital Video.”
the statements they have written. You can then
either fine-tune the timing and motion yourself
or allow students to do it. In our experience,
Photo Story and Voice Thread are easier for young students to handle than iMovie.
Once the projects are finished, save them as movie files and share! Digital video files
can be linked to a teacher web page or uploaded to a channel on YouTube or TeacherTube
(teachertube.com).
Pedagogy
A number of pedagogical questions will need to be addressed as you adapt this digital
video activity for your class. For example, what time of the year is the best to intro-
duce these concepts? In the United States, many holidays fall in October (Halloween),
November (Veterans Day, Thanksgiving), and December (Christmas, Hanukkah,
Kwanzaa). This lesson can be conducted at any point during the year or can even be
revisited at multiple points throughout the year. In any case, bring it up in advance of a
holiday. For example, to take advantage of children’s excitement about Valentine’s Day,
initiate this activity at the end of January or the beginning of February.
As you consider which holidays to address, you should also consider your classroom and
your community. Which cultural traditions do you think will be represented among your
students? What cultural groups are present in your community that might be willing to
demonstrate traditional practices for your students? Of course, you will also want to be
sensitive to students and families who might not want to fully participate in the activity.
For some families, holidays can even be a painful time of year, reminding them of loss
or separation. Try to anticipate where problems might arise and speak to students and
parents privately.
When teaching this activity, your tasks are twofold. First, introduce the content. The
content (holidays, families, cultures, food, and in-depth topics such as calendars) can be
introduced through a variety of means. One approach is to read aloud and then discuss a
relevant children’s book, such as Behind the Mask, written and illustrated by Yangsook
Choi, which is a story about Halloween and a traditional Korean folk dance called
Talchum. Another approach might be to lead a discussion with the students about their
families’ practices during the holiday.
35
Once children have an understanding of the topic, your second task is to introduce and
facilitate the digital video-making activity. Perhaps the best tactic is to show them a
sample video you have created yourself. A sample video can both provide a model of a
finished product and set the tone for sharing and making students feel more comfortable
about sharing. Once students have viewed and discussed the model, explain that they
will be making their own video.
To make the video, students will first locate appropriate photos. Invite students to bring
in one—or two—but not more! family photos showing their family, food, and activities
during a holiday. If students bring in print photos, you can scan them or take a picture
with a digital camera to produce digital versions.
After the photos are collected, students should write short state-
DIGITAL IMAGES ments about what is happening in the photos. Depending on the
content focus of your lesson, make sure that students include
If you need to find information that extends what they already know about the
additional photos topic to include something new they have learned. For example,
if the focus is on calendars, students can comment on where the
to illustrate foods or
holiday falls on the calendar, how that date was determined, how
activities, try www.flickr. holiday dates might change over consecutive years, or how the
com/creativecommons, holiday might fall on different days in different calendars.
searching for photos
The key here is to support students with clear expectations
that allow users to make about what they should include in their voice-over narrative. As
derivative works. you scaffold the activity, provide students with the beginnings
of sentences that they then fill in, such as “This is my family
at.... Present are.... We are eating.... We are doing....” These
statements will be read out loud to form the voice-over narra-
tion, so be sure they are clearly written and rehearsed. If the videos will be posted on the
Internet, remind them to limit the amount of personal information in the final version!
More Ideas for Creating Digital Video in Social Studies

■ Students can document landmarks in their neighborhoods or communities and
construct movies explaining the cultural significance of these sites.
■ Students can collect images from online archives and use them to create
digital documentaries. For example, students studying Japanese-American
history could use the Library of Congress’ collection of photographs taken at
the Manzanar Relocation Camp to compose a documentary about internment.
36
■ Students can interview family members of people in the community about

their memories of historical events and use these as source material for a class-
room inquiry on history and remembrance. Example questions might be “What
do you recall about the energy crisis of the 1970s?” or “What do you recall about
the American invasions of Grenada and Panama in the 1980s and 1990s?”
Conclusion
THE ACTIVITIES described here are only a small sample of the full range of possibili-
ties for applying digital video to social studies instruction. Digital video can allow
you to enhance or compress content, as well as engage students in critical thinking.
We have presented these activities to illustrate how students can watch, analyze, and
create digital videos. These teacher and student actions require different pedagogical
approaches and emerge from different educational aims. In order to best use digital
video in your class, stay focused on your aims and the approaches that will support those
aims. The activities also draw uponon a range of technologies, from simple tools to more
complex ones. It is important not to let the use of more complex digital video obstruct
your instructional goals.
As you design your own activities with digital video, keep in mind the options available
to you and observe the ways in which the technology interacts with the content and peda-
gogy to make your instruction more powerful.
References
Dimitriadis, G. (2000). “Making history go” at a local community center: Popular media
and the construction of historical knowledge among African American youth. Theory
and Research in Social Education, 28(1), 40–64.
International Society for Technology in Education. (2007). National educational tech-

nology standards for students (2nd ed.). Eugene, OR: Author.
Mayer, R. E. (2005). Cognitive theory of multimedia learning. In R. E. Mayer (Ed.), The

Cambridge handbook of multimedia learning (pp. 31–48). New York, NY: Cambridge
University Press.
National Council for Social Studies (NCSS). (1994). Expectations of excellence: Curriculum
standards for social studies. Washington, DC: Author.
Ogburn, W. F. (1934). You and machines. Chicago, IL: University of Chicago Press.
37
Percoco, J. (1998). A passion for the past. Portsmouth, NH: Heinemann.
Vanden, H. (2007). Bringing Latin America to life with films in the classroom. Social
Education, 71(4), 177–181.
38
CHA P T E R 2
Margaret L. Niess and

Janet M. Walker
digital video in
mathematics education
MATHEMATICS IS typically that has significantly advanced
described as a body of knowledge through the use of digital technolo-
about quantity, structure, space, gies with computational, graphical,
and change. Some people consider and symbolic capabilities.
mathematics to be the language of
science. Some conceive it as a way of High-speed, technological advance-
thinking that results in organizing, ments in the quality of image
analyzing, and synthesizing data. display, color, and smooth motion
Some describe mathematics as a have paved the way for amazing
study of patterns, while still others digital video representations for
envision mathematics as an art. mathematical developments such
Irrespective of these various view- as in fractal and chaos theories.
points, mathematics is a discipline A quick Internet search reveals
39
numerous displays of digital videos characterizing the structure, patterns, and art of
mathematics.
If you try searching the word fractals at the popular website YouTube, you will find
fascinating videos. In the video Fractal Zoom Mandelbrot Corner (www.youtube.com/
watch?v=G_GBwuYuOOs), the camera zooms in on the famous Mandelbrot fractal.
As the view of the fractal is enlarged, the similarity of the parts of the object to the
overall image is quickly obvious. This image was developed using iterations (a form of
feedback called recursion). The result is a marvelous mathematical expression in an
artful pattern.
Advanced digital technologies have changed the nature of today’s culture as well as the
way mathematicians think about and do mathematics. Have these technologies also
changed how students today are learning mathematics—are they using today’s technolo-
gies in learning mathematical ideas?
Before answering this question, consider the students in your school. The majority
are exposed to and engaged in a culture where many hours are spent texting, playing
video games, and “talking” on social networking sites such as MySpace or Facebook,
often while watching television. Many newer communication technologies require and
facilitate interaction. Students with cell phones rarely pass written notes to each other;
instead, they text messages in an abbreviated language. Over the past few decades, with
the advancement of digital technologies, our society has moved from communicating
with others over the telephone, by mail, or in person to communicating by e-mails and
instant messages that may even be in digital video format. These technologies have
changed the way many adolescents (and even adults) interact with each other, suggesting
new ways they can interact and learn both inside and outside the classroom.
Let’s return to the question of students learning mathematics with today’s digital tech-
nologies. In 2000, the National Council of Teachers of Mathematics (NCTM) published
a Technology Principle in its Principles and Standards for School Mathematics stating,
“The existence, versatility, and power of technology make it possible and necessary to
reexamine what mathematics students should learn as well as how they can best learn it”
(NCTM, 2000, p. 25).
Many digital technologies have been considered useful for students in learning math-
ematics: graphing calculators, applets of virtual manipulatives (such as those available
through the National Library of Virtual Manipulatives at http://nlvm.usu.edu/en/
nav/vLibrary.html), spreadsheets, and dynamic geometry tools (such as Geometer’s
Sketchpad). Each of these technologies provides visual representations, enabling
students to explore mathematical ideas in more dynamic ways. When asked to identify
technologies for teaching mathematics, Joe Garofalo, a mathematics teacher education
professor from the University of Virginia, proposed a technology that surprised many of
40
Digital Video in Mathematics Education ■ Chapter 2
the participants at his 2006 workshop: “iPods—because students have them and we as
teachers need to think of how this technology can be useful in teaching mathematics.”
Many of today’s school-aged youth actively contribute to YouTube, where they upload,
view, and share their video clips as a way of communicating their thinking and ideas.
They use simple digital video tools such as cell phones, digital cameras with movie
settings, and inexpensive camcorders to create and share video, communicating with
others far beyond their local community.
In such an environment, students should no longer be expected to learn mathematical

concepts and processes only by sitting and listening to long explanations. They can be
more actively involved in constructing their knowledge with the aid of digital video as
they explore the amazing world of mathematics. Teachers of mathematics must consider
how they can adapt their teaching, incorporating these technologies to help students
learn mathematics in ways similar to how they learn and communicate outside the
classroom. This chapter challenges you to incorporate digital videos in ways that provide
exciting and effective mathematics learning opportunities for your students.
The perspective we present goes beyond the traditional view of videos as being made by
others and passively watched by students. We suggest ways digital videos can be used
to present challenging mathematical questions for students. Watching, analyzing, and
creating are three lenses we use for describing active student engagement with video.
Many videos can also be layered with other dynamic, interactive media to engage today’s
students in thinking about mathematics in ways that were previously difficult to achieve.
Visualization is an important tool in problem solving, and students need multiple visu-
alization opportunities if this tool is to be developed (NCTM, 2000). Through watching
appropriate digital videos, students can further develop their visualization skills.
Watching is a strategy that requires gathering and integrating information from
multiple sources, both audio and visual.
For example, students can make a conjecture about the mathematical notion of simi-
larity through this simple video activity: Students watch multiple images captured using
a zoom-in and zoom-out feature in a simple video editor, such as iMovie or Windows
Movie Maker. As they watch, they should consider whether the images presented
in various sizes are similar. To determine if the images are similar or perhaps even
congruent, they can collect data on the primary features of the images that appear to be
similar. Entering the data in a spreadsheet table allows students to explore the ratio of
the measurements for each feature. Does a common ratio exist for all features? If it does,
what does that mean?
Reasoning is also a fundamental part of mathematics, and reasoning mathematically is a

habit of mind that must be developed through consistent use and in a variety of contexts
41
(NCTM, 2000). Analysis is a reasoning process that means “separation of a whole into its
component parts” (Analysis, 2010).
The movie The Sound of Music received the Academy Award for Best Picture in 1965 and
was nominated for an award for its art direction. You can devise a mathematical problem
by separating or distinguishing the component parts of the various scenes in The Sound
of Music to discover how these parts helped create a movie recognized for outstanding
art direction. Engage students in analyzing clips of the poses used in the song and dance
numbers, such as when the children are singing “Do-Re-Mi” with Maria. Why are only
six of the children shown in the scene where they follow Maria across a meadow while
singing? What happened to little Gretl? Probably, the choreographer purposefully chose
to maintain symmetry in the scene. Analyze the geometry in clips throughout the movie
and make a conjecture about why the visual effects were so pleasing. What geometric
concepts were used in creating these visual effects? You may find Geometer’s Sketchpad
and spreadsheet capabilities to be useful in this analysis.
Communication is an essential aspect of mathematics. According to NCTM’s Principles

and Standards for School Mathematics (2000), communication is a way of sharing ideas
and clarifying understanding. Creating videos is another experience with potential
for helping students communicate their mathematical understandings. Students can
create a video of someone walking in front of a camera in the movement that describes a
particular function. For example, if you ask a student to move in front of the camera in
the shape of the function y = abs(x), the student should start about 3 meters away from
the camera, walk toward the camera at a constant rate, and then walk away from the
camera at the same constant rate. A student can be video recorded moving in front of
the camera, and other students can try to figure out the path of that person. They can
find the solution either by graphing the movement or by defining it as a function, which
they demonstrate by entering the data in their graphing calculators or spreadsheets and
displaying both the tabular and graphical representations. Students can include these
visuals in their video creations to display the multiple representations of the person’s
movement.
The challenge for mathematics teachers is to take advantage of technologies, such

as digital video, and integrate them actively and consistently in meaningful ways in
mathematics instruction. John Keller’s (1987) attention, relevance, confidence, and satis-
faction (ARCS) instructional model provides a valuable model for teaching with images.
Images, whether still or active, can be used to show concrete examples of concepts such
as polynomial multiplication, polynomials factoring, slope, rates, measurement, three-
dimensional objects, and even mathematics in nature and art. Images can be used to
draw students’ attention to a concept by making it relevant to their interests. Dynamic,
interactive technologies are available to assist students in making conjectures about the
patterns they are viewing.
42
Students can explore mathematical concepts and processes in visual ways and use digital
video as a tool for communicating their thinking. Video media provide capabilities that
engage them in higher order thinking in a classroom where traditionally they have been
expected to follow a set of rules for solving a problem. With students’ confidence in using
the multimedia technologies, they also gain confidence in learning mathematics with the
technologies. Your charge is to determine effective ways for integrating video technolo-
gies with other technology tools that students use as they explore mathematics.
In this chapter we describe ways for video technologies to be integrated, layered, and
incorporated with other dynamic technologies for enhancing students’ mathematics
learning. The instructional key is to engage students in thinking about ideas presented
with moving images and make connections with mathematical ideas. Of course, when-
ever you incorporate digital video and other technology, your goal must always be to
facilitate students’ mathematical understandings. Students need the guidance of a
skillful teacher who understands what they know and how they learn (NCTM, 2000).
Watching Digital Video Activities

WATCHING IS an obvious activity with videos, but the mathematics curriculum is
packed with content, leaving teachers little time for engaging students in watching 30-
to 40-minute videos, much less full-length movies. On the other hand, video clips (short
excerpts from movies, television shows, professionally prepared educational videos, or
personally created videos) can quickly engage students in mathematical exploration.
Video clips can be used to introduce new mathematical concepts and processes; illustrate
mathematics in nature, art, or other contexts in the real world; and engage students in
expressing their mathematical understandings as they think about what has been said
or displayed.
For example, you might introduce chaos theory with a short clip from Jurassic Park. In
Austin Powers: The Spy Who Shagged Me, Dr. Evil’s clone, whom he named “Mini-Me,”
is “one-eighth the size” of Dr. Evil. Use a video clip from this movie to introduce and
discuss transformations, specifically dilations. See how engaging students in watching
videos provides a useful instructional tool for engaging students in thinking about
mathematics.
43
You can find many more ideas for using the watching mode in a mathematics class at
these websites:
■ Math Bits—http://mathbits.com/MathBits/MathMovies/MathMovies.htm
■ PBS Mathline—www.pbs.org/teachers/mathline/concepts/movies.shtm
■ Math Education Free Videos—

http://iae-pedia.org/Math_Education_Free_Videos
If you are thinking about using videos in a watching mode, be sure to preview every video
clip to ensure that the content is appropriate for the age group you are teaching. Select a
short, relevant clip for the content of the day. The best clips used in this watching mode
are 1 to 5 minutes in length. Make sure the video or media player is ready before class
begins, queuing it to the location of the clip you want to show. Set the stage for the video
so that students don’t assume it is merely padding to keep them occupied until you are
ready to begin “teaching.” Students must engage in more than passive watching. Provide
a mathematical challenge that requires students to watch in preparation for responding
after the video. Variety in the mathematics classroom helps to maintain students’
interest, but be careful about overusing video clips.
This section provides detailed discussions for using video clips from Abbott and Costello:
In the Navy and Alice in Wonderland. You can extend beyond these ideas to find other
ways in which watching might aid in the development of concepts and processes in the
mathematics classroom. Explore how these activities engage students in watching,
listening to, and exploring mathematical ideas. Consider how students might use
different technologies, such as calculators, Geometer’s Sketchpad, and spreadsheets,
as they think about and explore what they have observed in the video. Remember the
importance of multiple representations of mathematical ideas and of guiding students in
communicating their mathematical thinking in ways that deepen their understanding of
mathematics.
44
Abbott and Costello

Argue about Addition,
Multiplication, and Division
Mathematics—Place Value
GRADE LEVELS: 4–8
Objectives
■ Students use place value concepts in explaining relationships among operations of addition,
multiplication, and division.
■ Students select appropriate methods for explaining and justifying their thinking about the use of
place value implications in addition, multiplication, and division.
■ Students make and investigate mathematical conjectures and arguments with respect to place
value and the operations of addition, multiplication, and division.
National Council of Teachers of Mathematics (NCTM) Content Standards Addressed

■ Understand meanings of operations of addition, multiplication and division (NCTM, Number and
Operations Standard, Grades 3–5)
■ Develop fluency in adding, multiplying, and dividing whole number (NCTM, Number and
Operations Standard, Grades 3–5)
■ Develop and use strategies to estimate the results of whole-number computations and to judge
the reasonableness of such results (NCTM, Number and Operations Standards, Grades 3–5)
■ Communicate mathematical thinking coherently and clearly to peers and teachers (NCTM,
Communication Standard, Grades 3–5)

d. use multiple processes and diverse perspectives to explore alternative solutions
45
■ Video clip from YouTube called Abbott and Costello 13 X 7 is 28: www.youtube.com/
watch?v=Lo4NCXOX0p8
Content
YouTube is a rich resource for video clips and short movies you can use to challenge
students to watch carefully and engage in mathematical thinking. Consider, for example,
Abbott and Costello’s 1941 movie In the Navy. This video has a scene where Lou Costello
is explaining to Bud Abbott that he has 28 donuts to share among 7 people. Lou decides
that to share the donuts fairly and equally each person should get 13. Bud questions Lou’s
mathematics, and the scene progresses until Bud gives up trying to convince Lou that his
arithmetic is wrong.
This video clip portraying Abbott and Costello and their different understandings of 28
divided by 7 is an excellent example of a video that can be used in the elementary grades.
Students in upper elementary grades need to be able to compute fluently and make
reasonable estimates. In order to achieve these actions, they must have a solid under-
standing of place-value structure of the base-10 number system. Their knowledge of the
operations of multiplication and division relies heavily on their place-value understand-
ings. Communication is a tool that can be used to engage students in developing a deeper
understanding rather than mere memorization of multiplication and division rules.
Engage students in mathematical discourse about their strategies for estimating the
results of problems requiring these operations.
Through their discussions, the students expand their understanding of the place-value
structure and its impact on multiplication and division computations. Conversations
that engage students in explaining the processes involved in the different computa-
tions help them organize their thinking and deepen their mathematical understanding.
Watching and listening to the ways in which others, such as Lou Costello, solve specific
computational problems engages them in making mathematical sense of underlying
multiplication and division operations.
Technology
You can play the video from the YouTube website on your computer. To eliminate poten-
tially inappropriate material surrounding the video, you may also embed the clip in
your own website by inserting the embedded code provided on the YouTube video page.
Another option is to capture the video and watch it offline (follow the instructions in
Chapter 6: “Acquiring Digital Video”).
46
Pedagogy
Begin the class by posing the following problem to the students: “How can 28 donuts be
shared equally among 7 people?”
Have students share their explanations for different ways of thinking about the problem.
One student might draw seven boxes on the board and draw a circle for each donut on a
tray (showing 28 donuts). Then, as she places a donut in a box (gives it to a person), she
erases a donut from the tray. The process results in each person receiving four donuts.
Another student might suggest that the problem is a division problem and explain that
28 divided by 7 is 4, since 4 times 7 is 28. Still another person might draw on the board
seven groups, each containing four marks, and then count the marks up to 28. Encourage
different communication strategies as well as thinking about the relationships among
repeated addition, multiplication, and division.
Introduce the students to the two people in the movie—Bud Abbott and Lou Costello—
showing pictures of the two men (the YouTube website contains many images). Describe
them as comedians who often have disagreements about arithmetic. In fact, the same
donut problem your class just completed is one of the problems about which Abbott and
Costello disagreed on the solution. Instruct the students that they will watch the clip
to identify which one of the two comedians actually understands the arithmetic of the
problem. Show the 3-minute video clip of Abbott and Costello discussing the number of
donuts 7 people would get if there were 28 donuts in total.
After watching this clip, ask students, “Can the quotient possibly be 13? What procedure
does Costello use to show that 28 divided by 7 is 13?” You may want to show the video
a second time to remind the students about the various ways that Abbott and Costello
consider the problem: division of 28 by 7; proving the division correct through multiplica-
tion of 7 times 4; supplying another proof of the correctness of the division with repeated
addition by adding seven 13s. Stop the video and replay parts as needed to make sure the
students have identified the arithmetic solutions and proofs.
Discuss Lou Costello’s division method. Does this method work for all division prob-
lems? Ask the students to consider a similar problem: 18 donuts to be shared equally by 3
people. Have them try Costello’s method for 18 divided by 3. Does this result make sense?
How can each person be given 24 donuts when there are only 18 donuts in the begin-
ning? Why is Costello’s division method wrong? Add to this discussion the “proofs” that
Costello used to verify his result (multiplication and repeated addition). Why are these
proofs incorrect? Encourage the students to talk about the meaning of place-value as the
basic structure in the base-10 number system.
47
Organize the students in three different groups to develop explanations they might use
to help Costello see and understand that his ways of doing the operations are incorrect.
Challenge the first group to respond to the question about Costello’s way of dividing.
Why is his method incorrect? Ask the second group to develop an explanation of why the
multiplication proof is incorrect and the third group to develop an explanation of why the
repeated addition is incorrect.
Encourage the groups to communicate their explanations in creative ways. They might
develop a play and act it out for the class, create a video to communicate their explana-
tions, or draw visuals to explain.
After the groups share their explanations, discuss the importance of communication in
mathematics. Communication is a way of talking about mathematics, a way that “helps
build meaning and permanence of ideas” (NCTM, 2000, p. 60). Yes, this process does take
time. Students’ experiences in communicating their personal understandings and expla-
nations require them to think deeply about the operations and how the ideas are related
to each other.
Modifications
Provide multiple representations by adding other technologies along with this video clip.
If 28 divided by 7 is 13, then what should 7 times 13 be? Have students demonstrate this
product with handheld base-10 blocks. Use the Rectangle Multiplication virtual manipu-
lative download from the National Library of Virtual Manipulatives (http://nlvm.usu.
edu/en/nav/frames_asid_192_g_2_t_1.html) to demonstrate that 7 times 13 is 91 and not
28, as Costello claims (see Figure 2.1). Change the sliders to find the product of 13 times 7
and discuss the commutative nature of multiplication. Have students use their handheld
blocks to verify the sums, products, and quotients in the video.
F IG U R E 2 . 1 . Virtual manipulative
for demonstrating products of numbers
(Rectangle Multiplication available from
http://nlvm.usu.edu/en/nav/frames_
asid_192_g_2_t_1.html).
48
Vary the context with a different clip. A similar clip on YouTube called Ma and Pa Kettle
Find Uranium provides another look at the same problem Abbott and Costello had. This
3½-minute video can be found at www.youtube.com/watch?v=zlXtCVaC9ns.
Vary the problem. In another Abbott and Costello video, the two are exchanging money.
Two Tens for a Five is an approximately 1-minute portion of a longer video clip (Abbott
& Costello: “Two Tens for a Five” & “Who’s on First”) found at www.youtube.com/
watch?v=V1fJDIXEq9w. Focus only on this portion of the video and have the students
determine how much each person has after each exchange of money. After watching the
video, ask the students which of the exchanges were correct and which were incorrect.
Again, you will probably need to replay the video as you help the students gather the data
they need to respond. Students can be asked questions about this clip such as, “If Abbott
starts with five 10-dollar bills, what does he have left after the skit? If Costello starts with
ten 5-dollar bills, what does he have left?” Students can be asked to create a similar silly
skit but with other mathematics concepts, such as time, fractions, or algebra.
Vary the video. Donald in Mathmagicland is an entertaining example of Donald Duck

learning to play billiards based on mathematics (www.math.harvard.edu/~knill/
mathmovies/swf/donald.html). Challenge students
to learn how to do some activity that is mathemat-
ical (but not obviously mathematical) and explain
content
how mathematics is used in it. Students might
standards
choose a sport, dance choreography, theatre
production, or music. The Principles and
Standards for School
Mathematics are
sponsored by the
National Council of
Teachers of Mathematics,
http://standards.nctm.org.
49
Alice in Wonderland
Mathematics—Scaling
GRADE LEVELS: 4–8
Objectives
■ Students use ratios to dilate or shrink an object.
■ Students determine the ratio of dilation from a given transformation.
■ Students determine how the area or perimeter of a polygon might change as the figure is dilated.

■ Understand measurable attributes of objectives and the units, systems, and processes of measure-
ment (NCTM, Measurement expectations, Grades 6–8)
■ Understand numbers, ways of representing numbers, relationships among numbers, and number
systems—understand and use ratios and proportions to represent quantitative relationships
(NCTM, Number and Operations expectations, Grades 6–8)
■ Apply appropriate techniques, tools, and formulas to determine measurements (NCTM,
Measurement expectations, Grades 6–8)

c. use models and simulations to explore complex systems and issues
d. identify trends and forecast possibilities
d. process data and report results
c. collect and analyze data to identify solutions and/or make informed decisions
d. transfer current knowledge to learning of new technologies
50
■ Download of the Transformations–Dilation virtual manipulative from the National Library of
Virtual Manipulatives (http://nlvm.usu.edu/en/nav/frames_asid_295_g_3_t_3.html)
■ Video of Alice in Wonderland (if using the 1999 remake, queue it to the first scene about 5 minutes
30 seconds into the movie; students watch about 8 minutes of the video).
■ Calculators or spreadsheet
Content
Another video clip students can watch in the mathematics classroom comes from the
movie Alice in Wonderland (the 1999 remake, the 2010 remake, or the 1951 original). In
the opening scene, Alice sees a white rabbit and follows it down the rabbit hole. She enters
a long hallway with a gold key on the table. She proceeds around a curtain with a small
door behind it and uses the key to unlock the door. She sees a beautiful garden through
the door, but cannot fit through the door herself. She finds a small bottle labeled “DRINK
ME,” and the drink shrinks her to the right size to fit through the door. After a few
minutes she realizes that she left the key on the table, but she is too small to reach it. She
panics and proceeds to eat a cake that says “EAT ME,” which makes her grow to 9-feet
tall. The story continues.
This activity is an excellent opening segment for a unit on transformations, specifi-

cally dilations. Students can see how Alice shrinks and then grows, thus giving them
an intuitive sense of what it means to dilate or shrink an object. Furthermore, students
can explore how they might change as a result of shrinking or growing as Alice did. The
activity can then be expanded to determine how polygons might change with respect to
dilation and how the length of the sides and area change with that dilation.
Pedagogy
Use the Transformations–Dilation virtual manipulative to introduce the idea of scaling
(as in Figures 2.2A and 2.2B). The scale slider can be moved to create a similar figure that
is 0.44 the scale of the larger object or even 2.0 times the scale of the original figure.
Ask students what they observe about the figure as the scale changes. Talk about the
different features of the image. Are the two figures exactly the same? What happens
when the scale is changed? Are the images still similar? Students should describe how
they are the same and how they are different.
Ask, “Who has read the book or seen the movie Alice in Wonderland?” Allow students to
share what they remember about the story. If not many students are familiar with the
plot, give them a quick synopsis so that they have a context. Tell them they will watch a
few minutes of the movie and must pay close attention to Alice and how she shrinks and
grows in the movie. Run the clip for about 8 minutes until Alice shrinks and floats away
in the pool of her own tears.
51
F IG U R E 2 . 2 a and 2 . 2 b . Resizing a figure with a scale factor change from 0.44 to 2.0
(Transformations-Dilation from the National Library of Virtual Manipulatives, http://nlvm.usu.edu/
en/nav/frames_asid_295_g_3_t_3.html).
After stopping the video, ask students to summarize what happened to Alice as she
drank the potion and then as she ate the cake. “How much did Alice have to shrink to fit
through the small door, and how much would she need to grow to be able to reach the key
on the table?” Suggest that the students model Alice’s changes with the Transformations–
Dilation virtual manipulative.
Ask students if this action can be modeled using mathematics. Connect the problem in
the video to the classroom. How would Alice look in the classroom if she shrank to one-
eighth of her size? Assuming that Alice was an average sized young woman of 5' 4", how
tall would she be after shrinking? Discuss what conjectures students might make about
each of these challenges. Students should consider the following questions:
■ Measure the height of your desks. Would Alice be as tall as your desk if she
were one-eighth her size?
■ If you were shrunk down to one-eighth your size, how tall would you be? What
would be the length of your hand? What size shoe would you wear? Would you
be as tall as the desk? What object in the classroom would be the same height
as you?
■ After Alice ate the cake, she was 9 feet tall. Could she walk through the class-
room doorway without stooping? What ratio did she grow from her original
height (using the average height)? What ratio did she grow from her shrunken
version?
52
F IG U R E 2 . 3 . Spreadsheet prepared for considering Alice when she is

shrunk to one-eighth her original size.
Investigate these challenges using a spreadsheet (see Figure 2.3). Use the spreadsheet
functions to do the following:
■ change feet and inches to just inches
■ find 1/8 of the inches
■ convert the inches back to feet and inches
Modifications
Vary the ratio for shrinking Alice. With a middle school class, it might be useful to
start with a simpler ratio such as one-fourth. With a more advanced group of students,
consider a ratio such as 2/5 or even 11/17.
Extend the mathematical ideas to the notion of limits. This scene has another math-
ematical connotation to it. As Alice is drinking the liquid in the small bottle, she wonders
what size she would end up being if she drank more of it and whether, perhaps, she would
end up “going out altogether, like a candle.” If Alice continues to drink the liquid and
continues to shrink to one-eighth her size, can she “go out altogether?” Have students
display the decreasing size in a spreadsheet both in a table and in a graph. Discuss the
concept of a limit as they explain the changes in size.
Create scale models of items that Alice might see. Ask students to think of the items in
Alice’s world. Challenge students to create a scale version of a church, a courthouse, or a
car that might exist in Alice’s world if she were 25 inches tall.
Consider other mathematical features in Alice’s world. It is believed that because Lewis
Carroll was an Oxford University mathematician, he included many references to math-
ematics in his works. In Alice in Wonderland, Chapter 2: “Pool of Tears,” Alice tries to
perform multiplication, but it seems that she is doing this operation in different bases.
She states, “Let me see: four times five is twelve, and four times six is thirteen, and four
times seven is—oh dear! I shall never get to twenty at that rate!” (4 × 5 = 12 in base 18,
4 × 6 = 13 in base 21, and 4 × 7 could be 14 in base 24).
53
Analyzing Digital Video Activities

ANALYSIS IS at the heart of reasoning in mathematics. In mathematics, people analyze
situations and models to define functions describing relationships. Students need experi-
ences that guide them as they learn to reason mathematically. They need opportunities to
make conjectures based on their analysis and to communicate the thinking that directs
them toward these conjectures. Engaging students in analysis of events in video clips is
one way of providing these important experiences. In a classroom, students might watch
video clips of people dancing, riding bikes, or traveling in cars and then analyze the
motions they are seeing. What patterns do they see in the dance routines? How fast is a
car going in a video? These types of activities can be used to interject analysis into video-
recorded experiences.
54
The Path of a Rock

Embedded in a Tire
Mathematics—Cycloids
G R A D E L E V E L S : 9 –12
Objectives
■ Students describe nonlinear relationships.
■ Students use graphical and tabular representations to visualize a mathematical situation.
■ Students define the nonlinear function of a cycloid.

■ Represent and analyze mathematical situations and structures using algebraic symbols (NCTM,
Algebra Standard Grades 9–12)
■ Analyze change in various contexts—changing from graphical and numerical data (NCTM, Algebra
Standard Grades 9–12)
■ Use visualization, spatial reasoning, and geometric modeling to solve problems (NCTM, Geometry
Standard Grades 9–12)

and formats
b. locate, organize, analyze, evaluate, synthesize, and ethically use information from a variety
of sources and media
55

■ Before class, download the Bicycle Rock—Part 1 video from the Screening Room at http://site.aace.
org/video/books/teaching/math (or create a video of your own showing person riding a bike with
a rock embedded in the tire). Note that in our video, the rock is visible and the clicking sound is
audible.
■ Bicycle Rock—Part 2 (found at http://site.aace.org/video/books/teaching/math) highlights the path
of the rock as Abby rides her bike.
■ You may also want to set up a demonstration bike in the classroom. Place it in an inverted position
to display the rock in the tire similar to the Inverted Bicycle video in the SITE Screening Room at
http://site.aace.org/video/books/teaching/math.
■ Wheel analysis videos demonstrating the relationship of the height of the rock from the center of
the tire versus the distance the tire travels:
■ Wheel with Numbers—Found at http://site.aace.org/video/books/teaching/math/
■ Wheel with Graph—Found at http://site.aace.org/video/books/teaching/math/
■ Cycloid video from Jim Wilson, University of Georgia. This video simulates the path of a
rock embedded in a tire: http://jwilson.coe.uga.edu/EMT668/EMT668.Student.Folders/
BrombacherAarnout/EMT669/cycloids/cycloid.mov
■ Cycloid animation from Math Demos website: http://mathdemos.gcsu.edu/mathdemos/
cycloid-demo/
■ Graphing calculators
■ Spreadsheet to create a cycloid graph
■ Whiteboard, Smart Board, or chalkboard
Content
Abby is riding her bike along the sidewalk and hears a clicking noise as the back wheel
turns. Upon investigation (Figure 2.4), she discovers that her tire has a rock lodged in it
that is hitting the ground each time the tire rotates. What would the path of the rock look
like if it were graphed on the x—y axis, where x is the distance the bike goes and y is the
height of the rock embedded in the wheel?
In Grades 9–12, students develop insights into mathematical abstraction and structure by
exploring the behavior of nonlinear relationships for polynomial, exponential, rational,
and periodic functions. When these relationships are embedded in various contexts such
as Abby’s bicycle problem, students are challenged to describe the motion using algebraic
symbols to represent and explain the mathematical relationship. They develop tabular
and graphical representations to aid in visualizing the mathematical situation. As they
analyze the motion of the rock embedded in a bicycle wheel, they are engaged in the
56
F IG U R E 2 . 4. There is a rock lodged in Abby’s bike tire.
mathematical processes for identifying a specific functional notation for the motion. In
this case two curves are explored: the sine curve and a cycloid curve.
Pedagogy
Introduce the problem with a video of a person riding a bike, such as the video Bicycle
Rock—Part 1. Identify a location on the tire for the rock embedded in the wheel and focus
the students’ attention with two questions that arise from the video.
1. What is the relationship between the height of the rock off the ground and the
distance that the tire travels as the person rides the bike?
2. What is the path of the rock as the person rides along?
Ask students to clarify the difference between the two questions. Encourage them to use
the demonstration bike as they describe their interpretations. Challenge the students to
consider how they might proceed in answering each of the questions. Use Bicycle Rock—
Part 2 or Wheel with Graph video from the Screening Room for discussing the questions.
The first question is concerned with the height of the rock in the tire from the ground
versus the distance the tire travels. Select a particular point on the tire as if it were the
rock. Ask students to sketch a graph of the height of the rock as a function of time as the
tire rotates through one complete rotation. After sharing their ideas about the relation-
ship, have students sketch their ideas of the graph of the height of the rock as a function
of time. Create an animation of this process in Geometer’s Sketchpad as depicted in
57
Figure 2.5A, B, and C. Hide the parallel line to the road line, the perpendicular line to the
road line, and the center point of the circle for easier viewing of the animation as point A
moves clockwise about the circle (as if the tire were rolling down the street).
Now have the students compare their data for their conjecture with the data displayed
in the Wheel with Numbers video from the Screening Room. In this video, the height of
the rock is measured from the line through the center of the tire and not the line repre-
senting the ground. Why are some of the values negative and some positive? What do the
values from the video indicate about the measurement technique? How would your graph
change if you used these data?
F IG U R E S 2 . 5 a , b , c .
A Geometer’s Sketchpad graph-
ical animation sketching the
graph of the height of the rock
embedded in the tire (point A)
as a function of the distance
the tire travels.
58
After students have discussed and shared their graphs and ideas about the data from the
video, show the Wheel with Graph video, which shows the tire movement and displays
a graphical representation of the data generated. Ask students, “How is this graph
similar to your graph?” Both graphs display the relationship of the height of the rock
over time as a function of time. The difference between the video graph and the students’
graphs comes from the line from which the rock height is measured. Figure 2.5 shows
the measurements from the ground, while the Wheel with Graph video graphs the data
measured from the diameter of the tire that is parallel to the ground. Both have the
shape of a sine function.
The second question—What is the path of the rock as the person rides along?—is concerned
with the path of the rock as the biker rides along the sidewalk. Have the students sketch
their thinking about this question and propose a conjecture as to the graph for this ques-
tion. Does the path of the rock describe the same function as the graph they determined
for the question about the height of the rock as a function of time? After the students
have posed a conjecture about the path, show them an animation of the path of the rock
as a function of time (from the Jim Wilson website: http://jwilson.coe.uga.edu/EMT668/
EMT668.Student.Folders/BrombacherAarnout/EMT669/cycloids/cycloid.mov).
As animated in the video, Figure 2.6 describes a cycloid of the path of the rock as a func-
tion of time. A cycloid is a famous curve named by Galileo in 1599. It is the path traced
out by a point on the circumference of a circle as the circle rolls (without slipping) along a
straight line. Show the cycloid animation of the path of the rock on the circumference of
the circular tire from the Math Demos website (http://mathdemos.gcsu.edu/mathdemos/
cycloid-demo/index.html).
The cycloid function is described as a parametric equation dependent on the radius, a, of

the circle (the tire) where the ordered pairs of points are described as: (x,y) = (a(t—sin(t)),
a(1—cos(t))).
F IG U R E 2 .6 . A graphical representation of the path of the rock on the tire as a function of time:
a cycloid function.
59
TABLE 2.1. Data for the Path of the Rock on the Bike Tire as a Function of Time
Time (in seconds) x y
0 0 0
1 1.902348182 5.51637233
2 13.08843088 16.99376204
3 34.3065599 23.87990996
4 57.08162994 19.84372345
5 71.5070913 8.596053774
Students can use their graphing calculators to identify a set of ordered pairs over the
first 5 seconds of the rotation if the radius of the tire is 12 inches. Table 2.1 identifies the
results over 5 seconds. Ask, “What is a graphical sketch of these points?”
Now, encourage the students to create a spreadsheet in which they enter the radius a of
the tire and the time t is incremented by 0.2 seconds to generate the table of data. Plot
enough data points to describe at least two revolutions of the tire. A spreadsheet with the
formulas might look like the display in Figure 2.7. Note that the radius of the tire is in
cell C5, where the formulas refer absolutely to this cell ($C$5).
Students should create a graph for x and y from the spreadsheet table, as in Figure 2.8,
and explain the results. After they are comfortable with this description, explore the
dynamic capability of this spreadsheet by changing the radius of the tire. What happens
if the radius is 15 inches? If it is 20 inches? If it is 7 inches? The spreadsheet dynamically
adjusts the table of data so the graph is immediately updated for newly calculated values.
Modifications
Design a video of the changes in the spreadsheet as the radius of the tire is changed.
Challenge students to create a spreadsheet slider for the cell with the value for the radius
(C5) in Figure 2.7. Ask students to use a movie screen capture software (such as Camtasia
Studio for PCs or Snapz Pro X for Macs) to capture the changes in the graph as the slider
is changed. As the value for the radius of the tire changes, the ordered pairs and the
graphical description of the cycloid are dynamically changed to represent the new data.
60
F IG U R E 2 .7. Spreadsheet formulas to calculate the path of the rock over time.
F IG U R E 2 . 8 . Spreadsheet table and graph of the path of the rock over time.
Vary the objects in motion. Consider similar projects for other objects in motion, such as
a seesaw, a Ferris wheel, or another kind of carnival ride. Ask students, “What types of
graphs are revealed?” Students can create videos of the motions, analyze the videos, and
gather data for generating the graphs. Or they can simulate the motion of these different
objects using Geometer’s Sketchpad.
Consider different variables in the motion. Think about the force generated on a merry-
go-round. What happens to the people on the ride as its speed is increased? Is there a
difference if the person is sitting near the center versus the outer edge? Watch a video of
the motion of children on a merry-go-round as it is moved at different speeds and as the
children are sitting in different locations. Analyze the visual description by preparing
a graph of the distance of the children’s heads from the center as the merry-go-round
moves at different speeds. Simulate the graph by entering data in a spreadsheet to create
a graphical representation.
61
Rates of Change
Mathematics—Rate
G R A D E L E V E L S : 7 –1 0
Objective
■ The speed of a car is identified as the number of miles traveled in an hour. In this activity, students
will investigate how police aircraft are able to determine the speed of cars from the air.
National Council of Teachers of Mathematics (NCTM) Standards Addressed

■ Represent and analyze mathematical situations and structures using algebraic symbols (NCTM,
Algebra Standard Grades 6–8, 9–12)
■ Analyze change in various contexts—use graphical and symbolic representations (NCTM, Algebra
Standard Grades 6–8, 9–12)

■ Aviation video found in the Aviation section of the Ohio State Patrol website: http://statepatrol.
ohio.gov/units.stm#Aviation. (Click on “Aviation Video.”) The relevant part of the video runs from
1 minute 40 seconds to 4 minutes 35 seconds. You can also save this video to your computer and
watch it offline (or edit out the unnecessary sections and keep it for future use—see Chapter 6:
“Acquiring Digital Video”).
62
Content
Rate is an important concept in mathematics. It is introduced in pre-algebra under the
auspices of slope. Many students do not make the connection between rates of change
and slope. A rate can be defined as a distance traveled divided by a time interval. For the
rate of a car in motion, consider the ratio of the distance traveled to the amount of time to
drive that distance. Most cars do not travel at a constant speed, so rate is usually defined
as an average rate or speed.
Pedagogy
Display an image of a highway speed limit sign along with an image of a sign that says
“Speed Limit Enforced by Aircraft” (Figure 2.9). Ask students, “What do these signs actu-
ally mean? How can an aircraft know how fast you are going and, furthermore, stop you
to give you a ticket?”
Aircraft enforcement is traffic enforcement used in open spaces and on the interstate
systems. Although it does not produce exact results, this manner of determining the
speed of vehicles is accepted in a court of law. Tell students that they are going to deter-
mine how this process works.
F IG U R E 2 .9. Example of highway sign for rates-of-change activity.
63
Show students the relevant portion of the aviation video and discuss the simple idea used
by police officers in Ohio. The police in the aircraft have a stopwatch to determine the
amount of time a car takes to travel from one point to another. The points are predeter-
mined, chosen for clear views from the aircraft and a safe place for a ground vehicle to
stop the car. Next time you notice the sign on the highway, look down at the road under
the sign. You will often see a line painted perpendicular to the traffic flow. Another line
is painted some distance away. These lines signal the predetermined points. Once the
points have been determined, a trial run is made to assure accuracy of the distance and
time.
Now the police are ready to catch a speeder from the aircraft. A police car on the ground
gets into position in preparation for stopping the offender quickly. The policeman in the
aircraft starts a stopwatch when a car crosses the first line and stops the watch when it
crosses the second line. This information is used to determine the speed of the car. If the
car is speeding, the officer in the aircraft radios the make, color, and speed of the car to
the officer in the police car, who then stops and cites the violator.
The question for students is, “How do the police officers determine a car’s speed based on
the information gathered from the aircraft?” Show students the video of police aircraft
timing a car several times (from the Ohio State Patrol website).
Tell students that the simplest way to determine the rate of the car is to use a stopwatch
to record the amount of time it takes for the car to travel the distance from the starting
point to the stopping point. The following questions can be used to engage students in
discourse about their analysis of the vehicle’s speed:
■ What is the average rate of speed of the car?
■ What are the units for this rate?
■ Do you think that the car has the same rate in this video as at other times?
■ Why is it important that the police monitor travelers in this manner?
Modifications
Vary the view of the moving object. Calculate the average rate of speed of a runner in a
video as the runner progresses across a large screen display at the front of the room.
Have students mark starting and stopping points they plan to use from the video display
of the runner. Have multiple groups gather data to demonstrate a variance in the rates.
Use these different rates to calculate an average rate of speed for the runner. Vary this
activity by having groups videotape various objects in motion (such as a car, tractor,
train, or bus). Students might also watch or make their own video of objects of different
sizes and weights falling from some height, then calculate the average rate of speed of the
falling objects, comparing their speeds.
64
Capture videos of students at a track meet. Have students analyze the process to be
used for designing videos of student races at a track meet, such as of a runner in a
race. Students are to determine various kinds of markers that could be used for their
measurements in the video. Have students analyze the speed of the runner from their
observations of the videos made by others. Students can also videotape a person walking
from one point to another point. Again, they should discover the data needed to deter-
mine the average rate at which a person is walking.

EVEN WHEN students create their own video, they can also engage in watching and
analyzing. In fact, many of the modifications in the previous activities have presented
ideas for students creating mathematics videos.
A large majority of students beyond third grade have probably viewed YouTube clips.
They enjoy the clips and even send them to their family, friends, and teachers via e-mail.
Check out the YouTube video clip called What Do You Know about Math? (www.youtube.
com/watch?v=Ooa8nHKPZ5k). Some students and teachers are even creating their own
videos to post on YouTube. See how one teacher’s video displays a parallel-line dance in a
YouTube video called Crazy Math Teacher: The Dance of the Parallel Lines (www.youtube.
com/watch?v=mVb6wpNRz9c). Such videos are easy to create. Students can use their cell
phones to capture the video while the teacher dances to the music.
Creating videos can be as simple as taking pictures and creating slide shows, adding
audio and transition effects. Some students have access to cameras that can record
movies. Note how an elementary school student, Madeline, describes the mathematics
she knows and how she thinks about it in a YouTube video called Math With Madeline
(www.youtube.com/watch?v=EyHER6o-4x0). Or view the YouTube video Finite Simple
Group (of Order Two) (www.youtube.com/watch?v=BipvGD-LCjU), in which college
students sing about their understanding of some abstract mathematical ideas.
Using digital video equipment to learn mathematics is not a traditional strategy in math-
ematics classrooms. However, given that students are actively making videos outside of
school, you should consider allowing students to use this medium for communicating
what they know and are able to complete. With the proliferation of video technologies and
the decreased cost of purchasing digital equipment, students in elementary through high
school are likely to have access to digital video equipment.
Students can create several types of videos to enhance learning in the mathematics
classroom. They might use digital video equipment to create a teaching video in which
they teach a mathematical concept or process. For example, they might develop a script
and create a video to instruct how to compute (2x + 3)2. Maybe they can use a computer
65
F IG U R E S 2 . 10 a and b . Multiplying algebraic expressions with virtual

manipulatives.
screen capture to show how to use Algebra Tiles (Figures 2.10A and B from the online
National Library of Virtual Manipulatives) to demonstrate that the product of (2x + 3) (2x
+ 3)—Figure 2.10A—creates a rectangle that must be covered by blocks that represent 4x2 +
12x + 9—Figure 2.10B.
Students might create a “how-to” video to explain a particular mathematical process,

such as multiplication of fractions. Students might also create a video showing how to
use the classroom calculators to enter data, graph a scatter plot, find the regression equa-
tion, and graph the regression equation on the scatter plot.
What about assessing students’ knowledge by having them create videos? Imagine how
you might assess student understanding in a society where digital video capabilities
extend communication possibilities in the classroom. Instruct small groups of two or
three students to create a video that shows each student completing problems in which
they explain what they learned in class that day. Have students in each group pick one
problem from the homework set and show how to complete that problem in the video.
The problems shown by the groups should present differing aspects of the content. For
example, when the students are introduced to the method for factoring the difference of
two perfect squares during the classroom instruction, one student might show how to
factor a2—64, another student 9x2—100y6, and a third student 3x8—3. Thus, the various
problems increase in difficulty. (Encourage students to create a script before they begin
capturing video.)
Research shows that the best way to learn is to teach or communicate the idea to others.
Students might create a video that teaches another person (their siblings, parents, other
students, other teachers) specific mathematical concepts or ideas, such as variables or the
ways geometry is used in local buildings. The number of school-aged students submitting
videos to YouTube indicates that they clearly enjoy this creative outlet.
66
Train Switcheroo
Mathematics—Problem Solving
GRADE LEVELS: 3–9
Objectives
■ Students solve problems that arise in contexts outside of mathematics.
■ Students organize and consolidate their mathematical thinking through communication.
■ Students create and use visual representations to organize, record, and communicate their
solutions to problems.

■ Build new mathematical knowledge through problem solving (NCTM, Problem Solving Standard
Grades PK–12)
■ Select and use various types of reasoning and methods of proof (NCTM, Reasoning and Proof
Standard Grades PK–12)
■ Communicate their mathematical thinking coherently and clearly to peers, teachers, and others
(NCTM, Communication Standard Grades PK–12)
■ Recognize and apply mathematics in contexts outside of mathematics (NCTM, Connections
■ Use representations to model and interpret physical, social, and mathematical phenomena (NCTM,
Representation Standard Grades PK–12)

and formats
67

■ Cell phone, digital cameras with movie settings, or inexpensive camcorders for video capture
■ Sample student video solution on YouTube: “Math problem”
(www.youtube.com/watch?v=Jy2hS0fOOsg&feature=e-mail)
■ Toy engine and train cars to model problem
Content
Mathematics is famous for problems that deal with trains. Do you recall problems like
the following?
If two trains leave the station at the same time, one traveling east and the other
traveling west, how long will it take them to be 330 miles apart if the eastbound
train is traveling at an average of 60 miles per hour and the westbound train is
traveling at an average of 50 miles per hour?
The solution to this problem is typically found with an equation. This activity considers a
problem not so easily solved by an equation—the “train switcheroo” problem posed by the
EQUALS program at the Lawrence Hall of Science, University of California at Berkeley, in
1982.
Problem solving is an integral part of mathematics because it helps students build new
mathematical knowledge. When engaged in problem solving, students develop “ways
of thinking, habits of persistence and curiosity, and confidence in unfamiliar situa-
tions that will serve them well outside the mathematics classroom” (NCTM, 2000, p.
52). An important part of the problem-solving process is communicating how a problem
can be solved. As students share their methods, they develop more mathematical ways
of communicating. Creating digital videos of problem solutions provides a fun visual
medium for mathematical communication.
Pedagogy
Figure 2.11 displays the basic framework for the problem: the tracks, two cars, and the
engine. The engine is currently on the right offshoot of the circular track. Cars A and
B are on opposites sides of the track. There is a tunnel on the track, but only the train
can go through the tunnel. The train can push and pull the cars. Note that turns are not
possible at each of the offshoot corners. The task is to switch the cars and return the
engine to its starting position.
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F IG U R E 2 . 1 1 . The train track and starting positions for the cars and
the engine in the Train Switcheroo problem.
In addition to the technology, you will need a toy engine and train cars to model the
problem and the solution on a classroom-created railroad track. On Day 1 of this one-week
activity, introduce the problem using the toy engine, cars, and a railroad track. Model the
legal actions: the engine can push and pull, only the engine can go through the tunnel,
and no turns can be made at the offshoots. Make sure students understand the problem
and the challenges.
Students have 1 week to identify a solution and prepare a presentation that explains their
set of instructions for switching Car A and Car B and returning the engine to its starting
place in the same orientation. Suggest that they think of creative ways of communicating
their solutions, such as creating a digital video to help the class visualize the steps in
the solutions. The video might be of their family acting out the solution, where Mom is
Car A, Dad is Car B, and the student is the engine. A sample student video on YouTube
(www.youtube.com/watch?v=Jy2hS0fOOsg&feature=e-mail) shows Justin directing his
mom (engine), his younger brother Joel (Car B), and his sister Jodi (Car A) to demonstrate
a possible solution to the problem, using their living room for the train track and his dad
as the videographer. Alternatively, students might video a model that uses their own rail-
road track, toy cars, and engine as a demonstration for the class.
69
Check daily on students’ progress. You can even show a solution on the overhead using
toy models to show them that the problem can be completed. Some teachers have found
that even when students are shown a solution, they do not catch all the steps and have to
rethink the solution and how to communicate it. Besides, the problem has many possible
solutions. Ask students if they can find a more efficient solution than the one you
demonstrated.
On the due date, students should present their videos or other ways of expressing the
solution (e.g., a play they perform, a bulletin board that shows the progression of the
steps, or even a list of steps to the solution). Discuss the differences in the communica-
tions of the solutions and how some are more visual than others. Ask them why a visual
approach is useful in imagining the solution.
Modifications
Vary the problem. Pose the famous locker problem that begins at a school that has 100
lockers, all shut. Suppose the first student goes along the row and opens every locker.
The second student then goes along and shuts every other locker beginning with locker
No. 2. The third student changes the state of every third locker beginning with locker
No. 3. (If the locker is open, the student shuts it; if the locker is closed, the student opens
it.) The fourth student changes the state of every fourth locker beginning with No. 4.
Imagine that this process continues until 100 students have followed the pattern with
the 100 lockers. At the end, which lockers are open and which are closed? Which lockers
have been switched most often? How many lockers, and which ones, were touched exactly
five times? Create a video that models the solution for a subset of the 100 lockers (say, 20
lockers).
Introduce a problem with a digital video. Ask students to pose a problem for the class to
solve using a video presentation of a problem. They might create a mathematical mystery.
They might construct an object and challenge students to find the volume of the object.
Or they might tackle the mystery of the Towers of Hanoi. Such modifications put the
students in the position of identifying a problem that requires more analysis than typical
workbook problems.
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Marching Band Choreography

Mathematics—Geometry
G R A D E L E V E L S : 6 –12
Objectives
■ Students analyze movements graphically and algebraically.
■ Students use transformations and symmetry to create a choreographed piece.
■ Students make connections between a real-world model and a mathematical model.
■ Students use mathematical language to describe their model.

■ Use mathematical models to represent and understand quantitative relationships—model and
solve relations and functions through graphical representations (NCTM, Algebra Standard Grades
6–8, 9–12)
■ Analyze change in various contexts—use graphical and symbolic representations (NCTM, Algebra
■ Apply transformations and use symmetry to analyze mathematical situations (NCTM, Geometry
■ Use the language of mathematics to express mathematical ideas precisely (NCTM, Communication

c. evaluate and select information sources and digital tools based on the appropriateness to
specific tasks
71

■ IUP Marching Band clip: www.youtube.com/watch?v=1ufaXxcm0ao
■ Digital video camera
■ Graphing calculator such as the TI-83 Plus
■ TI Interactive! (optional)
■ Smart Board, whiteboard, or chalkboard
Content
Dance, gymnastics, skating, baton twirling, and cheerleading routines all have a
designed set of movements. This set of movements is choreography, which literally means
“dance-writing” and is also known as “dance composition.” It is the art of making move-
ment structures by connecting them.
One of the most complicated forms of choreography is that used by a band director for a
marching band and its formations. A marching band not only performs musical compo-
sitions but also entertains with steps and movements to create designs such as letters,
logos, or even animated pictures. The members must mark time, change directions,
change styles of stepping, and march forward and backward, all while playing the desig-
nated music with their instruments. Band directors must create sets of movements for
their band members that are coordinated with the music and visually appealing to an
audience watching from both the ground level and the stands above. Certain instruments
must be kept together to provide the best sound for the music. The drill team, twirlers,
and flag team members must also coordinate their movements with the band’s.
To choreograph all of this, band directors must document the movements of each person
on the field. Figures 2.12A, B, and C document specific formations designed by David
Martynuik, marching band director at Indiana University of Pennsylvania (IUP).
Geometry is more than definitions, theorems, and proofs. Geometry involves analyzing
shapes and structures and their relationships. Transformations such as transltions, rota-
tions, and reflections are important geometrical ideas. Identifying centers of rotations,
lines of reflection, and positions of pre-images and images are key to the identification
of and communication about symmetry. Rotational symmetry and lines of symmetry
72
F IG U R E S 2 . 1 2 a , b , c . Three sequential marching band formations choreographing the

band’s movements.
73
are used in determining congruence or dilations, such as magnifications and contrac-

tions. Making connections among these geometrical ideas with algebraic representations
is another important mathematical way of knowing and thinking. Communicating
symbolic representations for multiple parallel lines is useful in modeling and inter-
preting physical phenomena such as those found in band formations. Analyzing band
formations provides students with visualization experiences that support the develop-
ment of algebraic and geometrical thinking and reasoning.
Pedagogy
Before creating a digital video of a choreographed piece, students first must be guided
to think about the mathematics of the various formations. They need to watch videos of
different formations and identify potential mathematical functions for the formations
being displayed. They need experiences in mathematically analyzing the actions in
which they defend their analyses for the mathematics involved in the formation. These
preparatory experiences are essential before students can begin creating their own
formations evolving from mathematical functions.
To engage in this process, you might begin by showing the three-minute YouTube clip of
the IUP Marching Band to the students to introduce them to the challenge of analyzing
the marching band formations. Ask students to watch the video and identify concepts of
mathematics in the band’s movements as they watch the video. Encourage them to think
about timing, counting, symmetry, shapes, transformations, and other patterns. After
they have watched the video, have the students share their ideas. You might use ques-
tions such as, “What geometrical ideas are used in creating these formations that are
visually appealing? What algebraic ideas are used?”
Reshow the clip. The best way to begin the analysis of the band formations is to project
the scene onto a Smart Board, whiteboard, or chalkboard so that you can stop it at key
points to show symmetry, translations, and polygons. Use the Smart Board pen, dry-
erase marker, or chalk to draw the shape or figure that has been created in the video.
Encourage students to identify their observations in this same way.
The first part of the clip shows a neat formation where the members of the band are
marching in diagonal lines. Stop the clip at 28 seconds and have students create a graph
of how the band members are standing. Either the graphing calculator or TI Interactive!
provides an excellent tool for students to explore the various lines that are formed.
Figure 2.13 shows one possible configuration created by using the software program
TI Interactive!
Figure 2.14 shows this same configuration, but with the coordinate axes added. In this
figure, the student placed the y-axis on the 35-yard line, but the band director needs
the y-axis on the 50-yard line. Challenge students to create this formation so that the
y-axis is on the 50-yard line to split the center group of band members and form a more
pleasing formation. This exploration is useful in aiding students in understanding linear
74
F IG U R E 2 . 1 3 . Band configuration displayed using TI Interactive!
F IG U R E 2 . 14. Addition of the coordinate axes to the band configuration.
75
functions. Even though the slopes are all the same for these lines, students develop a
comprehensive understanding of intercepts and domains.
Many other formations from the YouTube clip display a symmetric choreography. For
example, stop the video clip at 2:02 minutes. The band is completely symmetrical on both
sides of the 50-yard line. Furthermore, there are vertical lines, inverse absolute value
relations, and even part of an elliptical function. This formation can also be modeled
with equations on a graphing calculator. Figures 2.15A and B show this formation using
a TI-83 Plus graphing calculator, as well as the window used to create the formation. The
y-axis represents the 50-yard line and the x-axis is in the middle of the field, such that
the intersection of the x—y axis is at the center of the field. The equations used for this
formation are:
Y1 = (20)(X > –15)(X < 15)
Y2 = (X–10)(X > 10)(X < 30)
Y3 = (–X + 10)(X > 10)(X < 30)
Y4 = (–X–10)(X > –30)(X < –10)
Y5 = (X + 10)(X > –30)(X < –10)
Y6 = (–5X + 50)(X > 10)(X < 14)
Y7 = (5X + 50)(X > –14)(X < –10)
Y8 = –(SQRT(400 –X2)/2) + 20
After the discussion of the clip is completed, challenge students in groups of five or six to
create a symmetrical formation or one that uses one of the other mathematical concepts
that have been discussed. After the groups pose for a digital photo, the rest of the class is
expected to determine what mathematical concepts are being depicted in the photos.
As a weeklong project, students in small groups should map out a set of movements for
their group that includes several of the mathematical concepts discussed. One group
might be assigned to map out a set of movements using transformations, another group
using shapes, and still another group using symmetry. More advanced students should
be challenged to design a combination of movements based on a set of functions, such
as linear, quadratic, cubic, piecewise, periodic, or exponential. Domain or asymptotic
constraints could also be given to students. Allow students to use a graphing calculator or
any other technology that might help them to design the movements.
After students have mapped out their movements on paper and have designed the
sequence of steps, have them practice several times before someone videos them doing
the choreographed piece. When students describe their proposed creations, they need to
76
F IG U R E S 2 . 1 5 a and b . Using the TI-83 Plus graphing calculator

to display the band formation.
describe the mathematical functions that led to the creation. Challenge the students also
to set their movements to music. Videotaping the movements calls for careful consider-
ation. In order to see the mathematical functions, the videos likely need to be captured
on a football field or in a basketball court, where the person with the camera can be
stationed above ground level as the movements are performed. The music might even be
dubbed using a program such as iMovie for the Mac or Movie Maker for the PC.
As students complete their video, they should share them with the rest of the class,
asking class members to analyze mathematically the motions used in the choreographed
formation. Such video productions provide an outlet for students’ artistic talents while
also communicating mathematics. Equally important, focusing on the mathematical
functions of the formations helps students extend the abstractions of mathematics to the
world around them.
Modifications
Specify particular types of formations. Challenge groups of three or four students to
create dances that incorporate only symmetry or only transformations. After creating
videos of their dances, they should challenge the members of the class to identify the
specific mathematics in the videos.
Specify particular functions to be expressed. Create some videos of a student walking in

front of a camera in the movement of a given function. For example, if the teacher asks
the student to move in front of the camera in the shape of the function y = abs(x), the
77
student should start about 3 meters away from the camera, walk toward the camera at a
constant rate, and then walk away from the camera at the same constant rate. A student
can be taped moving in front of the camera, and other students can try to figure out the
path of that person, either by graphing the movement or by defining it as a function.
Higher level students should be encouraged to express movements as piecewise functions.
Conclusion
“TECHNOLOGY IS essential in teaching and learning mathematics; it influences the
mathematics that is taught and enhances students’ learning” (NCTM, 2000, p. 24).
Digital videos are technologies with the capabilities for enhancing students’ learning of
mathematics. Digital videos have the potential for engaging students in mathematical
thinking. Creative teachers challenge traditional ways of learning mathematics in which
students spend hours and hours with paper and pencil, practicing processes that lead to
solutions of bland problems.
When adding digital videos to the pedagogical mix, teachers can challenge students to
reflect on what is said and done in ways that ultimately engage them in important mathe-
matical processes: reasoning and problem solving. Adding digital videos to the classroom
recognizes one of the ways that students are engaged in communicating what they
know and understand. Communicating about mathematics is an essential ingredient for
clarifying their reasoning and understanding. Creating videos provides ways to meet
this goal. Integrating digital videos with additional dynamic media such as Geometer’s
Sketchpad, spreadsheets, calculators, and virtual manipulatives affords students with
opportunities to create, use, and make sense of multiple representations of mathematical
ideas.
Analysis of activities with digital videos can be accomplished along with these dynamic
technologies to support students’ reasoning and thinking as they work to understand
mathematical concepts and processes. Mathematics is far more than the content areas
of numbers, algebra, geometry, probability and statistics, and measurement. NCTM’s
process standards—problem solving, reasoning and proof, communication, connections,
and representation—highlight the ways of acquiring and using knowledge in the multiple
mathematical content areas.
Digital videos are tools that effective mathematics teachers can incorporate into their
pedagogical toolkits. This chapter provides an initial look at how videos might be inte-
grated with the activities students are engaged in to learn mathematics, where videos
are watched, analyzed, and created. Keep in mind the challenges of using videos in math-
ematics classrooms. The mathematics curriculum is extensive. However, the capabilities
of digital videos are connected with students’ ways of knowing, learning, and doing as
they develop their mathematical thinking at a deeper level.
78
References
Analysis. (2010). In Merriam-Webster’s online dictionary. Retrieved January 20, 2010,
from www.merriam-webster.com/dictionary/analysis
Garofalo, J. (2006, January). Which technologies to incorporate into teacher preparation,

including goals, rationales and relative emphases? Workshop presented at the annual
meeting of the Association of Mathematics Teacher Educators, Tampa, FL.

Keller, J. M. (1987). Development and use of the ARCS model of instructional design.
Journal of Instructional Development, 10(3), 2–10.
National Council of Teachers of Mathematics. (2000). Principles and standards for school
mathematics. Reston, VA: Author.
79
CHA P T E R 3
John C. Park
digital video in
science education
SCIENCE IS frequently a visual to animate events, show hazardous
endeavor, dependent on observa- experiments, and view special
tions made directly or indirectly. effects such as time-lapse and slow-
In the science classroom, teachers motion photography or extreme
have long employed motion pic- close-ups and microphotography.
tures to allow students to make
indirect observations when needed
81
New technology has multiplied the ways in which digital video can enhance science
learning:
■ Video demonstrations can replace live demonstrations that may not always
work or that involve potential hazard.
■ Video demonstrations allow students to review content after an absence or if

they need additional work.
■ Stop-motion animations can assist students in understanding scientific

processes or mechanisms.
■ Proper laboratory skills can be demonstrated via video to help students learn
how to operate scientific equipment.
■ Interactive object movies can provide a three-dimensional aspect to inspecting

models and specimens.
■ Interactive panoramas can enable a three-dimensional view of a location for

visual inspection.
■ Motion and time measurements can be made of video-recorded events.
■ Video of a specific event can be synchronized with related data.
■ Students can take measurements and make inferences from popular

Hollywood movies to see if the scenes are probable or even possible.
■ Video can be embedded for observation in assessment instruments such as

multiple-choice tests.
■ Desktop demonstrations can be enlarged for full classroom viewing using

a projector.
Digital Video and Pedagogy of Science Inquiry

FROM THE early days of school science in the United States to the modern classroom
today, the learning of science has focused on student inquiry. Robert Karplus proposed
a pedagogical strategy for teaching science called the “learning cycle” (Fuller, 2002).
The original pedagogy of exploration, invention, and discovery has been implemented,
researched, and revised over the last four decades. Research supports the claim that
the correct use of the learning cycle in the science classroom at all levels is effective in
helping students move toward stated objectives of science understanding.
82
Digital Video in Science Education ■ Chapter 3
TABLE 3.1. Examples of Video Use in the Five-E Instructional Model
Sta g e V i de o E x a m ple
Students watch a video of a kernel of popcorn popping in slow motion. During the
engage stage, this video generates interest, because most students have not seen the
Engage event in slow motion, and raises the question of what causes popcorn kernels to burst.
Find the video at www.youtube.com/watch?v=CXDstfD9eJ0.
Students examine a video of a sealed drum of hot water vapor that is cooled in an ice
bath and then collapses. During the exploration stage, the students test their predic-
tions and hypotheses, generate new predictions, try alternative ideas, and record their
Explore observations and ideas. Students videotape their own versions of the event using soda
cans or other sealable thin-walled metal cans and generate explanations for why the
can behaves as it does.
Find the initial video at www.youtube.com/watch?v=j2k40Hw3GI0.
Students investigate a video that shows flames of four candles of various heights in
an aquarium being extinguished by an unseen method, the shortest candle being
extinguished first and the tallest last. Students explain possible solutions or answers to
Explain others, listen critically to others’ explanations, and defend explanations using evidence
from the video. Students create a video that illustrates their explanation.
Find the “Candles” video at http://site.aace.org/video/books/teaching/science.
Students have just completed activities that assist in their understanding of the phases
of the moon. In the elaboration stage, students apply new terms, use explanations and
skills in a new but similar situation, draw conclusions from evidence, record observa-
tions and explanations, and check one another for understanding. Students view the
Elaborate video animation of phases of the Earth as viewed from the moon. They answer ques-
tions regarding phases of the moon as seen from the Earth at given points in the video
(for example, if the Earth’s phase is full as observed from the moon, what phase is the
moon in as observed from the Earth?).
The video can be found at www.ncsu.edu/sciencejunction/PhaseEarth.mov.
Students demonstrate an understanding or knowledge of a concept or skill. For

Evaluate example, a student creates a video on how to properly measure the mass of a nickel to
the nearest 0.1 gram using a triple beam balance.
The latest revision that is widely accepted in the science education community is the
Biological Sciences Curriculum Studies (BSCS) “Five-E” instructional model (Bybee,
Powell, & Trowbridge, 2008). This model consists of five stages: engage, explore, explain,
elaborate, and evaluate. Digital video can provide the prompt for discussion in each of the
stages of the learning cycle. Table 3.1 provides examples of ways digital video can be used
in each stage at various grade levels.
Students should develop science process skills as they investigate science through
inquiry. For upper elementary school students, basic skills include observing, infer-
ring, measuring, communicating, classifying, and predicting. Middle and high school
83
students should develop integrated science process skills, including controlling vari-
ables, defining operationally, formulating hypotheses, interpreting data, experimenting,
and formulating models.
The activities presented in this chapter are divided into three categories that identify
the primary activity in which students are engaged: watching digital video, analyzing
digital video, and creating digital video. Watching videos that display science concepts
allows students to use specific science process skills, including observing, inferring, clas-
sifying, and predicting. The analysis of videos enables students to practice the science
process skills of measuring, communicating, and generating hypotheses. The creation
of video allows others to explore science by interpreting data, experimenting, and formu-
lating models. The creation of video also allows students to communicate the science they
have learned to a broad audience.
Watching Digital Video Activities

WATCHING DIGITAL video can capture students’ attention and engage them in the
topic being introduced. If the digital video is carefully crafted, it can also be used to help
students explore concepts and gain understanding through explanations within the
video. Viewers can compare what happens as variables are changed in sequenced scenes,
or they may be challenged by questions in overlaid titles or voice-overs. Other videos
can be used to elaborate or to apply concepts discussed in class to new situations. For
example, after doing activities related to average velocity, a
video could be viewed that shows the velocity of a car traveling
content at 55 mph as viewed from a car next to it traveling at the same
standards velocity. A sequence of these types of shots would introduce the
students to the concepts of relative velocity and frame of refer-
The National Science ence.
Education Standards
Watching digital video can also be used to evaluate student
are sponsored by the understanding of concepts. For instance, you could generate
National Research Council a video quiz item on which students must identify the forces
and published by the acting on a bubble rising though a tube of water shown in the
video. Therefore, the watching of digital video can facilitate
National Academies
each of the stages of the Five-E learning cycle. The following
Press, www.nap.edu/ two activities illustrate activities in which students can learn
readingroom/books/nses/. by watching downloadable media.
84
Exploring the Speed of Sound

Physics—Sound
GRADE LEVELS: 5–8
Objective
■ Students discover that the detection of sound is not instantaneous to the event; it takes time for
sound waves to travel through the air from the event to the observer.
National Science Education Standards (National Research Council, 1996) Addressed

All Levels Content Standard A:
■ Abilities necessary to do scientific inquiry
Levels 5–8 Content Standard B:
■ Develop an understanding of the transfer of energy

■ Speed of Sound I video—found on the SITE Screening Room at http://site.aace.org/video/books/
teaching/science
■ Speed of Sound II video—found at http://site.aace.org/video/books/teaching/science
■ At least one computer
■ Projector and set of speakers if you will be projecting the video for the entire class
■ Headphones, if the students are viewing the video on separate computers, so they can clearly
identify the sounds for time comparison
Content
The topic of wave characteristics is found in most state science curricula. Sound waves
are of particular interest because students have familiar experiences with sound in
everyday life. Students are expected to know about frequency (pitch), amplitude (loud-
ness), and the speed at which sound travels through matter. In this particular case,
students will notice the time difference between seeing an event occur and hearing the
85
sound generated from that event. The students should be able to determine that the speed
of light (what they see in the video) is greater than the speed of sound (what they hear in
the video).
Technology
Two videos should be accessed before beginning the activity, Speed of Sound I and Speed
of Sound II. Downloading the video to each computer hard drive will minimize any time
lag or pauses that are typical when viewing the video over the Internet.
You will need at least one computer and, if you project the video for the entire class, a
projector and set of speakers so the entire class can hear it clearly. If the students are
viewing the video on separate computers, they should use headphones so they can clearly
identify the sounds for time comparison.
Pedagogy
Engage
Students should watch Speed of Sound I, which shows a student, Preston, clapping
two aluminum pots together at distances from 30 meters to 240 meters at 30-meter
intervals (Figure 3.1). The movie can be displayed either as a demonstration controlled
F IG U R E 3 . 1 . Images from Speed of Sound I.
86
F IG U R E 3 . 2 . Images showing the addition of the two-way radio in Speed of Sound II.
by the teacher or by students using their own computer. Students should answer the
following question while watching the movie: “What do you notice about the relationship
between the distance of the event from the camera and the sound you hear?”
Direct students to note when they see the aluminum pots hit each other and when they
hear the sound. As students view the video, they might not notice much at the 30-, 60-,
and 90-meter marks. As the distance gets progressively longer, however, they should
notice a delay between the clapping and the sound as detected by the camera: the longer
the distance, the longer the delay in the sound. Ask students, “Why does apparent sound
lag occur? Why is the lag not noticed at the shorter distances?”
Explore
To more clearly demonstrate this time lag between when the event occurs and when the
sound is heard, students should view a second digital movie, Speed of Sound II, of the same
event. Explain to students before they view the video what they will be seeing so they can
focus on the appropriate data. This time, another student, Kelsey, joins Preston with a
two-way radio. Kelsey will press the key on the radio while Preston claps the aluminum
pots. A second radio was held beside the camera while taping. Two sounds can be heard on
the video: the sound transmitted by the two-way radio, and the sound propagated through
the air from the pots to the camera. See Figure 3.2 for images from this digital video.
87
As students watch the video, they will notice that two distinct noises can be distin-
guished with each clap of the aluminum pots. One is the sound transmitted by the radio,
and one is the sound transmitted through the air from the pots to the camera. Ask
students, “Which sound do you hear first? Why? What does the time difference between
the two sounds represent?”
The sound they heard first is the sound transmitted through the two-way radio. The
two-way radio transmits via radio waves that travel at the speed of light. Therefore, the
time at which the sound was transmitted by the radio is a close representation of the time
when the sound was generated. Therefore, the time difference between the two sounds
represents the time it took for the sound to be propagated through the air to the camera.
Ask the students about other instances where there is a time lag between seeing an event
and hearing the sound (examples include the crack of the bat at a professional baseball
park and the bang of exploding fireworks). Have students explain the reason for this
time lag.
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Where Did the Sugar Go?

Physical Science—Dissolving of Crystals in Water
GRADE LEVELS: 4–6
Objectives
■ Students generate ideas of what happens to solid crystals as they dissolve in water and determine
that large dissolved molecules tend to settle at the bottom of an undisturbed solution.
■ Students formulate hypotheses about why dissolving occurs more rapidly when the water is
heated or stirred.

Levels K–4 Content Standard B:
■ Develop an understanding of properties of objects and materials
■ Develop an understanding of properties and changes of properties in matter

■ Video Dissolving Sugar Cubes, downloaded to the computer hard drive from the SITE Screening
Room at http://site.aace.org/video/books/teaching/science
■ For additional exploration, two other videos from the SITE Screening Room are available:
Sugar in Hot Water and Sugar Cubes Stirred
■ Computer and a projector (for a teacher-directed demonstration)
■ Computer lab (for direct student use)
89
Content
The dissolving of a solid in a liquid is an everyday experience with young children. They
watch crystals of their favorite fruit drink mix color the water in which it is mixed. They
sweeten the drink by putting sugar or sugar substitute crystals in it. But have they
really observed what happens to the crystals? The content addressed in this activity is
the dissolving of solids in liquids. The students will generate ideas about where the solid
sugar crystals go and why.
Technology
Used as a teacher-directed demonstration, all you will need is a computer and a projector.
You can start and stop the video as needed and ask questions to promote observation,
inference, prediction, and modeling.
For direct student use, a computer lab would be useful. Make sure that the video is stored
on the hard drive of each individual computer. If the video is used as an independent
activity, students should be given a list of questions to answer as they explore the movie.
You can add your own questions, referencing the time code on the movie. For example, you
could ask the students to go 30 seconds into the movie to make a specific observation.
Pedagogy
Engage
This activity could be done as a live demonstration in the classroom, but the prerecorded
time-lapse video allows students to see what happens to the sugar cubes in a short period
of time, and the video can be stopped for further directed observation, inference, and
predictions.
Before showing the video, tell students to observe carefully as they watch. You may even
give them a short list of details to notice. For example, “What was the beginning volume
of the water?” (The volume will be stated in the text at the beginning of the movie, or
students can look at the graduations on the side of the beaker.) “After the sugar cubes
are put in the water, does the volume change?” When possible, students should support
their answers throughout this activity with evidence from the video. Now show the video,
Dissolving Sugar Cubes.
The video includes time-lapse of the sugar dissolving in the water at 25 times normal
speed. This feature allows the students to observe subtle changes in the solid and
surrounding liquid that may provide clues to the dissolving process. As the video plays,
ask students, “Did the level of the water change after the sugar dissolved?” It does not
look like the water level is lower in the lower left image of Figure 3.3, but clearly much
of the sugar has dissolved by then. Stop the video and ask, “Where did the sugar go, and
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F IG U R E 3 . 3 . Images from the movie Dissolving Sugar Cubes.
how did it get there?” Students should predict where the sugar molecules are located and
give some rationale for their reasoning. The next part of the movie will provide a hint.
There is no stirring of the solution in this movie. The sugar just dissolves over time.
After the sugar is dissolved, the background of the movie changes to provide a better
contrast for the final scene. Food coloring is slowly dropped into the water. The food
coloring stays in the upper half of the water. Ask students, “Why might this happen?
Where do you think the sugar molecules are located now? What is the mechanism for the
solution process? In other words, how did the sugar move from the cube to the liquid?”
The students should develop a model for how this process occurred.
As you discuss students’ responses after the video, have volunteers come to the computer
and move the play-head to the position in the movie that helps them defend their answers.
(For example, the upper right image of Figure 3.3 clearly shows that there is an increase
in volume.)
Exploration
Ask students, “How would the dissolving rate change if the water was heated before
adding the sugar? How would it change if the water was stirred after the sugar was
added?” Digital videos that can help answer these questions can also be downloaded from
the Screening Room (Sugar in Hot Water and Sugar Cubes Stirred). When we tested this
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activity in middle school, students showed the two movies simultaneously to see which
movie would win the solution “race.” Does this new information support the dissolving
model, or does the model need revising?
Analyzing Digital Video Activities

DIGITAL VIDEO can be analyzed in several different ways. A qualitative analysis could
include finding patterns, frequency of occurrence, or classification. For example, a video
camera could be set up to videotape the activity around a bird’s nest for a given hour to
count how often the parent bird feeds the young birds. Quantitative analysis includes
measurement and relationships among variables and will be the subject of the two activi-
ties described in this section. When video is recorded using a consumer-grade digital
camera, the images are recorded and played at a rate of approximately 30 images per
second. This means that every single image (or “frame”) that makes up the motion repre-
sents 1/30th of a second. With this information, the digital video can be used as a timer
for events. An image sequence of three frames in a video would represent 3/30ths, or
0.10 second. A video with a sequence of 60 frames represents 60/30, or 2.00 seconds. The
precision of the timing method is limited to one frame, or 1/30 of a second (approximately
0.03 seconds).
In addition to digital video being used as a timing tool, software tools currently available
enable students to measure the motion captured on digital video. If the captured video
includes an object of known length that is equidistant from the video camera as the event
being captured, distance measurements can be made. Data from that measurement along
with the frame rate enables the calculation of velocity and acceleration. If masses of
the objects captured in the video are known, momentum, energy, and forces can also be
determined.
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Measuring the Speed of Sound

Physics—Sound
G R A D E L E V E L S : 9 –12
Objectives
■ Students accurately analyze the speed of sound by using the frame rate of the digital video.

■ Develop an understanding of the transfer of energy
■ Develop an understanding of interactions of energy and matter

■ Video clips downloaded from the SITE Screening Room (http://site.aace.org/video/books/
teaching/science) before beginning the activity:
■ Speed of Sound II
■ Speed of Sound at 210 Meters
■ Measuring Time Differences Using iMovie6
■ You may also want students to analyze the additional videos from the SITE Screening Room:
■ Fireworks Burst 1
■ Fireworks Burst 2
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Content
The speed of sound can be found in a variety of ways. The most straightforward way
for middle and high school students to calculate the speed of sound is to use the same
method to determine the average velocity of a moving object. If the distance traveled
and the required time of travel is known, the average velocity is calculated by change in
distance divided by change in time. However, since the speed of sound is quite fast, the
distance needs to be long, and timing needs to be more precise than can be accomplished
using a human activated stopwatch for an accurate calculation.
Technology
In order to easily analyze differences in audio events in the digital video, the software
you use needs to have the capability to show the audio amplitude in the audio track so
students can determine when the major sound events occurred. If you have access to
Macintosh computers, use iMovie with this activity. It is free software that comes with
Mac computers. In order to expedite student work, the necessary video clips should be
placed into the iMovie file and labeled so students will know which clip is for which
distance. This file should be stored on any computer on which the analysis will be done.
The time delay on the video may also be measured on both Mac and PC computers using
Vernier Logger Pro, with a microphone probe connected into the LabPro interface and
connected to the computer. Detailed instructions for this method can be found in the
Measuring Time Differences Using iMovie6 video.
Pedagogy
Explore and Explain

Before beginning this activity, you may want to go through the activity using the digital
movie Speed of Sound II, which is described in the Watching Digital Video Activities
section of this chapter.
After providing an introduction, have students watch the unedited video clip Speed of
Sound at 210 Meters using iMovie or equivalent software. Students should extract the
sound and measure the time difference between the sound heard through the two-way
radio and the sound traveling through the air. The method for finding time differences is
found in the digital video Measuring Time Differences Using iMovie6.
In the case of 210 meters distance, the time difference between the two sounds is 18
frames, or 0.594 seconds. Therefore, the calculated average velocity is 210 meters / 0.594
seconds = 354 meters per second. This is relatively close to the accepted value, knowing
that the uncertainty of the timing measurement is one-half frame out of 18 frames.
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Clips from other distances can be used, but there should be a discussion of how the errors
could increase greatly if the distances are too short. For example, at a distance of 60
meters, it takes about five frames for the sound to travel from Preston to the camera.
One-half frame uncertainty out of five frames is 10%.
Students should think about other questions while doing this activity. For example,
“When looking at the audio track from iMovie, the sound waveform from the radio seems
to have a different appearance than the sound waveform through the air. Why might this
be the case?” To eliminate the radio speaker as a possible source of explanation, students
could look at the sound pattern when the noise is generated near the camera. Students
might also consider the following question: “Based on the average results of the average
speed of sound in air, would you say the day the video was shot was a hot day or a cool
day? What other information would be needed to answer this question?”
Elaboration
In the elaboration stage, students use explanations and skills in a new but similar
situation. Students can use their knowledge of the speed of sound to determine how
far away a noisy event occurs. For example, two fireworks displays were videotaped
at different distances from the launch site (Fireworks Burst 1 and Fireworks Burst 2).
Using the described timing techniques students can view the videos and determine the
time between the bursts and sound of the bursts. By knowing the speed of sound at the
temperature the scenes were shot, the students can calculate the distance of the camera
from the bursts (Figure 3.4).
F IG U R E 3 . 4. Images of two fireworks bursts videotaped from different distances.
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Analysis of the Motion

of a Model Rocket
Physics—Velocity and Acceleration
G R A D E L E V E L S : 1 0 –12
Objectives
■ Students measure the motion using frame-by-frame analysis of the position of a model rocket.
■ Students generate possible reasons for the changes in velocity during the flight of the rocket.

■ Develop an understanding of motions and forces

5. Digital Citizenship
b. exhibit a positive attitude toward using technology that supports collaboration, learning,
and productivity
■ Videos downloaded from the SITE Screening Room
(http://site.aace.org/video/books/teaching/science):
■ SR-71 Blackbird
■ Motion Analysis Using Logger Pro
■ Motion analysis software
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Content
Several variables can influence the motion of a launched model rocket, including the
magnitude of the force acting on the rocket and the mass of the rocket. In order to study
the effects of these variables on the rocket’s motion, one must be able to describe and
quantify the motion of the rocket. The known frame rate of the video can be used to deter-
mine the velocity of the rocket throughout the entire flight if the position of the rocket on
the video frame can be measured and if a reference distance is known.
Technology
In addition to the prerecorded digital video, you will need motion analysis software. The
software used in this example is Vernier Logger Pro, but there are several commercial
packages available for this task, as well as shareware software.
Students should work on individual computers with this activity. Practice using the soft-
ware will allow the students to construct their ideas about the effects of force on change
of motion. The questions within the activity serve as an impetus for guided inquiry. You
could do the activity as a demonstration with a computer and projector, but students may
not be as active in the construction of their own knowledge if you use this strategy.
Pedagogy
Exploration
Using the digital video SR-71 Blackbird, students will flip through a series of images,
noting the change of position of a rocket in each frame of the movie. The longer the
distance the object travels during subsequent frames, the faster it is traveling. Expand
the movie so it is large on the screen. Click through the movie one frame at a time. Note
that the rocket does not lift off the launch pad in the first frame that smoke is observed.
Based on change in position for each subsequent frame, where do you think the rocket is
moving the fastest?
Explanation
Successive calculations of velocity will enable the student to determine a change in
velocity (acceleration). Through the use of graphical analysis, students will be able
to determine the relative size and direction of the forces acting on the rocket during
various stages of flight. Students will construct the idea that acceleration is determined
from the slope of a line in a velocity-time graph.
Although students could display the digital movie onto a whiteboard and plot positions of
the rocket in subsequent frames to visualize the change in motion of the rocket, for more
rapid data collection, they should use motion analysis software. After students mark the
positions of the rocket, the computer will calculate the distance and velocity of the rocket
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F IG U R E 3 . 5 . Nate stands beside the launch pad ready to ignite the engine.
for each frame or set of frames and plot the results automatically on a velocity-time
graph. Students will interpret the resulting graph.
Two pieces of information are needed before the analysis can be accomplished: (a) the
frame rate of the digital video and (b) the height of an object that is equidistant from the
camera lens as the object for motion measurement. The frame rate of this video we will
use is the standard 30 frames per second. Figure 3.5 is an image of the event just before
the rocket is launched.
Introduce the video by telling students that the rocket chosen for this activity was
painted black. The white engine smoke will serve as good contrast with the ground and
trees, and the black rocket will contrast well with the light blue sky. A rocket of relatively
large mass and an engine that had low impulse (A8–3) was chosen so the entire flight
could be captured while keeping the camera motionless. The student is 5.5 feet tall.
After the movie is imported into the software, students should set the origin and use
the height of the student as a reference length. Data collection begins. As students click
on the rocket, the video advances to the next frame. With each click of the button on the
rocket image, the position is measured and velocity is calculated and plotted on the graph.
This process continues until the user decides to end the data collection. Students may
decide not to use all of the frames if the motion is relatively slow across the screen. They
can use every third frame or some other interval that makes the data collection easier.
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F IG U R E 3 .6 . The display of the resulting data for the motion of the rocket.
An example of the resulting data collection and data presentation is shown in Figure 3.6.
In this example, every third frame was used for data collection. See the digital video
Motion Analysis Using Logger Pro to view a step-by-step demonstration of this analysis.
As students examine the data and scroll across the graph, the corresponding frames
of the digital video are displayed, showing the position of the rocket. The first five data
points on the graph show a rapid increase in velocity, changing from about 5 ft/s to a
maximum of around 50 ft/s. Students should answer the question “What is the position
of the rocket when it hits its maximum velocity?” To answer that question, they can scroll
across the graph to the maximum velocity and then look at the video. The movie shows
the rocket just clearing the tree line. Ask, “Why does the velocity increase during that
period of time (0 to 0.835 seconds)? Why does the velocity decrease after that point?”
To find out how high the rocket was at maximum velocity, students taking high school
physics can find the area under the velocity-time curve. To do this, they point and drag
from time 0 to time 0.835 seconds, and select the integrate icon. The area under this
portion of the velocity-time curve is 15 feet.
Help students note that the greatest slope of the graph is at the beginning of the launch.
Using the linear fit tool for these selected points, students can find that the slope has a
magnitude of 120 ft/s/s. Ask, “What forces are acting on the rocket at this time? Which
force is the greatest?”
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Just after the rocket reaches its maximum velocity, the slope of the line represents a
change of velocity of –56 ft/s/s, but toward the end of the collected data, the change in
velocity is only –25 ft/s/s. Ask, “What forces are acting on the rocket after the engine
stops? Why is there a difference between the two measured slopes after the engine
stops?” Figure 3.7 displays the same graph when investigating both distance and change
of velocity (acceleration) at various points of the flight.
The motion analysis software is not necessary for the analysis of the digital video.
However, without the software students will spend much time measuring video
distances, converting those distances to actual distances, calculating average velocity
between sequential frames, and plotting each of those points with respect to time.
Students could decrease this effort if they had knowledge of spreadsheet calculations. If
the objective is to have students learn to calculate velocity and construct velocity-time
graphs, this methodology would be fine. The time may be better spent on the analysis of
the resulting graph, not computing values for the points on the graph.
Modification
If you have the proper equipment and the outdoor space to try it, students can film their
own rocket flights for analysis.
F IG U R E 3 .7. Finding distance and acceleration using the integral and slope options.
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LEARNING SCIENCE can happen while capturing and editing video of events that
depict science concepts. Students should be encouraged either to assist the teacher in
shooting and editing the video or to create their own digital video of events in which they
are interested. For example, the dissolving sugar cubes described earlier in the chapter
were recorded to get students to think about the mechanism by which sugar dissolves.
After the video was edited to simulate time-lapse photography, we noticed that there was
increased refraction of light by the liquid in the bottom of the beaker, which promoted
further exploration. This led to the discovery that the concentration of the sugar solution
was not the same throughout the water in the beaker, which prompted the use of food
coloring to show this situation. Both you and your students can explore and test ideas as
the footage is captured.
As indicated by the proliferation of video being uploaded to websites such as YouTube,

students want to be seen by others. Thoughts that dominate the adolescent mind include
“look at me” and “look at what I can do.” Using this as motivation, we can encourage
students to be the star in events that display concepts in science. Students can create
movies to express their knowledge of a specific event. They can record on video events
for which they have no explanation, but use the medium to challenge others to figure
out why the events happened as they did. They can also stage an event for others to
collect data, find patterns, and generate predictions. Creating digital video also allows
students to practice their science process skills. One such skill is often overlooked at the
late elementary levels: the process skill of modeling. The next example focuses on that
process skill.
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Modeling the Solar Eclipse

Earth/Space Science—Motion of the Moon
GRADE LEVELS: 4–6
Objective
■ Students demonstrate a solar eclipse, illustrating the effect of observer distance on the apparent
size of the sun and moon.

Levels K–4 Content Standard D:
■ Develop an understanding of properties of objects in the sky and changes in earth and sky
Levels 5–8 Content Standard D:
■ Develop an understanding of Earth in the solar system

■ Book or prescreened websites with information on the relative size and position of the sun and the
moon with respect to the Earth
■ Modeling the Solar Eclipse—video found on the SITE Screening Room at
http://site.aace.org/video/books/teaching/science/
■ Digital video camera with a tripod and a way to do simple editing of raw video footage
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Content
Students are well aware of the periodic patterns that are everyday experiences. For
example, they notice that the sun is what provides daylight. They may notice that the
moon looks different at different times of the month and that it can be seen during the
day and during the night. Observation of the motion of the sun and the moon can enable
students to see these periodic patterns of location and appearance. Although students
may note the appearance, few understand the reasons for it.
An eclipse is a most difficult problem for those who have an egocentric point of view:
they need to look outside of their own visual reference frame to fully understand why the
eclipse is happening and why only certain people on the Earth can view the eclipse as it
happens. For this activity, the students are asked to model a solar eclipse and videotape
the model from a position that represents the observers’ location.
Technology
Students will need to search out information regarding the relative size and position of
the sun and the moon with respect to the Earth. They could either look for this informa-
tion in a book, or they could review prescreened websites that provide the information.
The advantage of the use of websites is that they may also provide simulations of the
motion of the moon around the Earth. This information would serve as an advanced orga-
nizer for the activity.
The video Modeling the Solar Eclipse (found on the SITE Screening Room at
http://site.aace.org/video/books/teaching/science) will also be useful.
Other technology requirements would be a digital video camera with a tripod and a
method to do some simple editing of the raw video footage. For example, students may
make some alignment errors in the video, or they may stumble with some of the words
they used. These clips should not be used in their final cut of the video.
Pedagogy
Present students with the following task:
You are to demonstrate the total eclipse of the sun using common materials that
can be found around a home. You will videotape and edit your demonstration.
A portion of the video must include the blocking from view of one object by a
second object as seen from the video camera. Try to model the total eclipse of
the sun as accurately as possible.
The class should be divided into groups of three to four students. One video should
be produced from each group’s effort. Give students the opportunity to search for
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F IG U R E 3 . 8 . Images from Modeling the Solar Eclipse illustrating how a smaller

object can obscure a larger object.
information regarding the Earth, moon, and sun. Also, give them guiding questions that
may or may not be modeled within the assigned video, such as:
■ Does the moon follow the same path around the Earth as viewed from the sun
at various times of the year?
■ How does the moon’s distance from the Earth influence how much area can be
eclipsed?
■ Why can the eclipse be seen from some locations of the Earth and not others?
■ Can the solar eclipse be seen during the night?
Students should be able to answer these questions by physically modeling the situation,
using a video camera as the point of view from Earth or from the sun. It may take some
tweaking of object size and distances. The orbit could be modeled by a string tied to a
stopper that revolves around the Earth and the camera placed at the sun’s viewpoint.
A representative model of the moon could be moved different distances away from the
Earth to see the effect of distance on eclipse area. A camera viewing a model of the
eclipsed sun could be shifted slightly to one direction to show a partial eclipse, or even no
eclipse, depending on the shift distance. The camera could point away from the model of
the sun (representing night) to answer the fourth question.
After the students create models to answer the guiding questions, they can create their
own video that would communicate how solar eclipses occur. Nate’s group decided to
begin their video by showing how his head can completely obscure a large window when
he is near the camera, while the next scene shows him standing beside the window, which
is clearly larger than his head (view Modeling the Solar Eclipse in the SITE Screening
Room). Using this size versus distance idea, he continues the model showing how a golf
ball can completely obscure the much larger basketball (Figure 3.8).
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F IG U R E 3 .9. Screen shots from Modeling the Solar Eclipse illustrating the relative motion of the
moon during a solar eclipse.
Later in the video, Nate models the motion of the moon across the sun (Figure 3.9). Note
that the general direction of the motion is correct, although the path of the moon’s travel
across the sun is usually more of an angle.
This activity allows students to take an abstract phenomenon and make it into a concrete
model that they can understand. Guiding questions for student exploration are essential
for accurate understanding of the solar eclipse.
Conclusion
LITERATURE ON the use of video in exploring science reveals that short, single-concept
digital video can be effective in the teaching of science concepts. The intent of this
chapter was to focus on noncommercial digital video products than can be used in the
science classroom and laboratory to promote science process skills of students. Use
teacher- and student-generated videos on websites such as the SITE Screening Room,
Teacher Tube, or YouTube for watching and
analyzing. Create flexible-format digital videos
that can be posted to such venues that will enable
MakING VIDEOS
other teachers to use what you have successfully
developed and tested. Become a part of the Web See Chapter 6,
2.0 culture to enhance the learning of science “Acquiring Digital Video,”
through digital video.
for more about making
your own videos for
teaching and learning
science.
105
References
American Association for the Advancement of Science. (1965). Science: A process
approach commentary for teachers. Washington, DC: Author.
Bybee, R. W., Powell, J. C., & Trowbridge, L. W. (2008). Teaching secondary school science.
Columbus, OH: Pearson.
Fuller, R. G. (Ed.). (2002). A love of discovery: Science education, the second career of
Robert Karplus. New York, NY: Kluwer Academic.

Karplus, R., & Thier, H. (1967). A new look at elementary school science. Chicago, IL: Rand
McNally.
Lawson, A. E., Abraham, M. R., & Renner, J. W. (1989). A theory of instruction: Using the
Learning Cycle to teach science concepts and thinking skills. Cincinnati, OH: National
Association for Research in Science Teaching.
National Research Council. (1996). National science education standards. Washington,

DC: National Academies Press.
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CHA P T E R 4
Sara B. Kajder and

Carl A. Young
digital video in
English language arts education
THIS IS both a daunting and an without our instruction: reading
exhilarating time to teach English. and writing online with purpose
The core components of our field— for a variety of defined audiences,
reading, writing, literacy, text, and using their own choice of tools, and
community—are shifting. Alongside achieving tangible outcomes and
rapid changes in everyday literacy relevance. New technologies and
practices outside of our classrooms, the literacies they make possible
students enter school multiply create a time of risk and possibility,
literate, whereas curricula remain opening up new modes and media
largely focused on print-based for communication—and creating
texts. Students learn these multiple, new opportunities for what teaching
21st-century literacies mostly English really means.
107
In order to consider the role of digital video in the English classroom, we must start by
exploring the possibilities opened by new literacies theory, broadly differing definitions
of what constitutes a “text,” and the varied means and modes supporting multimodal
compositions. These shifts come at a time when the technologies we can potentially
access are marked by new thinking: focusing on a collective intelligence, expertise
that is distributed and collective, value as a function of dispersion, and tools that make
possible a different, global approach to mediating and relating. Media is creative, but we
also are now provided with an opportunity to use media to do things—to create, produce,
manipulate, and share evolving conceptions of text and multimedia products.
Text, New Literacies, and Multimodality

DIGITAL TOOLS make possible new kinds of text. Our definition of the term is
expanding well past print-based texts. “Text is not restricted to written prose; text can be
primarily visual, such as an animated graphic, video clip, photo slideshow, or image with
little accompanying verbal information, and verbal information presented in an auditory
rather than written format” (Dalton & Proctor, 2008, p. 301).
With this expanded definition, teachers of English must now aid students in making
meaning within and across a range of multimodal texts. To complicate this work further,
new texts require new teaching strategies to engage students’ understanding. Where new
tools have often been fitted into traditional classroom work (e.g., typing a paper in a word
processor), new texts require new ways of reading and comprehending, new strategies for
composing, and new pairings for intertextual study as students read across a range of
media and texts.
The “new” in new literacies refers to the rapid changes in technologies that now make
literacy more about knowing which tool, mode, and media form is best for accomplishing
a given task. “New literacies will continuously be new, multiple, and rapidly dissemi-
nated” (Coiro, Knobel, Lankshear, & Leu, 2008, p. 5). By definition, a continual tension
is established between “new” and “known”—a tension in direct opposition with stable,
print-centric literacies. Teaching becomes more about learning. Teachers are positioned
to explore continually how to make meaning of, and how to produce texts in, multiple
modes (e.g., visual, print, digital, multimodal, kinesthetic) and how those texts mediate
our understandings of literacy.
In doing so, we co-construct literacy practices with students, creating learning oppor-
tunities both more mutual and more authentic. As O’Brien (2006) points out, “It is
impossible to say this is literacy now, rather, we must constantly retool, redefine, and
figure out what to attend to during the evolution” (p. 43). In effect, literacy in the 21st
century requires an ability to constantly adapt to and apply emerging technologies.
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Digital Video in English Language Arts Education ■ Chapter 4
Although older forms of video may have been used in schools to varying degrees, digital
video enters into the English classroom as a new media form and a new tool for multi-
modal composition. Research is, at best, still emerging when it comes to examining the
role of digital video in the English language arts classroom, but we know that students
learn best when they use multiliteracies to read and compose in new ways. Further,
integrating visual images with written text, as done in most digital stories and multi-
modal compositions, enhances and accelerates comprehension. Meaning, here, is not
necessarily additive. Text and pictures often say more when juxtaposed, and the effect is
further amplified when motion, design, and interactivity are added.
Composing with digital video—creating digital stories, book trailers, music videos,
screencasts, and more—requires an examination of how we produce, distribute,
invent, explore, persuade, and create impact with texts written for specific audiences.
Composing with digital video alongside Web 2.0 tools enables opportunities for lever-
aging audience participation for authentic collaboration and feedback. Writing with
multimedia tools is a process of linking message and tool, purpose and audience—while
actively critiquing the very tools used for expressing meaning.
Students who write with multimodal tools (such as digital video editors) do so selectively
and intentionally, and they leverage the unique capacities of the tools and media in order
to accomplish a specific goal. As in print-centric writing tasks, the principles of choice
and form matter, as does the larger context in which the writing is situated. To be fully
literate, students must know how to use tools, but more importantly, they must know
which forms of literacy will best support their purpose for a given audience and a specific
context.
Bringing Together the New and Known:

Digital Video and Film Studies
FILM STUDIES has often been a part of the English curriculum, typically taught as
a tool for leading students to more deeply consider particular works of literature or to
inspire composition. We study film as an art form. We study its literary elements, cine-
matography (e.g., specific terms for camera angles or shots, editing, or special effects),
and the dramatic/performance elements it captures.
Digital video repositories now put a variety of films into circulation, but film study is not
what we are discussing in this chapter. The distinction here is important. Twenty-first-
century tools afford students new possibilities as active learners. We are asking students
to use digital video to make critical connections to content and process learning. We are
also suggesting that they use digital video to create artifacts of learning, artifacts that
will serve as a channel for expressive and analytical thought, as a means for engaging
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with an authentic audience, and as a tool for developing readers, writers, thinkers,
speakers, listeners, and viewers.
The activities that follow leverage the unique capacities of digital video, following the
anchoring scaffold of watch, analyze, and create. We define each of these in specific ways
that are central to our discipline and that might vary from other chapters in this book.
Given the statement on 21st-century learning issued by the National Council of Teachers
of English (2008), the National Council of Teachers of English standards (International
Reading Association and NCTE, 1996), the ISTE National Educational Technology
Standards for Students (NETS•S, 2007), and the criteria used by the Partnership for 21st
Century Skills (2008), we use the scaffold of watch/analyze/create in the following ways:
Watch. Separate from the conventional idea of film studies in the English classroom
(where we might watch a film after reading a literary text), watching, here, is about active
meaning-making and then using response to accomplish a specific task. For example,
we might ask students to watch a collection of short videos from the Folger Shakespeare
Library to examine performance, but we do so with an eye on informing students’ perfor-
mance and literary interpretation. Watching video requires that teachers answer the
question, “We are viewing this in order to do what?”
Analyze. Analysis of video in this context centers on the skills of evaluating the multiple
layers of the multimodal text/digital video, examining the literary impact of the pairing
of spoken words/print text/soundtrack/image/motion. We borrow from the kinds of
analytical skills used when working with print texts (e.g., novels, plays, poetry), and we
expand the question set to explore each of the modes singularly and in interaction with
one another, where meaning is multiplicative. As with watching, the work does not stop
with the completion of the analysis (in writing or discussion). The analysis is used to fuel
additional work.
Create. Here, students apply their knowledge of multimodal composition to create a

text, sometimes in response to a specific prompt, but always in an attempt to express, to
communicate specific ideas by intentionally pairing specific modes of communicating,
and to connect with an identified audience.
The selected pedagogical themes of this book—watch, analyze, and create—provide

insights into ways to maximize the potential of digital video as an instructional tool.
In the three sections addressing these categories, detailed examples of ways digital
video can be used in the English language arts classroom are included. Through these
examples, we aim to highlight the potential of digital video for enhancing the context of
rich content learning and authentic pedagogical settings. Each activity will address the
actions of the students, as well as the ways in which you can use digital video to bridge
into, enhance, or support content learning and engage students in critical thinking, thus,
avoiding passive instances of student engagement (or lack thereof).
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Watching, Analyzing, and Creating Digital Video

THIS CHAPTER has three digital video activities:
Watching Digital Video in Language Arts
■ Northern Exposure Clips—Bridging into Inquiry
Analyzing Digital Video in Language Arts
■ Performance Poetry
Creating Digital Video in Language Arts
■ Digital Book Trailers
As these activities will demonstrate, there is some blurring across each of the three cate-
gories, as students might first need to create a digital video before moving to analysis.
It is entirely possible that such analysis would then fuel creation. We do not mean these
to be listed in any sequential order or to reflect a tiered depth, sophistication, or rigor
of task.
content
standards
The English Language
Arts Standards are
sponsored by the
National Council of
Teachers of English
and the International
Reading Association,
www.ncte.org/about/over/
standards.
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Northern Exposure Clips—

Bridging into Inquiry
Watching Digital Video in Language Arts
G R A D E L E V E L S : 7 –12
Objective
■ Students will be able to use prior knowledge to develop their own inquiry projects.
National Council of Teachers of English/International Reading Association Standards

(1996) Addressed
5. Students employ a wide range of strategies as they write and use different writing process
elements appropriately to communicate with different audiences for a variety of purposes
8. Students use a variety of technological and information resources (e.g., libraries, databases,
computer networks, video) to gather and synthesize information and to create and communicate
knowledge

cultures
■ “The Final Frontier” (Season 3, Episode 20) from Northern Exposure. (If you are showing the episode
clips on a DVD player, you can fast-forward and pause as needed according to the times provided
for each clip. If you are showing the film via a media player such as Windows Media Player, you can
move the cursor to the appropriate starting times.)
Content
The content focus in this activity is on getting students to better understand human
nature and the connection between how we learn as human beings and authentic inquiry.
Judith Wells Lindfors (1999) wrote, “I believe that inquiry is universal, a part of what it is
112
to be human.” Students can engage in various activities exploring the nature of curiosity
and inquiry, including watching selected clips from an episode of the television show
Northern Exposure entitled “The Final Frontier.” In this episode, a mysterious package
arrives in Cicely, Alaska, covered with stamps from around the world. The townspeople
face their curiosities about the package and decide what to do with it: either send it to
the dead-parcel branch in San Francisco, where authorized postal personnel claim the
package, or open it themselves to see what is inside.
Technology
If you are showing the Northern Exposure episode clips on a DVD player, you can fast-
forward and pause as needed according to the times provided for each clip. If you are
showing the film via a media player such as Windows Media Player, you can move the
cursor to the appropriate starting times:
■ First clip (0:30:10–0:33:05)
■ Second clip (0:36:31–0:38:20)
■ Third clip (0:39:44–0:40:55)
Pedagogy
Prior to showing the video clips from the Northern Exposure episode, have students
compose a guided freewrite of reactions to, understanding of, or associations with the
following aphorism:
“Curiosity killed the cat.”
After 3 to 4 minutes, have some of the students share and discuss some of their
responses, including the general sense here that the quotation serves as a warning about
curiosity. Then, have them freewrite again addressing a related quotation:
“Where there is curiosity, a mouse may be caught.”
Again, have students discuss their responses, including juxtaposing the two quota-
tions. Guide students to consider the two quotations as a representation of ideas about
how human beings learn. On the one hand, curiosity is presented as a dangerous option,
perhaps one to be avoided. Thus, learning is passive: we take information in from others
and safely repeat it. The second quotation represents the other end of the spectrum,
where curiosity becomes a metaphor for learning itself. It has much more positive conno-
tations about what our innate curiosity yields—unless, of course, you are the mouse!
Next, engage students in a discussion about where they see themselves on this
continuum represented by the quotations and how they perceive curiosity and its
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F IG U R E 4. 1 . Do the citizens of Cicely have the authority to open

the package?
connections to humans and the ways we learn? Have students consider how they learned
as infants and continued to learn as they grew older. Typically, infants learn by exploring
their environments, engaging their curiosity, mimicking and mirroring what they see
others doing, and trial and error. Over time, this natural curiosity often is mediated by
authority figures who dispense knowledge with the expectation that it will be memorized
and accessible later for quizzes and tests. Explain that although this is one approach to
learning and the nature of knowing, inquiry provides another approach—a more active
one. It holds the potential for each of us to create knowledge ourselves. Show the video
clips from Northern Exposure as a bridge to having students engage in their own inquiry
activity.
The first clip (0:30:10–0:33:05) features a town hall meeting in which the citizens of
Cicely are presented with the dilemma of what to do with a mysterious package that has
arrived in town without an addressee. The sender is a Richard McWilliams, who is not
one of the 215 town residents, and the package contains stamps from all over the world.
Ruth-Anne, the town’s postmistress, calls a meeting to get consensus on whether to open
the package. The town doctor, Joel Fleishman, questions whether they have the authority
to open the package (Figure 4.1).
Ruth-Anne explains that they don’t, technically, and that the package, if still unclaimed
after 15 days, should be sent to the dead-parcel branch in San Francisco to be opened by
authorized personnel. Because it will be opened anyway, some argue that they should
open it. Joel takes a stand promoting the “sanctity” of the U.S. mail and advocates not
opening the package. Chris, the town radio DJ and philosopher/theologian, argues that
the stamps are more than just “bureaucratic hieroglyphics” and represent a “sacred
114
trust,” comparing the opening of the package to the great personal risk involved in
opening King Tut’s tomb.
After a short, dramatic pause, Marilyn Whirlwind dryly replies, “I’ll take that risk,”
inspiring a large portion of the townsfolk to applaud and take her side. Chris then enthu-
siastically chimes in and explains the nature of Marilyn’s stance as “the other side of
the coin, the bane and blessing of human nature, that old cat killer, curiosity. Something
so deeply imbedded in our psyches that it screams to us from ancient myths of Pandora,
Eve, Lot’s wife—”
Joel interjects at this point, asserting, “Eve lost

paradise; Lot’s wife was turned into a pillar of warning
salt!” To which Chris responds, “Hey, knowledge
doesn’t come cheap my friend. Good or bad, This Northern Exposure
curiosity is woven into our DNA like tonsils or
episode contains the word
opposable thumbs. It’s the fire under the ass of
the human experience!” ass. As with all digital
video material you present,
The rhetoric continues. By the end of the clip,
determine beforehand if the
the crowd is won, and it’s clear that Marilyn’s
motion will carry. language is suitable for your
class.
As a way of engaging students viewing expe-
rience, have them consider the following
questions as they watch:
■ What is the dilemma facing the citizens of Cicely?
■ What are the positions presented during the town hall meeting about what to
do with the mysterious package? How are those positions supported?
■ What are some of the historical, religious, and mythological allusions

presented in this clip? What effects do they create or have on the audience?
■ Where do you stand in terms of the positions presented? In other words, what
do you think should be done about the package, and how might this fit with
your sense of human nature?
■ What do you think is in the package? Why?
After viewing this initial clip, have students discuss the experience by answering some
of these questions. Use the clip and discussion to bridge into a related inquiry-based
learning assignment in which you want to engage students. The content might be focused
or more open-ended. Provide students with the option to explore topics of genuine
interest to them that they negotiate with you. The inquiry strategy you employ might
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F IG U R E 4. 2 . The citizens of Cicely satisfy their curiosity.
be an I-Search paper, a multi-genre research project, or an oral history assignment. You

could consider having students create a digital video as a product of their findings.
At some point during their inquiry process, you can follow up the initial video clip with
two additional short clips that follow this story line: one that reveals what the towns-
people found in the box once they opened it (0:36:31–0:38:20), and one that focuses on
their response to what they find (0:39:44–0:40:55, Figure 4.2).
As it turns out, Richard McWilliams is an 8-year-old, as indicated by his letter inside

the box. His letter explains that his family is going to a lake for summer vacation. He
wanted to go to Antarctica instead, but his mother said they didn’t have the time or
money. Richard sent his letter and box with the hope that it would go to all of the places
he wanted to go but could not. He requests that recipients put something in the box that
represents their particular place. Upon opening the box, the townsfolk find that the box
contains artifacts from all of the different places to which the package has been mailed
so far. The last clip focuses on what the folks from Cicely decide to add to it and where
they will mail it next.
After viewing the last two clips, you can engage students in a discussion of how they
might make their own inquiry projects accessible to others beyond the classroom. While
mailing them has a certain Flat Stanley appeal, the Northern Exposure episode predates
the rise of the Internet and all of the possibilities it provides for students to make connec-
tions virtually, as well as to access and post artifacts online. Being able to collaborate
with other students virtually across the state, country, or globe is another option in
terms of collaborative inquiry and sharing research findings.
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More Ideas for Watching Digital Video in Language Arts

■ Watch screencasts of writers’ peer reviews. Following a process approach to
writing, students run through a cycle of messy drafts, which attempt to get
closer to what they mean to express, sometimes by inserting or deleting ideas
from notes and comments from peer readers. As readers of student writing,
teachers read the student essay, read the student writer, and read ourselves
as teachers. This is hard work, and it is work we expect students to do when
we ask them to provide comments while peer-reviewing another students’
work. One way to expand our options is to collaborate with other classrooms
through participatory media such as wikis. Students can use screencast soft-
ware to create a visual and auditory mini-movie that documents their work as
peer reviewers. The mini-movie also provides each writer with a multimodal
text capturing both what the reader understood the draft to be saying and
how the reader moved through the paper, as reflected in the notes, embedded
comments, highlighting, and other “moves” captured in the visual component
of the screencast. If students work with peers in another school, the screencast
has particular relevance in terms of a genuine purpose and authentic audience.
■ Juxtapose print texts with digital video adaptations. Many literary works have
been transformed into film adaptations. Students can benefit from considering
how film and digital video enhance the study of literature and vice versa, espe-
cially in terms of juxtaposing directorial and authorial technique. For example,
Ambrose Bierce’s Civil War–focused short story, “An Occurrence at Owl Creek
Bridge,” has been adapted into at least four short film adaptations. One recasts
the story in World War II, focusing on a French resistance fighter fleeing
from German soldiers, while another, a French adaptation directed by Robert
Enrico, stays truer to the Civil War setting. Enrico’s adaptation is particularly
compelling, especially in the dramatic way dialogue is purposely, strategically
omitted. It won awards at Cannes in 1962 and at the Academy Awards in 1963,
and it aired as an episode of The Twilight Zone. It is available on DVD and is
accessible online in three parts on YouTube. There is no shortage of literary
texts that have been translated into film; the key is appropriately scaffolding
the watching process and then having students juxtapose the print and video
versions.
■ Watch dramatic adaptations. Allowing your students to watch a film adapta-

tion in class while reading the text can greatly enhance their understanding
of the text, as well as heighten their emotional response to it. With plays, espe-
cially, the focus is on the spoken word. For example, Shakespearean drama
can be made much more accessible and comprehensible to students when the
language is further clarified and contextualized through visuals, gestures,
props, settings, and action. In effect, the film versions allow students to fill
117
gaps in their comprehension of the text and better understand the context,
subtext, and atmosphere of a play. Again, to use video most effectively, do
not simply show the entire video in one sitting. Rather, scaffold the watching
process carefully and have students view in an active, meaning-making mode.
You might want to focus on particular scenes as your students read.
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Performance Poetry
Analyzing Digital Video in Language Arts
GRADE LEVELS: 6–8
Objectives
■ Students will be able to provide critical feedback.
■ Students will be able to revise their own performance in response to feedback received from an
audience.

(1996) Addressed
4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabu-
lary) to communicate effectively with different audiences for a variety of purposes
9. Students develop an understanding of and respect for diversity in language use, patterns, and
dialects across cultures, ethnic groups, geographic regions, and social roles
11. Students participate as knowledgeable, reflective, creative and critical members of a variety of
literacy communities
12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for
learning, enjoyment, persuasion, and the exchange of information)

and formats
■ Video camera, or for live streaming, a webcam connected to a computer with a fast Internet
connection
■ Ustream.tv for streaming video of the live performance from one classroom to the other and for
back-channel discussion during the performance. (Alternatively, you can record a performance
for asynchronous viewing by the partner classroom, and they may use a free tool such as found at
http://CoverItLive.com to support the back-channel discussion.)
■ A free, online database tool such as found on http://creator.zoho.com for collecting open-ended
responses
119
Content
Reading and writing poetry is a component of the English curricula from elementary to
high school. Students may study poetry as readers, as writers, and, as in this activity,
as speakers/performers. Performance poetry tasks students not only with writing their
own poems, but also with reading them aloud in a way that engages, motivates, and
draws in an audience. Often linked to hip hop, slam poetry, and other spoken-word move-
ments, performance poetry not only enables students to exercise writing skills but also
moves them to develop reading fluency as they read, reread, and read again—all in an
attempt to develop a compelling performance.
Technology enables you to distribute students’ performances (through digital video or,
in this case, streamed video) to audiences well outside of the classroom. For example,
a class in a southeastern rural area may connect with students in an after-school
program in urban California. Technology can also open up feedback possibilities for
your students, inviting comments throughout a presentation through back-channel chat
(real-time online conversation during the performance about the performance taking
place). Further, reading and writing can become recursive, as students have the texts
of their own performance for their own viewing, critique, and analysis and as artifacts
prompting their own goal setting and improvement in subsequent performances.
Technology
The project may be undertaken in a technology-rich, highly involved manner or imple-
mented using a fairly bare-bones approach. For example, one computer connected to a
relatively fast Internet connection can be paired with a webcam to set up the classroom
recording area. Student groups can broadcast their performances as part of a class struc-
ture with a variety of learning stations. There is no need for the entire class to watch as
each student records or broadcasts a poem.
Handling streaming video is often challenging within a classroom context. On one hand,
bandwith and connection speed is a factor in ensuring that the broadcast can be done.
On the other, assuming that such a connection is in place, school policies differ tremen-
dously regarding ways students appear (and are identified) in any online content. You can
stream video using a nonidentifiable username and avoid revealing any student names.
Tag and discuss performances by title of the poem rather than by student name.
If time-zone access is a problem, the performances can be viewed after being recorded, as
opposed to being viewed live.
This project could be accomplished by exchanging files recorded in the classroom.

However, audience participation and feedback may be limited. More importantly,
students will not have an artifact of the performance integrating both the back-channel
discussion and comments documented after the performance (database comments).
120
Pedagogy
Students are accustomed to reading and writing poetry in English class, yet few have the
opportunity to add voice, movement, and performance to their work, putting a new spin
on the question “Will you listen to my poem?”
Setup for the activity requires some preliminary work, depending on the activity’s scope.
Streaming student performances is only purposeful if there is an audience on the other
end. So you will want to consider partnering with a teacher who will be as motivated to
try this initiative as you are.
The driving factors here are the class objectives and goals. Connecting to an audience
hinges on what skills students need to exercise. For example, you may want to focus on
language play, point of view, and perspectives and, therefore, seek to partner with a class
in a community providing students with different opportunities and experiences than
those provided your own students. You can use a site such as http://globalschoolnet.org to
search for such a classroom.
After your students share performances with

the partner class, they can receive formal feed- BACK-CHANNEL
back through a database of prompts set up in an DISCUSSIONS
online database (using the free online tools at
http://creator.zoho.com). The partner class can Ustream.tv synchronous
then stream its student performances, and your
back-channel discussion must
class can provide feedback.
occur during the live stream.
Analysis is central to this project, as students To support back-channel
focus on their own analysis of their written
discussion when viewing
texts in developing a performance of the piece,
analysis of the feedback received, analysis of a previously recorded
the back-channel discussion during the perfor- performance, use free tools
mance, analysis of their peers’ work, and so
such as those available at
on. You will want to start by asking students
to notice and articulate what they see when www.CoverItLive.com.
viewing the performance, to reflect and to set
goals for future work given what they have seen,
and to consider the ways feedback from others complicates or enriches their thinking.
At first, students may examine surface-level observations about eye contact, projec-
tion, or even inflection during the performance. Some might even critique camera angle
or balance of the tripod. With some prompting, students will move from observing to
listening.
121
At this stage, comments and feedback shift to examining the actual text presented by
looking at literary elements (e.g., metaphor, tempo, voice), which can be amplified by the
writer and which help each participant in the discussion with their own writing. We call
this “listening as a writer.” Analysis will also include the pairing of specific movements
with lines of the text, sometimes in an attempt to “punctuate” the writing and at other
times in an attempt to elicit emotion from the viewer/participant.
Analysis may reveal cultural differences as well, both in lived experiences in rural
versus urban settings and in values of the ethnicities and communities within which
each student participated. For example, a prompt modeled from Whitman’s “I sing of
America…” might challenge students to write their own “I hear… I see…” poetry. Poems
(and their performance) can provide a specific, powerful lens into divergent perspectives
and experiences.
Because Ustream.tv allows for recording and archiving of streamed broadcasts, and
pairs easily with back-channel tools that record discussions, you and your students have
access to their work over the course of a semester—or for as long a span of time as the
project/work continues. This feature is important in opening up the opportunity for
students to analyze their work over time, reflecting on their growth and development and
the ways they have integrated the feedback received in earlier performances. In other
words, the digital video created serves as an artifact of student work in a specific context
and time. A collection of videos over time would provide the terms for a careful exami-
nation of how the analysis informed subsequent work, reflection, and goal setting—a
powerful example of reflective practice for any teacher.
more Ideas for Analyzing Digital Video in Language Arts

Analyze television commercials as a part of critical media literacy. Given that adoles-
cents are viewed as the ideal consumer and target audience for most of the world’s
commercial advertising, critical media literacy should be addressed to some extent in any
English language arts classroom. If you or your students doubt this at all, be sure to view
any of the following:
■ Jhally, S. (Producer/Director). (2000). Killing us softly 3: Advertising’s image

of women with Jean Kilbourne [Motion picture]. United States: The Media
Education Foundation.
■ Rushkoff, D. (Writer/Host). (2001). Frontline: The merchants of cool [Television

series episode]. United States: PBS.
■ Rushkoff, D. (Writer/Host). (2004). Frontline: The persuaders [Television series

episode]. United States: PBS.
122
Each of these documentaries provides critical insights into ways advertisers are inten-
tional, strategic, and controversial in their methods for getting the attention of and
manipulating teenage consumers. You can have students view various clips from these
documentaries and analyze them, but more importantly, you can then have students
analyze various commercials as a part of a critical media literacy unit that draws on
these documentaries and related resources. PBS not only has both of these Frontline
episodes available online as streaming video clips, but they also have curriculum mate-
rials for teachers.
Analyze thematic comparisons. Film can provide opportunities to juxtapose themes

in print texts with those in movies. In effect, films can help students better under-
stand classic literary texts by providing a contemporary lens through which to analyze,
compare, and comprehend similar themes. For example, when reading John Donne’s
“Meditation 17,” in which the theme that no man is an island unto himself is explored,
you might also have students analyze the clip from It’s a Wonderful Life, in which
Clarence the angel demonstrates for George Bailey just how different life in Bedford
Falls would have been if he had never existed. Other possible text and film pairings for
thematic analysis include the following:
■ Shakespeare’s Romeo and Juliet and the film version of West Side Story
■ The Odyssey and O Brother, Where Art Thou?
■ The Diary of Anne Frank and Life Is Beautiful
■ Shakespeare’s King Lear and Kurosawa’s Ran
■ Cry, the Beloved Country and The Power of One
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Digital Book Trailers

Creating Digital Video in Language Arts
G R A D E L E V E L S : 4 –12
Objectives
■ Students will be able to compose using digital video, audio, and still images.
■ Students will be able to promote a print text through the selection of key scenes or content.

(1996) Addressed
3. Students apply a wide range of strategies to comprehend, interpret, evaluate and appreciate
texts. They draw on their prior experience, their interactions with other readers and writers, their
knowledge of word meaning and of other texts, their word identification strategies, and their under-
standing of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
8. Students use a variety of technological and information resources (e.g., libraries, databases,
computer networks, video) to gather and synthesize information and to create and communicate
knowledge
12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for
learning, enjoyment, persuasion, and the exchange of information)

and formats
■ Access to still images and video clips, as well as music and other sound clips (any of which students
may acquire themselves or download from the web)
■ Digital video editing tools (such as iMovie, Movie Maker, or free web-based tools)
124
Content
Often, the most effective uses of technology in the classroom are in direct response to
challenging instructional “puzzles” emerging from traditional or familiar activities.
For example, Web 2.0 technologies open up opportunities for an audience to view and
provide feedback on student work. For this project, technology provides an answer to the
instructional challenge created by independent reading tasks, often assigned in English
classrooms but rarely evaluated. Further, these tasks also put a spotlight on the student
readers in the classroom who are reading below level and for whom independent reading
is ineffective without teacher scaffolds and support.
The book trailer project challenges students to play with the genre of the movie trailer,
creating a short (2- to 3-minute) video that persuades viewers to read the text. Students
must read and reread the text, then develop a storyboard of images evoked by the content
of the book and write a script that advances the message within the trailer. Meaning in
this project is a function of images paired with a narrated script, but it is also multiplica-
tive, making the whole much greater than the sum of its parts. The final product should
resemble a film, not a slide show presentation.
Distribution is a critical component of the work. This project could be completed offline
through the use of school and local libraries (e.g., setting up a computer near the card
catalog). Web 2.0 tools make sharing book trailers with a broader audience a simple task.
The critical factor here is ensuring that students receive feedback on their work, ranging
from specific comments (perhaps posted to a blog), to a clustermap linked to the class
website or blog, to the hit counter on the bottom of a web page. Offline feedback can range
from a book of entries kept near a screening computer in the library, to a count of the
number of times the specific book has been checked out of the library after a user has
viewed the related book trailer. Part of making this activity relevant to your students is
ensuring an invested audience on the other end of the project.
Pedagogy
Students begin with reading. As useful as this activity is when linked to independent
reading, anchoring those selections to a specific prompt can also yield useful results.
For example, asking students to focus on a book they would recommend for “hooking” a
reluctant reader levels the playing field. The focus becomes the appeal of a book rather
than the reading level. Prompts need to consider both your instructional goals and the
particular context in which you teach. You might even consider partnering your class
with a class of younger reluctant readers and having your students target books for them.
After reading the selected text, students begin with a storyboard that visually maps out
the material they envision playing on the “screen” during the trailer. (See Figure 4.3 for
a sample page from a storyboard. For tips on storyboarding, see Chapter 7: “Creating
Digital Video.”) Running under the images are additional lines, sequencing narration
125
with the images and layering in plans for sounds, effects, and motion. This work is all
preplanning and drafting, but it pushes students back into the text repeatedly to generate
the right content.
This work is done apart from the computer. Instead, your instructional talk should focus
on the genre of the movie trailer, considering what is shown (and what isn’t), how a “slice”
of content represents the fuller text, how soundtrack functions to create mood, how print
text functions when on the screen, and so on. Have students read sample movie trailers
and then reread the independent reading texts. Then have them continue to plan and
begin creating.
The next step of the work can occur largely outside of the classroom. Students need to
locate the digital content (images, music, sounds) that follows the cues in the storyboard.
Where students could use online image libraries for this work, they should be encouraged
to create original images. Creating original images is as much a tool for teaching about
copyright and fair use as it is a catalyst for students’ visual composing.
In the classroom, have students work on revising their work, writing recursively by
working back and forth between the image and the script (or text that might appear on
the screen), or writing, revising, and editing as ideas arise through discussion and peer
review.
After the script and storyboard are stable, invite your students to create their trailers in
the computer lab (or with laptops if a cart is available). Keeping this step brief ensures
that students maximize their time. Class instructional time needs to be focused on genre
study, reading comprehension, and multimodal composing, not on bells and whistles
layered on the trailer in extra lab time. One class period is likely more than enough time
to produce a well-developed trailer, especially when the precomposing and preplanning
were well conceived through the storyboard and script writing.
Where this work is driven by the pairing of good books and the power of self-expression,
publishing the trailers through a public viewing is an effective means of supporting
students’ work as readers, as writers, and as reviewers who can provide critique and
response when viewing work as a class. Having students show these during class is one
option, but you can also explore posting them online for public viewing as well. Further,
it is useful to examine different book trailers for the same text in order to examine
multiple readings, various perspectives, multiple ways of representing meaning-making,
and so on.
126
F IG U R E 4. 3 . First page of a student storyboard for a book trailer about The Andromeda Strain.
127
More Ideas for Creating Digital Video in Language Arts

Create proactive television commercials and public service announcements. Building
on the previous idea associated with enhancing critical medial literacy, you could have
students script, storyboard, and film their own proactive and ethically responsible televi-
sion commercials for products they deem appropriate for their demographic. Similarly,
they could also create public service announcements commenting on any ad campaigns
they find particularly unethical or problematic.
Create digital video thematic explorations. Your students are probably all too familiar
with identifying and defining vocabulary words, literary terms, and themes as a part of
their literature studies. Why limit them to the dictionary? Instead, have your students
work in small groups to brainstorm, write, storyboard, and film a representation of a
given term or theme—a DV Sound Bite (Young, 2009). For example, if you were going to
teach Orwell’s 1984, you might want to focus on the theme of conformity. In fact, you
might have students create a video as a prereading activity to bridge into a particular
thematic unit or piece of literature focused on a particular theme.
F IG U R E 4. 4. Front and back of DVD case students made for The Andromeda Strain
video book trailer.
128
Then, you might have the groups create a second video after they have concluded all of
the reading and related work for the unit that has informed their understanding of that
particular theme. Afterwards, students can juxtapose the two videos to see if their unit
work altered their understanding and portrayal of the particular theme. Regarding
1984, chances are that students’ videos conceptualizing conformity will change from a
more benign representation prior to reading the novel to one that carefully considers the
oppressive nature of Orwell’s dystopian society.
Conclusion
THOUGH SEVERAL of the examples discussed in this chapter rely on newly emerging
Web 2.0 and multimodal composition tools, at the core of the work are the opportu-
nities such tools create for students to work as readers, writers, speakers, listeners,
and thinkers. As much as some of these tasks can be done in different ways without
technology or without the literacies new tools make possible, the right combination of
instructional challenge/task and writing space/tool allows us to amplify our teaching
and accomplish goals we couldn’t previously manage.
Teachers do not necessarily need to know each new tool that emerges. Nor does every
lesson or activity need to be deeply steeped in multimodal practices or new literacies in
order to prepare students for the 21st-century workforce. Different teaching contexts will
create different opportunities, some requiring us to go low-tech and trailing-edge. What
matters is creating opportunities for students to use multiple means for communicating
what they know and for communicating that knowledge within communities that can
put that knowledge to work.
In doing so, we ratchet up the possibilities for engaging students, creating purposeful
assignments, and challenging students to learn across multimodal texts using various
tools that provide opportunities for exercising the ways they are multiply literate. We
work to dissolve boundaries between inside and outside the classroom and help all
students become literate in the dominant media of their generation.
More and more, digital video is becoming the dominant medium in which students
engage—certainly out of school and increasingly in school as well. The activities
described here offer only a small glimpse of the larger picture of possible applications
for integrating digital video into English language arts instruction. However, they serve
to illustrate how students can engage in the critical acts of watching, analyzing, and
creating digital videos. These examples reflect a range of technologies, from simple tools
to more complex ones, from free, online tools to commercial ones.
As you design your own activities with digital video, keep in mind the various options
available to you and the ways in which you can maximize tools and resources to accom-
plish your pedagogical and content goals.
129
References
Coiro, J., Knobel, M., Lankshear, C., & Leu, D. (Eds.). Handbook of research in new litera-
cies. Mahwah, NJ: Erlbaum.
Dalton, B., & Proctor, C. P. (2008). The changing landscape of text and comprehension in
the age of new literacies. In J. Coiro, M. Knobel, C. Lankshear, & D. Leu (Eds.), Handbook
of research in new literacies (pp. 297–324). Mahwah, NJ: Erlbaum.
National Council of Teachers of English/International Reading Association. (1996).

Standards for the English language arts. Retrieved from www.ncte.org/standards

Lindfors, J. W. (1999). Children’s inquiry: Using language to make sense of the world. New
York, NY: Teachers College Press.
National Council of Teachers of English. (2008). The NCTE definition of 21st century
literacies. Retrieved from www.ncte.org/positions/statements/21stcentdefinition
O’Brien, D. (2006). “Struggling” adolescents’ engagement in multimediating:

Countering the institutional construction of incompetence. In D. Alvermann, K.
Hinchman, D. Moore, S. Phelps, & D. Waff (Eds.), Reconceptualizing the literacies in
adolescents’ lives (2nd ed., pp. 29–46). Mahwah, NJ: Erlbaum.
Partnership for 21st Century Skills. (2008). 21st century skills map: English. Retrieved
from www.21stcenturyskills.org/documents/21st_century_skills_english_map.pdf
Young, C. A. (2009, March). Narrative and video in the English language arts classroom:
Digital video and new literacies: Vignettes from the Field Symposium. Paper presented at
the annual meeting of the Society for Information Technology and Teacher Education,
Charleston, SC.
130
CHA P T E R 5
Michael Searson, Curby Alexander,

and Dina Rosen
digital video and

informal learning ■
turning the lens outside
the classroom
131
Students and New Media

NEW, OR “emergent,” media—including blogs and wikis, video-sharing sites, online
games, social network sites, iPods, and mobile phones—are playing a powerful role in
the lives of many of today’s youth outside of school. Students can post homemade videos
on their Facebook or MySpace pages and expect feedback from peers included in their
network. They also provide commentary to the videos posted on their friends’ pages.
Students born in 1990 or later—known as digital natives (Prensky, 2001)—probably

cannot remember a time when video could not be played on a computer. The first version
of QuickTime emerged around this time, and the use of digital video has dramatically
increased since then. The latest survey results from the Pew Internet and American Life
project (Rainie, 2009) reported that approximately 40% of U.S. teens own a video camera,
and more than 75% of them view videos on video-sharing websites. Furthermore, around
25% of American teens—slightly more than 5 million teenagers—have uploaded video to
a video-sharing website. Presumably, most teens use video-sharing websites for enter-
tainment and recreation, but there is evidence that in some cases students are creating
videos independently for school projects.
A search using the term “school project” on YouTube will reveal dozens of videos created
by students for school projects (Figure 5.1). These videos range from recordings of
science experiments, to music videos about social issues, to remixes of historical events
or classic films. The quality of these videos is also diverse, with some of them being well
planned and of high quality, and others being rudimentary and impromptu.
F IG U R E 5 . 1 . A selection
of YouTube videos created by
students for school projects.
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Digital Video and Informal Learning ■ Chapter 5
Formal vs. Informal Learning Environments

ONE CHARACTERISTIC each of these school project videos has in common is that they
have been viewed hundreds—sometimes thousands—of times and have received dozens of
comments from viewers. This cycle of posting content and getting peer feedback is remi-
niscent of some classic education theories (such as those proposed by Piaget, Vygotsky,
and Bandura), which argued that social interaction is a key mechanism in the process
of learning and development. More contemporary theorists (e.g., Lave & Wenger, 1991;
Rogoff, 1990) have said that learning occurs best (and naturally) in “socially mediated
learning” environments, called “communities of practice.” Wenger defined communities
of practice as “groups of people who share a concern or a passion for something they do
and learn how to do it better as they interact regularly” (Wenger, 2006). Thus, the viral
social network developed in recent years over the creation and sharing of digital video
can, itself, be characterized as a community of practice and may have important implica-
tions for student learning.
A number of educators maintain that informal learning (learning that takes place
outside the formal classroom context) is often mediated within a social context. Informal
learning can place a greater emphasis on social interactions and may lead to deeper
learning. The National Science Foundation now funds grants for informal science educa-
tion, designed specifically to support programs that use informal practices as tools to
enhance learning of science, technology, engineering, and mathematics.
Communities of practice often support a collaborative approach to learning, recom-

mended by key standards documents. For example, the recent revision of the National
Educational Technology Standards for Students (International Society for Technology in
Education, 2007) included a focus on communication and collaboration (Standard 2):

Students use digital media and environments to communicate and work
collaboratively, including at a distance, to support individual learning and
contribute to the learning of others. Students:
a. interact, collaborate, and publish with peers, experts, or others

employing a variety of digital environments and media
b. communicate information and ideas effectively to multiple audiences
using a variety of media and formats
c. develop cultural understanding and global awareness by engaging
with learners of other cultures
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In its section titled Skills Framework, the Partnership for 21st Century Skills (2007) also
addressed communication and collaboration, delineating the following skills:
Communicate Clearly
■ Articulate thoughts and ideas effectively using oral, written and nonverbal
communication skills in a variety of forms and contexts
■ Listen effectively to decipher meaning, including knowledge, values,
attitudes and intentions
■ Use communication for a range of purposes (e.g., to inform, instruct,
motivate and persuade)
■ Utilize multiple media and technologies, and know how to judge their
effectiveness a priori as well as assess their impact
■ Communicate effectively in diverse environments (including multi-lingual)
Collaborate with Others
■ Demonstrate ability to work effectively and respectfully with diverse teams

■ Exercise flexibility and willingness to be helpful in making necessary
compromises to accomplish a common goal
■ Assume shared responsibility for collaborative work, and value the
individual contributions made by each team member
These standards notably reflect the 21st-century environment in which today’s students
thrive and the type of workforce they can expect to enter.
Unfortunately, communities of practice are difficult to implement and sustain in current

K–12 classroom settings (formal learning environments). Communities of practice are not
completely foreign to K–12 schools, however. In fact, they have thrived for many years in
informal learning environments taking the form of competitive teams, clubs, and after-
school programs. Students are drawn to these groups based on personal interests and
goals, and in many cases the participants learn as much from each other as they do from
the coach or sponsor. Table 5.1 presents a comparison of formal and informal learning
environments.
There are a variety of characteristics that differentiate informal learning environments

from their formal counterparts, and the settings in which the learning takes place can be
quite diverse as well. In some cases, the informal learning is manifested as a search for
videos of interest using the World Wide Web. In other instances, the informal learning
environment is planned by a teacher but takes place outside the school campus and at a
time when school is not in session. In the section that follows are several examples of the
various roles digital video plays in a broad spectrum of informal learning environments.
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TABLE 5.1. Comparison of Formal and Informal Learning Environments
F o r m al L ear n i n g I n f o r m al L ear n i n g
Environments Environments
Constrained by time, both in terms of allocated May have constraints on allocated time,
time and pacing but not on pacing
Schools allow teachers a predetermined amount of Competitive teams, clubs, or after-school programs
time to address the required topics each day. The are usually given a specific amount of time in which
average school day is 7 hours, and a middle level or to meet with students, but there is typically more
secondary teacher sees each student for approxi- freedom in what topics are addressed and how
mately an hour each day. Teachers must meticulously time is used.
plan their instruction at the beginning of each school
year to ensure that each topic is covered before the
end-of-year assessment. Elementary teachers have
more flexibility in how they allocate time, but they still
must carefully pace their instruction so that each topic
is covered before the students are tested.
Teachers and students are accountable to the Opportunity to pursue learning of subject
learning standards, which may or may not be matter of personal interest
of personal interest Informal learning environments are typically
K–12 schools are accountable to state and district student centered and allow students to work
content-area learning standards that must be covered toward group or individual goals that interest them
in a finite amount of time. Although some students personally. In fact, this personal interest is what
will demonstrate genuine engagement with the normally draws students to join such groups.
subject matter addressed by their teachers, most of
them will do the required work in order to sustain
acceptable grades, maintain their eligibility for extra-
curricular activities, or avoid negative consequences
from parents and teachers.
Student participation is mandated Student participation is voluntary

In a formal learning environment, participation is Most students join teams and clubs by their own
not typically optional. Many teachers assign a point choice. Student who lose interest in the club for
value to class participation as a way to keep students some reason are not required to continue partici-
engaged. Furthermore, students are required to pating.
attend school, either by state laws or by their parents.
Knowledge expression can be divergent

Knowledge expression is typically convergent
(students respond to the subject in different
(guiding students toward common under-
ways, which leads to diverse understandings)
standing)
Because learning standards are not the focus of
The objective for much of the instruction in formal
informal learning environments, students may
learning environments is to make sure students can
leave shared experiences, such as a trip to a
recall the answers to the assignments given to them
museum, with very different interpretations and
by teachers.
impressions.
135
Digital Video as an Informal Learning Resource

FOR DECADES people have watched video or movies in groups, whether at home or in
theaters. However, when today’s youth watch digital videos, it is almost always against
the backdrop of a broader socially mediated network. They also understand how to use
that network as a valuable resource.
Video-sharing websites host instructional videos ranging from class lectures, to screen-
casts of commonly used software applications, to physical demonstrations. These videos
are posted by people with a personal interest in some particular subject matter, and
they are accessed by people with a similar interest and a desire to learn something new.
For example, one of the most highly viewed YouTube videos in past years was that of a
popular hip-hop and dance artist, in which he demonstrated step-by-step how to do his
signature dance. The video is four minutes long and to date has been viewed over 41
million times! Sixty-seven thousand of those viewers have rated the video (on a 5-star
scale), more than 52,000 people have left a text comment, and nearly 400 viewers have
created their own video in response to this one. A more detailed analysis of this video
reveals not only who is watching, but how they are watching the video. Programmers on
the YouTube team have been able to measure at which point viewers quit watching the
video, and they have determined that many viewers watch the video until a certain dance
step, then rewatch that dance step multiple times by dragging the scrub bar backward.
This scenario, though not academic in nature, serves as an example for how teens are
using web-based video to learn things that are of personal interest to them.
Media-Enhanced Field Trips

OVER THE summer, a group of 31 students and three sponsors participated in a two-
week camp in which they traveled to eight historic sites in the mid-Atlantic area, such as
Gettysburg and Harper’s Ferry (Figure 5.2). The students ranged in age from 14 to 17, and
they came from five different states. Participants were placed in groups of two to three
students, and each group was given a video camera, digital still camera, and digital audio
recorder. Each group’s objective was to create a short documentary film illustrating the
concept of leadership, using the key figures from each of the historic sites as examples.
Before the students began filming, they read background materials for each of the sites
they would be visiting. This activity helped them develop an overall theme for their movie
as well as plan out the exact monuments and locations they wanted to capture for their
film. Knowing what they were looking for ahead of time helped the students use their
time more efficiently while at the sites. They knew that time lost at the sites was time lost
forever, because there was no time to go back and reshoot footage.
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F IG U R E 5 . 2 . A student captures video of his classmates touring a

Revolutionary War–era cemetery during a media-enhanced field trip to Harper’s
Ferry, West Virginia.
Students also had the opportunity to practice capturing footage from a variety of
perspectives and with different amounts of lighting. They would take turns with the
camera capturing images of the same objects from different angles, then compare those
images and video clips to evaluate which would be most effective for different parts of
their movie. Again, students could maximize their time while on location and create the
best movie possible using the time they were given.
Having a plan for which footage the students wanted to capture also inspired sponta-
neous ideas once they were on location. For example, while in Harper’s Ferry, one of
the groups saw some girls in traditional costumes singing songs from the early 1800s.
The group member with the digital audio recorder quickly ran over to capture a few of
their songs, which became part of the background music for their movie. Other groups
captured video and audio of tour guides, storytellers, and historical reenactors, which the
groups were not expecting to see but knew would enhance their movies.
Once the students were back at the school, they began working on their movies. In order
to manage the workflow of these projects, the students were given specific directions
about which tasks had to be completed and in which order. For example, the students were
told to load all of their media onto the computers, using folders to separate images, video,
and audio. They then engaged in the task of editing their movie down to four minutes or
less. One of the adult sponsors was required to monitor their progress before they were
allowed to proceed to the next step in the process.
137
The groups finally finished their movies, complete with sound and special effects, and a
local filmmaker was brought in to speak to the group and view the movies. The students
were able to share what they had learned not only about each period in history, but also
about leadership and the process of making movies. The movies were all burned onto a
DVD for the students to take with them, and they were posted to the host organization’s
website as a way to attract future participants.
Extended Educational Travel

ON A TRIP even further from home, a group of educators and college students went to
Costa Rica on an educational tour designed to blend emergent media tools with explo-
rations of global education. These media tools allowed participants to reflect on their
travels and experiences and communicate directly with friends and family members
back home (and across the world).
Travelers used an assortment of technology they carried around with them in backpacks
(including a wireless laptop, a voice recorder, a digital camera, and a headset with micro-
phone). Many travelers updated their blogs every other day, enhancing their posts with
photos, digital stories, and podcasts. Through the comments feature, friends and family
members could easily respond to posts and become part of the adventure.
On an educational tour to Paris, a college business student designed an exemplary

blog (see http://chantefernandez-travelearnparis2007.blogspot.com). Her blog includes
wonderful design elements, and her writing reflects the richness of her experience and
how she was able to integrate her travels into a meaningful learning event. Arguably, her
blog demonstrates deep reflection that goes well beyond anything that could be captured
by a more traditional approach of snapping a series of photos and then sharing them with
friends and family once she returned home.
Another student’s work while on an educational tour in Peru led to the development of
a rich website, which among other things provides WebQuest-type lesson plans. Her
Anything But Square Design website can be viewed at www.anythingbutsquaredesign.
com.
A classroom teacher on the same Peru trip not only used her blog, iChat, and Skype to
communicate with her students back home in California, but extended rich work in
the exploration of water quality in many ways, even after the trip’s conclusion. (See
Figure 5.3 and http://web.mac.com/elainewrenn/Site/Welcome.html.)
138
F IG U R E 5 . 3 . Screenshot of
Elaine Wrenn’s blog about her
educational trip to Peru.
Using a GPS device, some travelers have engaged in geocaching, a contemporary form
of treasure hunting. (See www.geocaching.com.) Increasingly, geocaching activities are
being integrated into educational experiences, from social studies to geology to library
sciences (see, for example, Lewis & McLelland, 2007; White-Taylor & Donellon, 2008;
Wright, Inman, & Wilson, 2008).
By combining Google Earth and Keyhole Markup Language (KML), usually zipped as
KMZ files, with geocaching, students can make rich videos that reflect geocaching
adventures. The Google Earth Blog (www.gearthblog.com/reference.html) provides many
resources for those who wish to explore the integration of these tools. In addition to
enhancing 21st-century literacies, the application of digital media and web tools to inter-
national travel experiences provides a level of engagement and opportunity for reflection
that can only deepen global education.
Connecting with the Local Community

STUDENT FACILITY with digital media tools also served as a catalyst for a unique
project involving a public college, a Public Broadcasting Service (PBS) affiliate, and
several high schools. Digital media tools were employed to supplement the broadcast of
the Ken Burns documentary The War during the 2007–08 academic year. Project partici-
pants were provided with wireless laptops, digital voice recorders, digital cameras, and
camcorders.
139
F IG U R E 5 . 4. Using a voice-recorder-equipped iPod, a high school student interviews

New Jersey Governor Jon Corzine as part of a school project on WWII. Digital story-
telling techniques were later employed to make a video of the project.
The students and teachers involved in the project were asked to use these digital media
tools to tell community stories related to World War II, ranging from interviews with
veterans, including grandparents and local politicians, to little-known community
WWII stories.
Student and teacher engagement was high throughout the duration of this project.
Community fascination with the work of these students and teachers was so high that
participants were given unusual access to local and statewide leaders (including the
current and two former New Jersey governors, Figure 5.4). One team was even allowed to
interview key figures involved in the making of the Burns documentary.
The multimedia projects created in this initiative were broadcast to viewers through
a number of delivery systems, from podcasts to YouTube videos to local cable TV
broadcasts. An estimated 35,000 people viewed the resulting projects (including large
numbers of cable television viewers). As some of the work is now available through
iTunes U, these numbers will likely grow.
Once the project was completed, faculty and staff began to consider how these tools and
techniques could be imported into other curriculum projects. One teacher used the same
tools to engage students in a water quality study of a local pond. She also podcast that
work. The incentive to replicate highly visible and successful projects cannot be underes-
timated. Additionally, when these successful digital media projects featuring community
140
and political leaders receive positive public scrutiny, future integration of digital media
projects into the curriculum is greatly enhanced and usually received with enthusiasm.
These few rich examples of learners engaged in informal learning through digital
media outside traditional classroom settings encourage us to consider more seriously
how digital media connect with the goals of sound classroom pedagogy: engaging with
rich content, working in collaborative environments, demonstrating competency when
researching a topic, and exploring 21st-century literacies.
You can empower students to become even more proficient in activities that naturally
interest them. Organic experiences derived from informal learning opportunities can be
channeled into more goal-oriented activities. When students are creating digital videos,
their normally spontaneous tendencies can be supplemented by thorough planning (such
as storyboarding) that will result in less editing after the initial shooting and a more
focused production. Purpose, message, meaning, and audience can all be considered at
the front end of a project.
Structuring Informal Learning Environments

WHEN PLANNING an informal learning experience using digital video, such as an after-
school or summer program, there are a few principles that should be followed. Foremost,
the emphasis in these groups should be on student interest, not on learning standards.
There may be opportunities to introduce or review academic topics, but that should not be
the focus of the program. If students see an advertisement for an after-school video club,
they will attend expecting to learn how to make videos.
Find out what students want to learn about filmmaking and allow them to pursue those
interests. Classroom projects using digital video typically do not allow enough time for
students to experiment with many of the techniques they have seen used in the movies
they watch. Ask students what movies they like to watch or what characteristics they find
interesting in their favorite movies. There may even be time to watch clips from movies
that illustrate these techniques. If the students are old enough, they can fill out a short
survey or questionnaire about what they hope to learn from participating in the activity.
Students in the enhanced field trip example were given the opportunity to explore
different angles, lighting, and perspectives. They were given several brief challenges to
see who could come up with the most creative angle or perspective. Participants spread
out over a large area of grass could be seen on their bellies, sitting on each other’s shoul-
ders, and even hanging upside down from trees. They learned that every single aspect of
a movie must be carefully planned out, and that changing even one angle can alter the
movie’s interpretation.
141
Video is becoming synonymous with live-action footage captured with a camcorder, but
there are other forms of filmmaking that students may find engaging. Informal learning
environments provide a good opportunity to introduce alternative filmmaking tech-
niques, such as stop-motion animation and clay animation. These forms of filmmaking
create opportunities to introduce other skills, such as how to use various computer soft-
ware programs, photography, and sculpture.
Provide general themes and allow students freedom to be creative within those themes.
This format has traditionally been used by National History Day, where students are
given a general theme and have the freedom to explore any facet of history they find of
personal interest. For example, the theme for National History Day during the 2008–
2009 school year was The Individual in History: Actions and Legacies. Variations on this
theme included documentaries about individuals ranging from Clara Lemlich to Ben
Kuroki to Rachel Carson. Themes help provide structure to a film project, yet they allow
enough freedom for personal expression.
When possible, shoot video footage at various locations, such as historic sites, local
attractions, and authentic settings. Students may also enjoy capturing footage in
various locations at their school. For instance, a group of third grade students recently
wrote a story about a day their teacher was missing. They physically went to the loca-
tions in their story (such as the office, janitor’s closet, and gymnasium) to shoot the
scenes of their story. Had this project been done in a formal classroom environment, the
students would likely have disturbed other classes and would have taken time away from
other subjects. While on field trips, teachers are preoccupied with student behavior and
making sure they all get on the bus, making it difficult to use those opportunities for
capturing video. Informal learning environments typically have fewer students and allow
teachers to work more closely with students.
Allow time for students to explore postproduction techniques, such as sound, visuals,
and special effects. This very well may be the reason students chose to participate in
the first place. If not told otherwise, students will immediately begin adding special
effects to their movies before editing the content. Students growing up during this time
in history have probably viewed thousands of movies in their lifetimes, and they are
eager to reproduce some of the effects they have seen created in their favorite films. As
an example, during the media-enhanced field trip, two boys asked one of the sponsors if
he knew how to create the “Matrix effect” using iMovie. After the students had reached
the required benchmarks, the instructor showed them how to replicate the desired
effect in their own movie. This, in turn, led other students to want to learn other special
effects techniques, some of which the instructor did not know how to create. Because
the schedule was somewhat flexible, the students were able to explore iMovie and help
142
each other fine-tune their movies with sound effects and video filters. Opportunities like
these can dramatically increase students’ engagement in the filmmaking process.
Teachers and sponsors should seek out opportunities for students to showcase and
improve their work. There are currently several ongoing contests involving film and
video:
■ Best Fest America (www.bestfestsandiego.com)
■ Studentfilms.com (www.studentfilms.com)
■ Studentfilmakers.com: lists regional and national short-film competitions

(www.studentfilmmakers.com/classifieds/view.php?cat=46)
■ YouTube Contests (www.youtube.com/contests_main)
Teachers and New Media

STUDENTS ARE not the only ones who can benefit from the abundance of web-based
media in today’s society. Curriculum development and planning can be enhanced
through appropriate use of digital video. You can find many videos to help you plan a
lesson or unit. For example, a language arts teacher interested in using literature circles
could view a group of teachers working together to plan a literature circle (search on
“literature circles” at http://teachertube.com). You can even find valuable resources about
the topic of digital video itself. To learn more about video podcasting, for example, you
can go to the Common Craft website (www.commoncraft.com/podcasting) and view a
short movie on the subject.
Conclusion
ALTHOUGH YOU may face many barriers (such as limited bandwidth, outdated equip-
ment, restricted Internet access, and Internet safety issues) in trying to integrate
emergent media and digital video into your curriculum, we encourage you to continue
your commitment to providing the best education possible to your students. Such a
commitment to today’s youth will prepare students to be active learners equipped to fully
participate as citizens in the 21st century.
143
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Advancement of Computers in Education.
Wright, V. H., Inman, C. T., & Wilson, E. K. (2008). Get up, get out with geocaching:
Engaging technology for the social studies classroom [Electronic version]. Social Studies
Research and Practice, 3(3). Retrieved from http://socstrp.org/issues/PDF/3.3.6.pdf
144
P A R T 2
digital video
technology
CHA P T E R 6
Bernard Robin and

Daniel Tillman
acquiring
digital video
DURING THE past several decades, of digital tools to be more precise,
an almost complete transformation better sounding, clearer looking,
has taken place in the way informa- and in general, superior in overall
tion is created, shared, and used. quality and convenience. Certainly,
The use of traditional analog tools the ability to easily, quickly, and
such as typewriters, phonograph inexpensively record, edit, and
records, films, and standard tele- share digital moving images has
visions has declined as they have been revolutionary for amateur
been replaced by their digital coun- videographers of all ages.
terparts: computers, compact discs
and MP3 files, digital videos, and
high-definition broadcasts. Most
people consider this new generation
147
Part 2 ■ Digital Video Technology
Whereas editing and sharing video is addressed in subsequent chapters, this chapter
provides an overview of the various ways in which digital video can be acquired:
■ Playing digital video on a computer
■ Downloading video from the web
■ Capturing video from your computer screen
■ Embedding YouTube videos on your web page
■ Digitizing video from VHS tapes
■ Capturing video from broadcast, cable, or satellite TV
■ Extracting video from DVDs
■ Shooting your own video with a digital video camcorder
The chapter also includes links to a website with some tutorial-style instructions for
various methods of acquiring video and sample videos demonstrating how these tech-
niques can be used to create educational multimedia projects.
COPYRIGHT Playing Digital Video Clips on a

Use of copyrighted material Computer
is covered in Appendix B,
TO VIEW any digital video on a computer, video-playing soft-
A Few Words about Copy- ware is required. Sometimes, the video player is embedded
right and Educational Use. in a web page, such as on YouTube or on some broadcast net-
work websites that show past episodes of television shows.
Otherwise, you will need a separate software program.
Windows Media Player from Microsoft and Apple’s QuickTime player are commonly
found on desktop and laptop PCs and Macintosh computers, respectively, and new
versions with added features are frequently released and easily downloaded and
installed.
FLV players, for viewing clips in the more recent Flash video format, are available for
Windows and Mac and can be downloaded for free from CNET at www.cnet.com/
topic-software/flv-player.html.
Just as digital images can be saved in different file formats such as JPEG, GIF, BMP,
and PICT, digital video can be saved in a variety of file formats as well. Common digital
video file formats are listed in Table 6.1, and some of the most popular free video player
applications are listed in Table 6.2.
148
Acquiring Digital Video ■ Chapter 6
TABLE 6.1. Digital Video File Formats
F i le F o r m at E x te n s i o n C h ara c ter i s t i c s
.avi Older video format for PCs, good quality,

Windows Video large file size
.wmv More recent video format for PCs, significantly

Windows Media Video .asf better compression, good quality, smaller files
.mov Default video format for Macintosh computers,

Quick Time .qt (Mac) good quality, large files, should play on both
PCs and Macs
.mpg Versatile cross-platform ability, good compres-

MPEG .mpeg (Mac) sion, good quality, moderate file size
.rm Popular streaming audio and video format

Real Video designed to play over the Internet on PCs and
Macs, but not usually to be downloaded
.flv More recent video format popular on many

.swf websites (YouTube, Google Videos), designed
Flash Video to play over the Internet on PCs and Macs,
but sometimes can be downloaded, too
TABLE 6.2. Examples of Free Digital Video Players
Operat i n g F i le F o r m at s
P la y er s S y s te m Supp o rted
Windows Media Player Windows .avi, .wmv, .mpg, .mov, .mp4, .flv
Quick Time Player Mac and Windows .mov, .qt, .mp4
VLC Mac and Windows .avi, .wmv, .mpg, .mov, .mp4, .flv
ALShow Windows .avi, .wmv, .mpg, .mov, .mp4, .flv
RealPlayer Mac and Windows .rm, .avi, .wmv, .mpg, .mov, .mp4, .flv
FLV Player Mac and Windows .flv, .swf
Downloading Video from the Web

THE WEB is a wonderful repository of video clips that span numerous content areas
and time periods, but for a variety of reasons, you may want to download videos to your
computer rather than watching them online. For instance, you may want to play a video
149
New Media Literacies

By Michael Searson and Dina Rosen
Taking advantage of new and emergent media requires a number of new skills from both students
and teachers. Here are two important skills for finding and critically selecting digital videos.
Effective Searching for Digital Videos on the Web

The most common approach to searching for a digital video is “Googling” a title or topic or searching
on the YouTube site. However, for students in schools, there are more effective (and safer) ways to
conduct high-quality and educationally relevant searches. Most schools impose some type of filter on
the Internet to prevent access to the most objectionable videos, but many videos can still be accessed
that are inappropriate for school use.
■ Tools such as Google’s “custom search” (see www.google.com/cse) can be used to develop
targeted search engines relevant to the work at hand. For example, at http://google.com/coop/
cse?cx=005924364887099665360%3Avbxf-mzrv4i, you will find a search engine that was created
to “nurture girls’ interest in science, technology, engineering, and math (STEM).” Visit that site,
enter the term “STEM video,” and see what you find.
■ By limiting your search to appropriate domains, you are more likely to find educationally relevant
videos. For instance, by beginning your search with the phrase:
inurl:k12
and then adding the topic to be searched in quotation marks, you will limit your search to K–12
sites. For example, compare a search on:
barack obama video
to a search on:
inurl:k12 “barack obama video”
You will see, among other characteristics, that the “inurl:k12” search yields no commercial sites
and locates a number of school-generated projects within the K–12 domain.
Purposefully and Critically Selecting Video from Social-Sharing Sites

In an age of abundant video available to (and often created by) today’s youth, the ability to select
videos critically from various networks becomes increasingly important. On the one hand, ratings
tools give viewers a sense of how a video is regarded in the social network where it resides. For
example, the YouTube site includes a five-star viewer rating system, viewer comments (available both
in text and video), information about the video’s author, and links to other videos the author may
have posted.
Of course, the evaluation of videos within a social network is determined by those who frequent the
network. For example, the hate-speech website http://martinlutherking.org is accompanied by a
heavily subscribed-to forum filled with distorted, inaccurate, and racist statements about Dr. King.
Discussing with students the nature of the social networks within which digital videos are posted can
be powerful teachable moments.
150
offline or outside its web context. Or you may want to extract a short clip, remix the
sequence of a video, or combine (or “mashup”) multiple videos.
You probably already know how to download (or save) still images from websites, but
downloading video from the web can be a bit more complicated. Not all digital video files
found on the web are designed to be downloaded. Many are “streamed,” which allows the
video to be delivered to your computer gradually so it can begin playing more quickly;
that is, you do not need to wait for the entire clip to be downloaded before playing. The
disadvantage of this process is that many streamed video files cannot be easily saved
for later viewing, nor can they be transferred from one computer to another. The files are
only temporarily stored on your computer and disappear once they have been watched.
Some video repository sites, such as TeacherTube and the SITE Screening Room, provide
their own video downloader. The YouTube website (www.youtube.com), which is one of the
most popular web resources for finding and viewing video clips, does not. The following
section describes a variety of ways to transfer video from the web to your hard drive.
Saving Video to Your Hard Drive

VIDEOS THAT open in a video player on your computer, such as Windows Media Player
(Figure 6.1), sometimes may be saved to your computer. An easy way to find out if you can
download the video is go to the player’s File menu and see whether the Save or Save As
option is displayed. If it is, you may be able to easily save the video clip for later use. The
Save option is not always available, often because the owner of the video prefers that it
not be downloadable. (Note that not all video players include a Save option; the free Apple
QuickTime Player does not, for example, whereas the Pro version does.)
F IG U R E 6 . 1 . The Save As
option in Windows Media
Player is located under the
program’s File menu.
151
Some recent versions of popular video players such as RealPlayer include an option for
downloading video clips, including Flash-based videos and some streamed videos, from
the web. The free player from www.real.com comes with both a web browser button and a
mouse-over feature that allows users to download video clips directly from web pages.
Capturing Video from Your Computer Screen

IF YOU cannot easily download a video from the web, another option is to use screen
capture software. These applications allow you to record anything on your computer
screen (or any portion of your screen), including cursor movements. Many screen capture
programs also allow you to record audio that is playing or to add your own audio narra-
tions to the captured video (using a microphone).
Not only can you use these programs to capture video from the web, but you can also
create your own instructional videos, or “screencasts,” for any computer-based activity.
Camtasia Studio for Windows, by TechSmith, and Adobe Captivate for Windows are
both fairly expensive programs, but they include numerous features not found on other
screen-recording programs—the most valuable of which is the capability to edit the
video and audio captured with the respective programs. Neither Camtasia Studio or
Adobe Captivate are currently available for the Macintosh operating system.
Snapz Pro X (Figure 6.2) is available for Mac users. It includes fewer features than
Camtasia or Captivate, but SnapZ Pro is considerably less expensive and is a popular
alternative for Mac users interested in creating screencasts. A number of free programs
are available as well (see Table 6.3), although they generally do not include editing
capability. To edit video captured with these programs, you would need to use separate
video editing software.
More information about creating educational screencasts can be found in Chapter 7:

“Creating Digital Video.”
F IG U R E 6 . 2 . Screen capture options in

Snapz Pro X for Macintosh computers.
152
TABLE 6.3. Free Screen Capture Programs
Operat i n g
P r o g ra m D o w n l o ad L i n k
S y s te m
AutoScreen Windows www.wisdom-soft.com/downloads/

Recorder downloadfiles.htm
CamStudio Windows www.download.com/CamStudio/

3000-13633_4-10067101.html
FreeScreencast. Windows http://freescreencast.com/pages/download

com
Jing Project Mac and Windows www.jingproject.com
ScreenToaster Mac and Windows www.screentoaster.com
Wink Windows www.debugmode.com/wink/download.php
Using Conversion Software

ANOTHER METHOD for capturing YouTube videos is to use the free web-based tool
Media Converter (found at www.mediaconverter.org). This tool requires you to copy the
URL of the video you wish to save (see Figure 6.3) and paste it into the Converter. Then,
you select a video format in which to save the downloaded clip (Figure 6.4). YouTube uses
the FLV Flash video format, which is common for videos that are streamed or played
using a web-based video player. Other popular video formats, such as the QuickTime MOV
format, may be a good choice because videos in this format usually play well on both PCs
and Macintosh computers.
F IG U R E 6 . 3 . Screenshot
showing selection of a direct
URL to a YouTube video.
153
F IG U R E 6 . 4. File type menu in

Media Converter.
Embedding YouTube Videos in Your Web Page

YOU MAY prefer to embed YouTube videos in your own web page or in a blog or wiki for
online viewing without the distracting comments and related video links included on
the YouTube site. You may also find value in collecting multiple videos in one spot or
providing opportunities for conversations around specific videos that are open only to
your students (see more in Chapter 8: “Communicating with Digital Video”).
The process for embedding YouTube videos is simple and straightforward, although video
creators may disable the embed feature. If the embed feature is enabled, copy the HTML
snippet found on the YouTube page for the video. Figure 6.5 shows an example of what
the HTML snippet looks like.
F ig u r e s 6 . 5 . Detail of a
YouTube page showing the embed
code for the video.
154
F IG U R E 6 .6 . When you click on the

embed code to the right of the YouTube
video, a box like this one appears. By
default, the “Include related videos” box
is checked. We recommend unchecking
this box before copying the embed code.
You may also want to uncheck the box that allows other “related” videos to be suggested
at the end of the video you’re embedding (Figure 6.6). Sometimes the videos that are
suggested are not appropriate for students to see.
More about the YouTube Site

By Lynn Bell
YouTube videos have raised social awareness, advanced political careers, and expressed countless
teens’ individuality. YouTube’s value today is incalculable, and many students regularly view and
upload videos on the site from their home computers. Despite its many positive uses, however,
classroom use of the site may require some restrictions.
If you have spent any time on YouTube, you probably have noticed that even when viewing a
preselected video on the site, you will encounter comments (sometimes unkind ones), a list of related
videos (sometimes with vulgar titles), and advertising. Extracting videos or embedding them in your
own website allows you to take advantage of the educational clips while avoiding the distractions.
You should check your school or district policy before sending your students to YouTube to search for
videos. Besides the cruel and abusive comments that can be found with some videos, the content of
the videos vary widely, from how-tos; laughing babies; and goofy songs to racist rants; dangerous,
irresponsible behavior; and sexually provocative acts. YouTube provides flagging tools so that users
can advise them of videos that violate site policies, but keeping up with hundreds of thousands of
new videos being uploaded every day is not easy.
Your students will definitely benefit from discussions about focusing on the best YouTube has to offer
and avoiding the worst.
Capturing Video from Offline Media

IN ADDITION to the enormous amount of digital video available on the Internet, there
is an additional, endless supply of video available offline, in such formats as VHS tapes,
television, and DVDs.
155
F IG U R E 6 .7. One type of VHS

video digitizer is the Canopus
ADVC110 Video Digitizer.
VHS Tapes
Even though VHS tapes are gradually being replaced by DVDs and other digital video
technologies, large numbers of them still exist in households, schools, and libraries
throughout the world. Some of these VHS tapes contain video segments with educational
value. Transferring VHS video to digital format requires specialized hardware and
software. Many different devices and software programs are available that can be used
together to extract and preserve video stored on VHS tapes.
Pinnacle creates several easy-to-use and affordable packages. An example is their Dazzle
Video Creator, which retails for $90 and allows you to connect an analog camcorder, VHS
player, or DVD player through S-video or RCA cables to a capture device that interfaces
with their video editing software (provided). They make a similar package for Apple
computers, called Pinnacle Video Capture for Mac, for $100. They also have the Dazzle
DVD Recorder, for $50, which digitizes from a VHS player
directly to a DVD burner. Another company that manufactures
using vhs analog video digitizers is Canopus, which makes the entry-level
ADVC55 and ADVC110 (Figure 6.7).
More information on
digitizing video clips The video digitizer is connected to a VCR or analog camcorder,
from which it will receive the analog video signal, and then to
from VHS tapes and a
a computer, which will be used to view the video and complete
sample digital video the digital conversion process. With some products, including
project using such clips those created by Pinnacle, all of the required software for digi-
tizing analog video is included. With products such as those
may be found online at
created by Canopus, a separate software program that can
http://site.aace.org/ capture the digital signal is usually needed (unless the signal
video/books/teaching/ is being sent directly to a recording device such as a stand-
acquire/video2.htm. alone DVD burner). Most commercially available video editing
software packages, for example, Adobe Premiere Elements 3 or
156
higher, work with video digitizers. Free applica-

tions such as Windows Movie Maker and iMovie using cable tv
(included with the Apple operating system) also
have video capture options available, albeit with More information on
fewer editing features. capturing video clips
from cable television and
Broadc ast, C able, or Satellite T V a sample digital video
Educationally valuable video clips may also project using such clips
be acquired from broadcast, cable, or satellite may be found online at
television. Capturing television broadcasts
requires both a hardware and software solu- http://site.aace.org/video/
tion. Hardware devices, including the following books/teaching/acquire/
popular models, are sold by many different video3.htm.
manufacturers: the Pinnacle PCTV HD TV
Tuner, Autumn Wave’s OnAir Creator and
HDTV-GT Receiver, the Leadtek Winfast TV2000
XP Expert, the MSI Theatre 650PRO TV Tuner, the Diamond Multimedia TV Wonder HD
650 PCI-Express X1 TV Tuner, and the Hauppauge WinTV-HVR 1600 TV Tuner. Prices
range from slightly less than $70 to more than $200, depending on the level of sophistica-
tion of the hardware and included software (Figure 6.8). The more expensive packages
have features designed for enhancing recreational use of the equipment that are gener-
ally gratuitous for educational purposes.
A common feature of all these devices is that

they connect to a computer via a USB connection
and can receive broadcast television signals over
the air or when connected to a cable or satellite
television converter box with a coaxial cable.
The converter box is used to receive the televi-
sion signal and tune to a specific station. When
the broadcast is complete, the program can be
viewed on the computer and captured. In some
cases, the device comes with its own software
that is used either to capture still frames from
the show being broadcast or to record video full-
motion video clips. The software may allow you
to make changes to the quality of the video and
audio, as well as select where the recorded video
will be saved.
F IG U R E 6 . 8 . One device for capturing

television broadcasts is the OnAir Creator,
from Autumn Wave
157
DVDs
DVDs can also be a good source of educationally useful video; however, most commercial
DVDs of movies or television shows contain copy-protection encryption. The process
of extracting clips described here works only with DVDs not
containing this anti-copying technology. Extracting a video
using DVDs clip from a DVD refers to rerecording a particular segment of
the disc, rather than copying an entire disc. In most software
More information on designed for extracting clips from DVDs, you must set the
digitizing video clips from start point, the precise place on the disc where you want the
DVDs and a sample digital
video clip to begin, and then set the end point, the precise place
on the disc where you want the video clip to end. Once those
video project using such parameters are selected, the software rerecords the segment,
clips are available online at creating a new digital video file.
http://site.aace.org/video/
Commercial software that can accomplish this process includes
books/teaching/acquire/ Cinematize 2, which is commercially available for $129. Free
video4.htm. applications that perform the same basic functions are also
available, although they lack some of the more advanced
features. They include MagicDisc 2.7, Ashampoo Burning
Studio Free 5, AV DVD Player Morpher 3, and HandBrake 0.9
for Mac. (The AoA DVD Ripper SE 5, and the Easy DVD Ripper & Converter 3 are free to
try but $35 to purchase.) The free software is probably sufficient for most educational
purposes, and the free-to-try software can always be field-tested before committing to
purchase.
Shooting Your Own Video with

a Digital Video Camcorder
IN RECENT years, video camcorders have evolved from being very expensive devices
primarily used by professional videographers to affordable, mass-market devices used
by a wide array of consumers throughout the world. Camcorders that record and play
back digital video are commonly found in businesses, homes, and schools and are
now a feature on many cell phones. As this technology evolves, digital video recording
continues to become even more affordable and easier to accomplish. In this section,
the basic features of digital video camcorders are described, along with an overview of
current camcorder formats recommended for use in creating educational digital video.
Basic C amcorder Features

Almost all digital camcorders share some common features. They all use some type of
storage medium for the recorded video information. Most camcorders can also record
158
audio along with the video, usually from either a built-in microphone or an external
microphone connected to the camera. Beyond these generalities, the price of a digital
camcorder is dependent on the level of sophistication of the additional features it
provides. To avoid wasting money on unnecessary features, you should know which
features are most important for your needs:
■ Lens. Most consumer digital camcorders (up to $1,000) have a fixed lens
permanently attached to the camera. Prices vary widely, usually correlated
to the quality of the optics. More expensive camcorders have increasingly
powerful and sophisticated lenses, which affects color saturation, image
clarity, low-light adaptability, depth of focus control, and other attributes.
Lenses can also differ in their ability to focus at a far distance (telephoto), to
focus at a close distance (macro), or to change from one distance to another
(zoom). Under extreme conditions, such as recording at night or from very far
away, the quality of the lens might be the difference between a useful shot and
a useless one. Sophisticated lenses are one of the most underutilized features
of many camcorders, however. Don’t pay hundreds of extra dollars for a lens
that is more elaborate than you really need.
■ Viewfinder. The viewfinder is the part of the camera you look through to see
what the camcorder is recording. Many older camcorders used a through-the-
lens viewfinder, which works the same as a traditional film camera. There
was a transitional period during which many digital camcorders had both an
electronic viewfinder and a through-the-lens viewfinder, but that is no longer
the trend. More modern camcorders use only electronic viewfinders, which are
actually tiny television screens that display the image the camera is seeing.
More advanced viewfinders display wider ranges of motion, up to 360 degrees,
so that operators can point the camera at themselves and still see the view-
finder. Be sure to try out the viewfinder on any camera you are considering for
purchase and determine whether it meets your needs.
■ Focus controls. Focus controls allow the camera to adjust the focus of the
picture as it is recording. Some older cameras can only be focused manually,
usually by turning a ring on the lens, whereas newer camcorders have an
automatic focus feature. Consumer camcorders are usually best left with focus
features set to automatic even when they do have manual overrides.
■ Exposure controls. Exposure controls allow the camcorder to adjust the

image based on the amount of light entering the lens. Most cameras have an
automatic sensor that determines the proper exposure. Even though many
camcorders have a manual exposure setting control, it should rarely be used.
Today’s increasingly sophisticated postproduction tools allow relatively easy
manipulation of exposure after recording.
159
■ Image capturing device. Older video cameras used picture tubes to capture
the images they were recording, but today’s digital camcorders use electronic
chips such as CCD (charge coupled device) and APS (active pixel sensor) that
will eventually replace tube cameras entirely. The quality and size of the
image capturing device is probably second only to the quality and size of the
lens in influencing the price of a digital
camcorder. Usually, each sensor on the
image capturing device corresponds with
a pixel in the resulting digital image. An camcorder
image capturing device with an array of costs
sensors 480 high by 640 wide is consid- High-definition camcorders
ered standard definition, whereas an
can easily cost two to three
array of sensors at least 720 high by 1280
wide is considered high definition. The times more than standard-
maximum number of pixels contained in definition versions offering
the captured video is directly determined
similar features. Consider
by the image capturing device.
how the digital video
■ AC power supply and battery. All shot on a camcorder is
camcorders need power to operate. They
going to be used. If you
can get their power either from an auxil-
iary AC power supply or from a battery. will be playing the video
It is generally a good idea to use the AC on computer monitors
power supply when you have access to
or standard-definition
electricity and reserve the battery for
situations where no electricity is avail- television screens, a
able. Some cheaper camcorders operate camcorder that records in
strictly on batteries (usually AA), but high definition may not be
most have an input for an auxiliary AC
worth the extra expense.
power supply. A battery provided with a
camcorder can vary in size, with a usual
running time of 30 to 90 minutes. Larger
batteries are often available for purchase
but become increasingly heavy and expensive. A 6-hour battery might weigh
almost as much as the camcorder itself and cost in excess of $200. Be sure to
gauge your power needs and plan any extra costs into your budget.
160
Creating Videos for Active Viewing

By John C. Park
There is a significant difference between “home videos” and high-quality videos that can be used for
active viewing and analysis, especially in the science classroom. The quality of the video should not
detract from the observations, inferences, or measurements to be made by the students. The creator
of the video, whether teacher or student, should use best practice to shoot the original footage for
use in the classroom and for sharing with other teachers and students.
Using a tripod. Handheld video cameras usually produce shaky results. Place the digital video camera
on a sturdy tripod to reduce any unnecessary camera motion. A tripod with a pan-tilt head is useful
for leveling the camera and to center the event in the viewfinder. Be sure to loosen the panoramic
handle of the tripod to easily pan left and right if the videotaped event might move out of the field of
view of the camera. If the event will not move out of the viewfinder, be sure to center the event in the
viewfinder and tighten each handle that controls panning and tilting.
Filling the screen. Videos could be viewed in a number of ways, including projection on a screen for
a teacher demonstration, individual viewing on computers, or on portable handheld devices such
as iPods. Adjust the optical zoom or the camera distance to fill the viewfinder with the event to
be captured. Be sure that the critical parts of the event are large enough to be clearly seen on any
viewing device.
Masking the background. Student attention should be directed to the event, not to the background.
When possible, mask out the background using colored cardboard sheets behind the event. Also,
choose a background color that will allow for the best contrast with the event. You may want to test
the video on people who have color vision problems. Something that looks like a good contrast to
you may not be perceived as well by others.
Timing the video. Some videotaped events last longer than the students’ attention. If this is the case,
create a time-lapse effect using software that will use only a fraction of the frames shot. For example,
if only one out of five sequential frames will be used in the video, the event will be displayed five
times faster than what the original video captured. On the other hand, if the event happens rapidly,
you may want to create a slow-motion effect by adding to the sequence of frames. For example,
instead of a sequence of frames 1, 2, 3, 4, the edited version may contain the sequence 1, 1, 2, 2, 3, 3,
4, 4. As a result, the movie should appear to move at one-half the original speed. These video effects
can be accomplished using movie editing software, such as iMovie.
On the other hand, if you know you will want to create a time-lapse of a slow event, you may want to
shoot the video at a rate other than 30 frames per second. For example, Logger Pro software allows
you to shoot digital video at a frame rate of your choosing. When you shoot using a lower frame rate
under fluorescent lighting, you may be surprised at the results. Some frames may appear to be lighter
than others. Fluorescent lights have a flicker rate of approximately 120 cycles per second and will
influence the appearance of the sequential images.
Using additional lighting. Modern digital video cameras have amazing optics that allow video to be
captured with little light. However, low light levels may make the video appear grainy. Additional light
will reduce this effect. When the event space is small, such as crystals precipitating in a cooling liquid
contained in a test tube, you should either set up the camera very close to the event or zoom in. In
either case, less light will enter the lens, and additional lighting on the event will brighten the image
for better clarity. You may also need to adjust the focus if the camera is close to the event.
(continued)
161
Adjusting sound clarity. For some videos, both sound and motion are important. When sound
is included in the video, think about how to improve its quality. Shooting a video with high-
quality sound is easier than editing sound problems out of the movie. Most digital video cameras
have built-in microphones that work well when the event is near the camera. External wireless
microphones would be useful for events that are farther away from the camera. Be aware of other
noises, such as air vents, overhead fans, and animal noises, that could be a distraction in the video or
that could degrade the quality of what is to be heard.
Sharing your product. If you plan to share your video with other teachers, you may want to produce a
few different versions so they can use it differently. Some teachers may not wish to use the questions
you included in the movie title pages and would like to edit the movie using their own questions.
Or perhaps others would not want to use the audio you use in your class and would prefer to create
their own audio track. Still others may want to use a portion of your video in an online test. Create
transportable video that others could repurpose into new activities.
T ypes of Digital C amcorder Recording Formats

Digital camcorders come in many different types and price ranges, depending greatly
on the sophistication of the features previously described. An additional feature that
deserves discussion is the recording format used by the camcorder.
F IG U R E 6 .9. A mini-DV tape.
Mini-DV camcorders. A large number of camcorders record video onto a tape cassette,
one much smaller than a VHS tape. Many digital camcorders record video onto mini-DV
(digital video) tapes (Figure 6.9), which generally allow recording of either 60 or 120
minutes, depending on which of the two quality settings is used. The mini-DV format
is still a popular choice for those just starting out with digital video or those who have
inherited an older camcorder. Mini-DV camcorders have become one of the cheapest entry
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points into standard-definition recording and can be found under $200. One disadvan-
tage of mini-DV is that the video must be transferred to the computer’s hard drive, which
can be a time-consuming process. However, an advantage of this format is that the tapes
can be easily stored, which can be useful when important video material needs to be
preserved.
Flash memory card camcorders. Flash memory camcorders record to a flash memory
card, a common storage medium for digital information that includes a variety of
different types from different manufacturers, including secure digital (SD) cards,
memory sticks, and compact flash (CF) cards. These media make the video recordings
easily portable, as the memory cards can be replaced to increase recording capability
and can also be moved to other devices, such as computers equipped with memory card
readers. An advantage of flash memory card camcorders is that the footage can be trans-
ferred to a computer’s hard drive from the flash memory card as a folder full of data
files. This is a much faster transfer process than capturing footage, as is required with
mini-DV tapes. Further, specific video clips can be transferred individually for maximum
efficiency.
Hard disk drive camcorders. Hard disk drive (HDD) camcorders, as the name implies,
record video information onto a hard disk built into the camcorder. As with a computer,
the information is stored internally, and no external medium is required for the video
recording. Many HDD camcorders also include the ability to record to a memory card, so
you have two choices for storing the video you shoot. This type of dual recording format
is generally marketed as a hybrid camcorder. Like flash memory card camcorders, hard
disk drive camcorders can be treated just like an external hard drive by your computer.
The process of transferring files to your local hard drive from the camcorder then
becomes almost identical to the process of transferring video clips from a USB thumb
drive. Similar to the flash memory camcorder, you can transfer entire folders of video
clips, or select individual clips to copy.
Mini-DVD camcorders. Some digital video camcorders can record directly to a mini-
DVD. The major advantage of recording video on mini-DVDs is that the finalized disc
can be played back on most standard DVD players, as well as on computers with a DVD
drive. Recordings can then easily be stored on these small discs for later use or for more
permanent archiving. However, once a disc has been finalized, it cannot be reused. Some
digital camcorders are available that can record to both a mini-DVD and a memory card.
DVD camcorders had a period of popularity, but they have now generally been replaced in
the market by camcorders that record directly to a flash drive, hard disk drive, or hybrid
combination.
Ultraportable camcorders. Like many other technological devices, digital video

camcorders have become smaller and less expensive. Ultraportable camcorders, such
as the wildly popular Flip Video cameras, are scaled down in terms of features, because
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they record video of moderate quality to an internal memory chip. However, connecting
the camcorder to a computer to transfer the video is simple via the camera’s built-in USB
connector. The combination of low price, ease of use, and portability has helped make
these devices currently among the best-selling camcorders available. If you are unsure
that the moderate image quality of the Flip Video will suit your needs, perusing the many
YouTube videos demonstrating the use of the Flip should provide guidance.
Digital still cameras. Many digital still cameras include the capability of shooting video,
potentially eliminating the need to own both a digital camera and a digital camcorder.
Although the quality of the video shot with one of these cameras may not be as good as
with a dedicated digital camcorder, the convenience and reduced cost of having a single
piece of equipment may be attractive for many teachers and students. In addition, some
digital cameras that record video also include software for easily uploading videos to
YouTube.
Conclusion
AS YOU can see, a wide variety of ways exist for acquiring digital video for classroom
use. As with all technology, digital video technology is evolving at a dizzying pace. New
software programs will continue to appear with regularity, as will new camcorder models
and more powerful digital video devices. The information presented here should serve as
a starting point for exploring the dynamic opportunities afforded by digital video.
Once you have acquired digital video,

regardless of its source, you and your More complete information on downloading
students have many exciting options
for editing, remixing, and combining videos from YouTube and a sample digital
video to communicate the precise video project using video clips may be found
message you wish to convey, which is online at http://site.aace.org/video/books/
the subject of the next chapter.
teaching/acquire/video1.htm.
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CHA P T E R 7
Bernard Robin, Daniel Tillman,

and Curby Alexander
creating
digital video
USING STILL images and video projects—primarily with digital
clips, teachers can create their own video editors. Regardless of how you
videos to engage, inform, and chal- acquired the video and depending
lenge students, while students can on the digital video editing software
create videos to explore the world you choose, you can complete the
around them and communicate following tasks:
their ideas and understandings.
■ Make a movie from still
Previous chapters described a images alone
number of ideas for creating
video in the context of learning ■ Extract clips of specific
educational content. This chapter scenes from longer video
describes a variety of tools you ■ Trim or delete unwanted
can use for implementing those
video footage
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■ Rearrange scenes in a video
■ Combine multiple video clips or combine video and still images
■ Add special effects and transitions to your video
■ Add sounds, music, or voice-over narration to your video
■ Add text-only frames or text captions to images or video
The general process for creating video is similar across video editing software programs.
1. Import your collection of images or prerecorded video into a project bin. (The
software may enable you to capture video not already on your computer.)
2. Place the video(s) and/or images in the timeline or storyboard in the sequence
you wish to display them.
3. If you wish, you can add special effects to video or images and transition
effects between video and images. You may also add text-only slides or add text
over video or images. Most programs allow you to add sound, such as music or
narration, as well.
4. When you have finished creating and editing, save your video in a format that
will work with a media player.
photo story 3
Making Videos Using Only
Still Images
Photo Story 3 is a free program
A NUMBER of inexpensive and user-friendly video editing
available for Windows XP,
software programs are available today that make creating
Vista, and Windows 7 digital videos easier than ever before. The most basic of
operating systems. these programs is the wizard-based model used in applica-
tions such as Microsoft Photo Story 3, which can be used for
Download from www.
creating a video from only still images (Figure 7.1).
microsoft.com/windowsxp/
using/digitalphotography/ To create a video from digital images with a program such
as Photo Story, import the photos you want to use and
photostory/default.mspx.
arrange them in order in the timeline. Photo Story auto-
matically adds zooming and panning motion to the pictures
you import, also known as the “Ken Burns” effect (named
after the filmmaker who pioneered the use of this technique
in his historical documentaries). You can easily customize this motion to emphasize a
particular area of the image (Figure 7.2).
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Creating Digital Video ■ Chapter 7
a . A group of still images is assembled to tell a story.
Image of Kennedy speech Image of the Moon Image of astronaut on Moon
b . Special effects may be added to images.
Original image Same image with

diffusion effect applied
c . Text slides may be inserted into the image sequence.
Text slide placed Image of

before image President Kennedy
d. Blank slides may also be used to create a fade between two still images.
Image of NASA rocket Blank slide used for fade Next image of spacecraft
e . Transitions may also be applied between two still images so that a visual effect is
displayed as one image changes to the next.
First image of “Slide, Right” Overlapping images Second image

spacecraft transition applied transition displayed of astronaut
.
F ig u r e 7. 1 . Making a video from still images.
The wizard-based screens in Photo Story 3 walk you through additional tasks, such as
adding titles to pictures, recording audio narration with a microphone, adding music,
and saving your work. When a project created in Photo Story is completed, two files are
created and must be saved. The first is the project file, designated by the extension .wp3.
167
F ig u r e 7. 2 . The Customize
Motion Wizard in Photo Story 3 allows
zooming and panning.
This file allows you to open the project at a later time, which may be helpful if you want to
make changes to the project, add more images, correct mistakes, and so forth. The other
file Photo Story saves is a video file in the Windows Media Video format (.wmv) so the
completed project can be played back on a computer.
Programs such as Photo Story 3 have a very specific use,

which means they are not very flexible. Photo Story 3 does not
digital stories
allow you to include prerecorded video clips. Also, the .wp3
One type of digital story project file you create can be opened only in Photo Story 3.
consists of a short, personal Video editing software programs, such as Windows Movie
Maker or Adobe Premiere Elements, cannot open .wp3 files.
video narrative that includes
The .wmv file you create with Photo Story 3 can be opened in
photographic and other still another program, but editing in this file is difficult. You can
images as well as a musical add video to the beginning or end of the .wmv file, but editing
the original video may cause disruptions with the motion,
soundtrack. If you want your
transitions, and, especially, any audio included in the Photo
students to create digital Story file.
stories, the following
website is a great resource:
A Guide to Digital Video Editing Software
Storytelling (Center for MANY VIDEO projects you and your students will want
Digital Storytelling)— to create will include full-motion video clips. A number of
different software programs are available that allow you to
www.storycenter.org/
work with video clips in what is called a “nonlinear” fashion.
memvoice. Nonlinear simply means that any point in a specific clip may
be accessed and edited, whether it is at the beginning, the
end, or any point in the middle.
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TABLE 7.1. Video Editing Software Programs
Operat i n g
P r o g ra m S y s te m C h ara c ter i s t i c s
Scaled-down version of the more professional
Adobe Premiere Windows Adobe Premiere software but has most features
Elements students and educators will need
Included with most new Macintosh computers or

Apple iMovie Mac
may be purchased as part of iLife suite of applications
Full-featured video editing program that also

Corel Video Studio Windows
includes easy-to-use wizards and templates
A component of the Microsoft Windows oper-

Microsoft Windows
ating system; not as full-featured as other editing
Movie Maker programs but has many features students and
teachers will need
Scaled-down version of more professional editing

Pinnacle Studio Windows
software, from Avid Technology
Scaled-down version of more professional editing

Vegas Movie Studio Windows
software, from Sony Creative Software
Some of the most popular nonlinear video

editing software programs used by teachers HOW DIGITAL VIDEO
and students are shown in Table 7.1. FILES ARE STRUCTURED
Full-motion video clips, like motion
Common Features of Video
Editing Progr ams pictures, are actually made up of
a number of still images that are
Almost all digital video editing programs
share some common features. They all displayed sequentially, one after
allow users to work with one or more full- another. Most motion pictures use
motion video clips; add still images; add
24 frames per second (FPS), which
titles, narration, and music; and trim video
clips by deleting unwanted sections. means that 24 individual still images,
or frames, are used to make up one
Timeline and Storyboard Views second of a movie. Like motion
Most video editing software programs pictures, full-motion video clips use
provide different options for viewing and a sequential series of still images,
working with video clips, most commonly although most video clips use 30
the timeline view (Figure 7.3) and the story-
frames per second, rather than 24.
board view (Figure 7.4). Each view provides
a working layout of the media elements
being used.
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F ig u r e 7. 3 . The bottom portion of the screen (from Adobe Premiere

Elements) shows the timeline view. Note that you can see the sequence of video
clips as well as the accompanying audio sequences below the video.
F IG U R E 7. 4. Video clips displayed in the storyboard view (called the “scene-

line) in Adobe Premiere Elements. The small boxes with the diagonal stripe
between clips display any transition effects that have been applied. The black
square between the two clips shows that there is blank space between two
video clips.
170
a . The clip size slider in Apple’s iMovie software can be used to adjust how
much or how little of a video clip is displayed in the editor.
b . A video clip in iMovie adjusted so that only a small portion

is displayed.
c . The same video clip in iMovie adjusted so that a larger portion

is displayed.
F ig u r e 7. 5 A , B , C . Using the clip size slider in iMovie.
In the timeline view, you can expand or reduce the magnification of the video clips to see
either more or less detail, even viewing individual frames of the video clip. You can also
add video effects, audio, and text overlays in this view.
One of the most popular video editing software applications for the Macintosh is iMovie.
Like Premiere Elements and Windows Movie Maker, iMovie by default displays video
clips in a timeline in which one thumbnail image is shown for every five seconds of a clip.
The view in iMovie may be expanded by clicking on the clip size slider (Figure 7.5A) and
dragging to the right or left.
Trimming Video
One of the main uses of video editing software is removing unwanted footage, also
known as trimming the video. To trim a video clip, you need to place the video clip in the
storyboard, then switch to the timeline view. Usually, you can trim the beginning of the
video by dragging a vertical bar on the left to the point in the video where you would like
171
it to begin. You trim the end of the video by dragging a bar from the right to the point
where you want the clip to end. The software does not actually delete any portion of the
original video clip, but instead removes portions of the clip from the timeline so that
they do not show up in the final rendering of the video project. Therefore, all trimming is
reversible, so long as the original file remains accessible.
When capturing footage that will later be trimmed, you may want to leave several addi-
tional seconds at both the beginning and end of the video. This way, you can include
transition effects (such as cross dissolves) without losing any of the action you want
viewers to see.
Working with Video Clips
Extracting short clips from a longer video can be achieved in multiple ways. If you are not
limited by hard drive space, you can capture an entire video on the computer, then trim
as described in the previous section. If computer storage is limited, then capture only the
sections of the video you need. This second method requires previewing the footage in
order to plan in advance which portion(s) of the video to capture. To rearrange these sepa-
rate scenes, use either the timeline or a storyboard view to place the clips in a sequence
from left to right to determine their order of play.
Adding Special Effects
Depending on which video editing program you use, a number of special effects may be
added to video or images. Effects are generally added in the storyboard view.
Most programs include a collection of preset effects that you can apply to individual
clips, such as fading in and out, increasing or decreasing brightness, changing colors,
aging, zooming and panning, and pixelating. You can also choose from a variety of tran-
sition effects to be placed between video clips or images. Transitions can be helpful for
cluing the viewer that one clip is ending and another is beginning, which is not always
necessary. If you choose to add a transition, it will begin while the first video clip is still
playing and will play through the beginning of the next video.
Most programs allow you to add title and credit screens, text-only frames between clips,
and text over video or images, all of which can be animated. These are usually viewed in
the storyboard view.
Students can get caught up in experimenting with effects and transitions and text
animations, wasting hours and sometimes even running out of time to complete their
movie project. Although these effects can sometimes enhance a video, gratuitous special
effects can actually distract viewers from the content. Remind your students that less is
more when it comes to special effects. Special effects should be used only when necessary
172
to augment a portion of the content or to smooth out the transition between sections
of content. Students should focus first on providing interesting and useful content to
communicate their message effectively.
Before beginning a video project, you might talk with students about how to prioritize
their time and the relative significance of special effects and audio (discussed in the
following section) to your assessment of their work. Special effects and music can seem
like much more fun to students than the content they should be learning or presenting,
so they will need clear direction about where to focus their time.
Copyright and Music in Your Videos

By Daniel Tillman
According to the Fair Use Guidelines for Multimedia (http://ccumc.org/system/files/MMFUGuides.
pdf), you may use up to 10% of a song so long as it does not exceed 30 seconds and there is proper
attribution. However, the Fair Use Guidelines are nonlegislative, so they in no way provide legal
protection if you are sued. The only way to be completely safe is to get written permission from the
copyright holder, which can be difficult and sometimes costly.
For these reasons, many video makers use music available under Creative Commons licensing.
At creativecommons.org there is a section dedicated to discussing music for video (http://
creativecommons.org/legalmusicforvideos), as well as a list of websites offering Creative Commons
music. As an example, magnatune.com offers a wide variety of genres of music including ambient,
classical, electronica, jazz, blues, metal, New Age, and rock. Their website states, “No paid license is
required for people creating new works for noncommercial use.” If there are any concerns, be sure
to check that your project qualifies as “noncommercial use,” as defined by the Creative Commons
License (https://magnatune.com/info/licensing).
If you are interested in building a library of music that can become a resource for future projects,
consider royalty-free music such as that offered by Digital Juice (www.digitaljuice.com). They sell
digital music, under the brand name of Stack Traxx, which can be used as often as desired without
additional costs after the one-time purchasing fee has been paid. Stack Traxx music is capable of
masking many of the audio blemishes that are most common when recording sound with consumer
video equipment.
Another alternative is to create your own songs using music loop software. Free programs such as
Acid Xpress (www.acidplanet.com/downloads/xpress) allow users to generate songs quickly out of
specialized music clips that can be seamlessly looped together. Acid Xpress, and programs like it, can
automatically match the pitch and tempo of the music clips selected for a song, thereby helping to
ensure that even nonmusicians can generate satisfactory soundtracks for their videos. In addition,
a wide variety of compositions that have been produced by the community of music loop software
users are often available through the same websites that distribute the loops.
For more on copyright and fair use, see Appendix B.
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Adding Audio
Most video editing programs allow you to add music, sounds, and voice-over narration.
You must import audio files into the program’s project bin and then add and view them
from the timeline view. Within these programs, you can usually at a minimum adjust the
volume, mute, fade in, and fade out.
Audio is best used to channel the attention of the audience toward the portions of the
content that deserve highlighting. Similar to special effects, music and sounds can either
focus attention on the key components of the movie or distract the viewer from the point
of the message.
Remind students to keep the volume of background music low enough that it does not
overwhelm dialogue or narration in the video. You might also note that narration can
provide useful information to the viewer, but if it merely describes what is clearly visible
in the video image, it is rarely an improvement.
Saving and Exporting Edited Video
Most video editing programs save your work as a project file with a filename extension
proprietary to the program you are working in. In Photo Story 3, all of the components—
images, text, narration, music, transitions, and effects—are included in the project file
you save (.wp3 file). The project files for nonlinear video editors contain only the instruc-
tions for how the various components will work together, but do not contain any of the
images, audio, or video clips. This is an important difference in the way these two kinds
of software programs work. You must make sure that all of the media used in the video
editing project are saved in the proper location in order for the project to open properly
for additional editing. In practice, this means that when you use a nonlinear editor, all
media assets that you have imported into the project bin are linked via a pathway that
can be broken if the asset is moved or renamed. If this occurs, use the software’s options
to relink the assets when next opening the project file.
Another common feature of video editing programs is that they allow you to export a
completed video project to other formats. Two of the most common methods of exporting
edited video are saving the video for playback on a computer and creating a DVD that
may be played either on a computer with a DVD drive or on a DVD player connected to a
television set.
Web-Based Video Editors

Several web-based applications have appeared in the past few years that let users
assemble and edit videos online without the need for a separate video editing program.
Although none of the current crop of online tools (see Table 7.2) approaches the level of
sophistication or feature set of the stand-alone video editing programs, they are all free
174
tools that may serve as a useful starting point for teachers interested in experimenting
with digital video editing and sharing over the web.
These online resources are also important in that they provide us with a glimpse of where
video editing technology may be headed in the not-too-distant future. Because they are
web-based, they are able to change quickly and keep up with the new developments in
video technology that are certain to come.
TABLE 7.2. Online Video Editing Sites
Na m e W eb s i te L i n k
Photobucket http://photobucket.com
Movie Masher www.moviemasher.com
One True Media www.onetruemedia.com
Editing Screenc asts

A number of software programs are available for capturing screencasts, as described
in Chapter 6: “Acquiring Digital Video,” but only a couple of them available at this time
include editing capability.
Camtasia Studio for Windows includes a work area with a clip bin, preview window, and
timeline similar to those found in other video editing software programs (Figure 7.6).
Video and audio captured with Camtasia Recorder can be edited with Camtasia Studio’s
editing feature.
Camtasia Studio includes many additional features that can increase the educational
effectiveness of a screencast, such as captions, text labels, quizzes, and surveys that may
be added to a screen recording. For example, a quiz may be created and inserted into the
middle of a screencast video. The quiz will pause the video, and a question will appear on
screen. Your screencast could include questions
at certain points that require an answer before
sample screencast
the screencast continues playing. As shown in
Figure 7.7, you can add different types of ques- A sample screencast created
tions including multiple choice, fill in the blank, with Adobe Captivate may be
and short answer.
found at http://site.aace.org/
Adobe Captivate for Windows is another video/books/teaching/create/
program that can be used to create and edit captivate/test1.htm.
high-quality screencasts. Captivate has the
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F ig u r e 7.6 . The work area in Camtasia Studio F ig u r e 7.7. The Quiz and Survey
shows the elements of the program, including the time- Manager in Camtasia Studio.
line at the bottom of the screen.
added capability of working with other Adobe programs. For example, you can import
images created in Adobe Photoshop.
Tips for Student-Created

storyboarding Video Projects
WHEN CREATING video, students will likely benefit
Some helpful web resources for
from some scaffolding to ensure that they work effi-
classroom storyboarding ciently, stay on task, and successfully complete their
can be found at assignment.
■ www.willamette.edu/wits/idc/ For most types of video, a storyboard is an absolute
mmcamp/Storyboard_handout.htm necessity. A storyboard is simply a hand-drawn or
(Willamette University Instruction digital sequence of images to help with planning and
visualizing a video. Some teachers feel this step is so
Design Center website)
important that they make students “sell” the story-
■ www.storycenter.org/memvoice/ board to them before filming and editing.
pages/cookbook.html
Occasionally, video created by students will bear
(Center for Digital Storytelling the marks of natural creativity and cleverness, but
website) making good movies is hard. Knowing that even the
professionals make their share of flops, you should
have realistic expectations about the quality of
filming, editing, storytelling, and depth of under-
standing that will be portrayed in student-created
176
videos. Some teachers have found that student videos more often resemble encyclopedia
entries than creative and insightful treatments of a topic. Showing exemplary videos
may help students better envision the qualities that will be most important in the videos
they make.
In addition, though students are often engaged by creating video, they can easily
become focused on style rather than substance and lose sight of the primary goal of the
assignment. They may become seduced by the variety of options for background music,
transitions, and special effects or become obsessed with cropping images just so. The
following tips can help you better support student video production and improve the
chances that your instructional objectives will be met:
■ Students will need to have familiarity with video editing or moviemaking

software, as well as an understanding of the fundamental steps involved in the
video editing process. These steps include moving files from the video camera
to a computer, as well as any other content—including music and still images—
that will become part of the final video. Students will also need to have basic
computer skills, such as the ability to properly save files and keep track of file
locations. As a way to anticipate these technical issues, you should complete a
video project of your own from beginning to end on a computer students will
be using. If this is your first video project, the final movie can also serve as an
example for students to view.
■ Students need basic understanding of the language of video editing (e.g., pan,
zoom, timeline view, storyboard view, and roughcut). Becoming familiar with
the vocabulary of video editing can enhance a group’s ability to collaborate
on their projects. Consider creating a handout or poster with visuals and the
corresponding terminology to which students can refer as needed.
■ Assign roles to all the members of the video-making team, such as storyboard
creator, camera operator, video editor, and soundtrack musician. Typical coop-
erative group strategies should be applied for maintaining the most productive
workflow.
■ Take advantage of peer expertise. Most likely, you will have a few students who
already possess experience with video and other digital media. These students
can help students who are less experienced.
■ Formative assessment at every stage is key to a successful final project.

Beginning video makers often make the mistake of thinking that they should
not show their work-in-progress, but instead show only the final product. The
weakness of this approach is that it greatly diminishes the capacity to fix
problems before the video is finalized. Teacher review of and feedback about
the videos while they are still in the development stage can help ensure quality
control.
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Age-Specific Str ategies
Gr ades K–3
■ Young students will be excited about having participated in the moviemaking

process and will likely consider the end product their movie. Let students draw
or capture and then narrate one or two images that will become part of a class
movie. Chances are they will still meet the learning objectives for the assign-
ment, the task will more closely resemble activities with which the students are
already familiar, and the fact that they are contributing to a movie project will
keep them engaged.
■ Set up a “movie station,” where you can work with students individually or in
small groups to annotate or narrate their images. Young students are often
quite diverse in terms of the technical skills they have acquired. Bringing a
large group of young students to the computer lab all at one time to work on
the movie will be frustrating for both you and the students. Teachers of young
students will accomplish more by working in small groups while the rest of
the class is engaged in a different activity. This approach will require more
calendar days, but it will actually conserve class time.
Gr ades 4–8
■ Students in this age range are becoming more capable of mixing their own
media into a unified movie project, but you may still consider putting students
in small groups to work together.
■ Give students clear boundaries for acquiring images or video. You may give
them a set of images or video clips to choose from, or carefully choose websites
with images or video they can use. Otherwise, you should provide students
with a set amount of time to capture their media. Using an open-ended search
engine for locating images is risky and time consuming, and it will result in
projects with random and irrelevant images or video. Even adults are easily
sidetracked when searching through online collections of images and video;
this applies even more strongly to adolescents who may be looking for an
excuse to procrastinate.
■ Regarding time, less is more. One might assume that if students can capture
good images in 5 minutes, then they will capture awesome images in 15
minutes, but this is rarely the case. Students will often work more efficiently
if they have a limited amount of time to capture images or video. (Note: Video
typically takes longer to capture than still images because of the need for
multiple takes and the fact that live action is being filmed.)
178
■ Have an activity planned for students who finish early. Consider projecting the
day’s objectives on the screen or printing them on a handout so that students
know what to do after they have finished each step. If not told what to do next,
students will create their own entertainment.
■ Decide in advance which aspects of the editing process can be done in the
computer lab or with a laptop cart, and which elements should be done indi-
vidually or in small groups. For example, students of this age can easily import
their images or video into an editing program, and many of them can apply
their own postproduction effects or music. However, even with headsets,
students are unlikely to create clean, high-quality narrations in a large-group
setting because of the amount of room noise and distractions. Consider setting
up a recording station in a quieter spot for students to capture recordings,
which can be added to the movie later.
Gr ades 9–12
■ High school students are capable of creating movies independently or in small

groups. Although younger students are likely to be naturally engaged by video
projects, high school students may no longer be interested in making movies.
Do not assume that giving these students cameras or a list of web-based
digital image collections will naturally excite them to make a movie. Carefully
consider how you will present the project, the amount of student freedom in the
projects, and the learning objectives.
■ Whereas students in Grades 4–8 may need time constraints in terms of making
the video, high school students will need strict limits on the duration of the
final product. Challenge students to make tough editing decisions in order to
stay within the time limit.
■ Clearly establish which content objectives are to be demonstrated through the

movies, and provide examples for students to view. If the learning objectives
are not clear, students will create movies intended solely to entertain each
other. Exemplary movies can and should be entertaining, but the learning
objectives must also be demonstrated with proficiency.
■ Allow students freedom in acquiring images. Students at this age should be

able to use search engines or capture their entire project with a still or video
camera. They are also more likely to put more time into the project than you
can allot during school hours. You may consider providing extra lab hours
before or after school or during lunch to accommodate students who want to
work more on their videos.
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■ Establish clear expectations regarding the use of copyrighted material.

Students this age know how to—and likely will—use copyright-protected mate-
rials in their projects unless instructed otherwise. These materials include
music, images, and video clips. Teachers should require
students to provide a reference for every media source used,
skype and they may want to consider having students use only media
they create themselves or obtain through a Creative Commons
If an invited guest expert license.
cannot attend in person,
try a conference call or an Video Project Assessment
online videoconference Assessment should, of course, be aligned with learning
using a program such as outcomes. Unless you are teaching a filmmaking course, your
Skype. evaluation should place only limited emphasis on the aesthetic
qualities of the video, especially for students at younger ages.
Because students may lack the technical skill to make a movie
that fully communicates all they understand about the targeted
concepts, they should be able to demonstrate the target learning outcome both through
the movie itself and through associated discussion or a learning journal completed
throughout the project. Final class presentations should not only show and tell but should
include facilitated discussions to further probe student understanding. You might even
invite an expert on the topic to facilitate discussion initiated by the student films.
Security Issues and Student-Created Digital Video

Students especially enjoy video projects when they provide choice, creativity,
ownership, and opportunities to communicate with a peer audience. Depending on your
goals and school policy, that peer audience may extend beyond a single classroom to
others within the school, to family and friends, or to the general public.
When students create digital videos, you may have the opportunity to share them with a
broader audience through a website or blog. If you choose to publish your students’ work
on the web, you will need to consider some security issues:
■ Foremost, you will need to research your school district’s policies regarding
acceptable use of technology. This policy will vary among states and school
districts. Some school districts allow student work to be published on the web
with parent permission, whereas others strictly prohibit it.
■ If your school district allows student work to be published on the web, make
sure you obtain parent permission for each student. Clearly explain the nature
of the project and why you want to share student work with a wider audience.
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Many school districts have parents sign a form at the beginning of the school
year granting permission for general technology use. Look closely at this docu-
ment to see if it includes a section on publishing student work on the web. If
not, you will need to obtain parental permission specific to your project. Even
if the general form gives permission for putting student work on the web, you
should inform parents at the onset of the project of what you are doing and how
the work will be shared. Some parents may have signed the form without care-
fully reading each section.
■ If students are not permitted to be included in movies published on the web,

they can still participate in the project by fulfilling roles behind the camera.
You should exclude their names from all credits and other text accompanying
the movie. Even if you do not agree with the parents’ rationale for not allowing
their child to participate, you must honor their wishes and remove all identi-
fying information about that student from the movie.
■ Students, especially when they are in a performance context, will be tempted

to amuse each other. The video projects should be fun, but you also want them
to reflect student learning. The wider a movie’s audience, the larger the pool
of people that might be offended by misguided attempts at humor. Encourage
students to avoid reinforcing stereotypes, singling out individuals or groups
of people for humorous reasons, or mimicking inappropriate movies, shows, or
people from pop culture. If you establish clear product standards at the begin-
ning of the project, students will be more likely to stay close to the project’s
learning objectives.
■ Make sure students are legally using all media in their movies. They likely
know how to obtain copyrighted music, images, and video clips, but just
because they know how to find something does not mean those objects are
appropriate for a school-sanctioned project. If necessary, provide media or
links to websites with Creative Commons–licensed media for them to use. As
a way to completely avoid copyright infringement, require all media in the
movies to be completely original. This will also give students with artistic or
musical abilities the opportunity to showcase their talents.
You can post student movies on public websites such as YouTube if you have
■
parental permission to do so, but for viewing them in class, you may want to
embed the movies in a class web page, rather than watching directly from the
YouTube site (for reasons outlined in Chapter 6: “Acquiring Digital Video”).
The algorithms used by hosts such as YouTube are complex, but they do not
actually know the content of your student’s movies. The host may erroneously
suggest movies that are totally unrelated to your students’ movies, causing
unnecessary distraction or suggesting something entirely inappropriate.
181
If you embed the video from YouTube, first uncheck the box on the YouTube
screen that allows other videos to be suggested after the video is through
playing (see Chapter 6 for a full explanation of embedding YouTube videos
safely).
By following these suggestions, you will communicate to your students, parents, admin-
istrators, and the broader audience that these movies were made with integrity and that
the students’ learning was the primary aim of the project.
Conclusion
MANY MODERN video editors provide the option to use easy-to-follow wizard-based
programs and increasingly simple user interfaces. As a result, working with digital video
is more manageable than ever before. As technical obstacles to creating digital videos
continue to decrease, you and your students can focus more energy on achieving higher
standards of content quality. As long as the message and purpose of the content drive
all creative decisions, making digital videos can bring real-life relevance and greater
engagement to learning projects across the curriculum.
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CHA P T E R 8
Glen L. Bull, Daniel Tillman,

and Lynn Bell
communicating
with digital video
THROUGHOUT THIS book you To keep the lines of communica-
have seen a wide array of ways to tion open with your students, the
communicate with digital video best educational video is often
in educationally effective ways. brief, interesting, and mentally
The videos our authors have stimulating (which may eliminate
recommended include everything a large portion of the recorded
from home movies on YouTube, to lectures often available on educa-
segments from Hollywood dramas tional video sites). It should promote
and professionally produced docu- student engagement, or analysis, or
mentaries, to student-created works. knowledge acquisition/retention,
or skill acquisition, or conceptual
understanding, or critical thinking.
183
Obviously, picture and sound quality needs to be clear; the subject must be large enough
to see well, with few extraneous visual distractions; and the components of the action
need to be accessible in order for viewers to make reliable interpretations (especially for
viewers with limited prior knowledge).
Most importantly, the videos you show in your classroom should be connected to the
curriculum. Table 8.1 presents some characteristics of useful educational video by
content area. These criteria may be helpful as you decide among a range of possible video
options for your classroom.
Table 8.1. Some Characteristics of Educational Digital Video by Content Area
English/
S o c i al L a n g ua g e
Stud i e s Mat h e m at i c s Science A rt s
• Portrays a significant • Presents a context for • Presents a context for • Presents enactments
real-time or reenacted mathematical conjecture, scientific inquiry of written texts
event in history or inquiry, and problem • Captures visual to enhance
politics solving (and audio) data for comprehension and
• Provides visual and • Provides a medium further observation facilitate practice of
factual information for measurement and and analysis literary interpretation
about places, cultures, analysis • Portrays natural • Exemplifies a new form
and human behavior • Captures connections phenomena that may of communication for
• Presents historical among mathematical otherwise be too fast, composition or analysis
information with or relationships too slow, too small, • Provides context for
without interpretation • Exemplifies real- or too far away for student inquiry and
• Illustrates targeted world applications of students to see critical thinking
cultural characteristics mathematics • Provides targeted • Provides a dynamic
through story • Provides a creative factual information in bridge into literary
• Serves as primary source means for mathematical an engaging manner themes, global
for an authentic inquiry communication connections, visual
literacy, and multimodal
• Describes spatial composition
relationships
• Conveys political or civic
ideas and beliefs
Effective Teaching with Digital Video

MOST TEACHERS have turned on an instructional videotape or DVD in their class-
room and stepped aside until the movie ended. (Many have also observed a student or
two losing consciousness during this period.) The authors of this book have suggested
a different way of teaching with digital video: showing one or more targeted snippets
of videos so that you stay involved in the instructional process and keep students more
engaged as well.
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Communicating with Digital Video ■ Chapter 8
With increasing ease of use and accessibility of digital video, many teachers are discov-
ering through serendipity and trial-and-error the most effective instructional techniques
for using it in their classrooms. Although the definitive research on best practices for
communicating with digital video has not yet been conducted, over the years educators
have been exploring effective uses of moving images in the classroom, some dating back
to the days of filmstrips. Their findings are often transferable to digital video, as these
examples illustrate:
■ “Film” used in combination with other instructional materials is better

than either alone (Hoban & van Ormer, 1951). In other words, video should
supplement your good instruction, not replace it.
■ The most effective videos will be closely matched to your instructional goal.
Video can entertain students and fill class time. Video that will enhance
learning must be purposefully
selected to inform, reinforce, moti-
vate, or engage (Dale, 1969). We would Teaching tip
add that shorter video clips (5 minutes
Over time you may
or less) may often best fulfill this
principle. accumulate video clips
in the same way that you
■ Videos are more effective when
develop a portfolio of other
students receive prior instruction
about what to look for or what ques- teaching resources. Large-
tions will be raised or answered in the capacity USB drives make it
video (Dale, 1969). Debriefing students
easy to transport folders of
after viewing will allow you to deter-
mine whether they learned what you video clips from classroom
wanted them to learn or noticed what to classroom in a way that
you wanted them to notice. would have been impractical
The field of cognitive science offers more recent in previous eras.
implications for using digital video to communi-
cate effectively in the classroom. Jeffrey Zacks,
a scientist at Washington University, and his
research team have investigated the ways in which moving pictures are processed by the
neural system. The act of watching a moving image entails significantly more complexity
than viewing one or more still images. Their research indicates that under some circum-
stances, viewing video and animation can actually result in decreased comprehension
in comparison with viewing equivalent still images. This decreased comprehension
may occur because the viewer must interpret an ongoing stream of information. The
complexity of this task can overwhelm novice viewers, who have trouble deciding which
attributes to focus on.
185
As viewers watch an ongoing stream of visual information, it appears that their brains
segment the information into meaningful events and encode it in memory that way. This
information suggests that you may be able to facilitate knowledge retention and under-
standing by highlighting key events in the video.
Another researcher, Barbara Tyversky, notes that when viewers do not know where to
focus attention, they find the information difficult to process and, consequently, difficult
to remember. She suggests that interactivity can be an important strategy for improving
comprehension. You can start and stop video at key points, replaying segments that need
review while skipping parts that students already understand.
Digital video lends itself to these instructional strategies, allowing you to create book-
marks in the media player that correspond to key events and conceptual boundaries.
During whole-class instruction, you can serve as a mediator, highlighting key events,
checking student understanding, or soliciting predictions about what will happen next.
When students are viewing video individually or in small groups, you can insert strategic
pause points to provide opportunities for students to process and assimilate the video.
Communicating via Social Media

PERSPECTIVES ON classroom uses of video in the past were shaped by tools such as the
filmstrip projector and videotape player. But digital video and new Web 2.0 social media
tools allow communication involving digital video to take place in less traditional ways
than those discussed previously in this chapter.
In classroom settings, there are a variety of ways teachers and students can share,
view, and discuss video content online either individually or in small groups. These may
include a class web page, a blog (“web log”), a wiki, or a social bookmarking site. Because
these tools require Internet access, they are appropriate for cases in which students have
access to the web. In some cases this access may be provided through a computer lab or
a laptop cart. In other cases, students may have access to the Internet outside the class-
room through sites such as the public library.
Class Web Page

A traditional (or Web 1.0) web page—one that must be created offline using authoring
software such as Adobe Dreamweaver—is an appropriate medium for one-way transmis-
sion of information. You may use this type of web page for accumulating related videos
on a specific topic.
186
Depending on the sources of the videos and your technical expertise, you may do any of
the following:
■ Embed a video player on the web page for playing your own or students’ videos
■ Provide a link to your videos that will be played outside your web page on a
player such as QuickTime or Windows Media Player
■ Embed videos from another website, such as TeacherTube or YouTube, on your

web page (to learn how, see Chapter 6: “Acquiring Digital Video”)
■ Provide links to go to another website to view videos
You can organize these video resources on your web page hierarchically or chronologi-
cally and provide explanatory text with each. Viewing all the videos from a single web
page has the advantage of limiting distractions associated with going to a variety of
other sites for viewing.
A class web page about simple machines, for example, might discuss each of the
machines in an appropriate hierarchical order (Figure 8.1).
F IG U R E 8 . 1 . Frame from a video about simple

machines embedded with its player (note the player
controls at the bottom).
Because a screw is a specialized instance of an inclined plane, the video introduction to

the inclined plane might be placed first on the page, along with accompanying text expla-
nation. Perhaps something like this:
Simple machines can be easier to remember if you group similar ones. For
example, a screw is an instance of an inclined plane that is wrapped around a
cylinder.
187
Blog
A blog (an abbreviation of “web log”) is a Web 2.0 tool. You can create and edit the page
completely online using your web browser. As the word log might imply, a blog consists
of a series of reverse chronological entries related to specific threads or topics identi-
fied by the moderator. Usually, a blog is moderated by one individual (or sometimes a
small group), and readers may respond via comments to the moderator and to each other.
Entries may consist of text, images, and video. The most recent entry in a thread shows
up first, followed by previous entries. Popular and easy-to-use blog sites on the web
include WordPress, Blogger, and Edublogs.
A blogging platform such as WordPress allows you to construct web pages without exten-
sive technology expertise. However, the primary advantage of blogs is the ease with
which users can write or read a series of journal-type entries about one or more videos,
thus participating in online discussion.
Wiki
A wiki is also a Web 2.0 tool and consists of documents or web pages that can be created
collaboratively within a group of any size, designated by the creator. Wikipedia is the
most famous wiki, but you can create your own and limit the group of people who have
access to it. In a blog, each entry in a topic (or “thread”) is separate, and new entries are
appended. In a wiki, on the other hand, there is one page per topic that can be continu-
ously revised or expanded by multiple creators/editors. Wikis may be useful tools for
students working collaboratively on group projects. Sites for creating wikis include
Google Sites (sites.google.com), where users can create and post collaborative web pages
(Figure 8.2).
For example, a wiki created for a science class that is exploring simple machines would
allow pairs or small groups of students to each create a page for a different machine
(pulley, lever, wheel and axle, etc.), with an explanation consisting of video and explana-
tory text. Wikis include tracking features with which a teacher could easily follow the
contributions of each class member.
F IG U R E 8 . 2 . Screenshot from
Google Sites, an example of a wiki
website.
188
Social Bookmarking
Social bookmarking sites such as Digg (www.digg.com) and Delicious (formerly del.icio.
us; now www.delicious.com) provide a way for teachers and students to share and jointly
annotate existing web resources they have found useful. Diigo (www.diigo.com), another
bookmarking site, offers educator accounts for K–12 teachers to set up groups. A forum
within the social bookmaking site lets class members not only view a particular shared
video, but also discuss it within the group.
Social bookmarking sites can involve less overhead than blogs or wikis. For example,
using our simple machine context, rather than ask students to create separate complete
pages with video and accompanying explanatory text for each simple machine on a wiki,
you can simply ask them to identify and bookmark video showing real-life examples of
simple machines.
These sites provide a way to identify and catalog shared resources, which could serve as
a precursor to a class web page or wiki. Annotation features on sites such as Diigo allow
you and your students to comment on which video examples appear to offer the best illus-
trations.
Other Options for Sharing and Discussing Video

The examples of blogs, wikis, and social bookmarking sites discussed here are only
a fraction of the social networking tools currently emerging. For example, the initial
“Bookmark and Share” option on the TeacherTube site lists more than a dozen options on
an initial screen—and 50-plus more options on subsequent screens (see Figure 8.3).
F IG U R E 8 . 3 . List provided by TeacherTube of some social

networking venues for sharing the site’s videos.
The variety of options can seem overwhelming, but in practice, a class is unlikely to make
use of more than two or three of these, such as shared bookmarks and discussion groups.
The specific social media mechanisms will depend on their educational appropriateness.
189
Videos students might create for

various instructional purposes
By Lynn Bell
The variety of ways students might communicate through videos they create is ever increasing. The
following table gives just of a few of the possibilities.
I n s tru c t i o n al P urp o s e E x a m ple s

Demonstrate knowledge/understanding or • Documentary or informational
skill acquisition; demonstrate synthesis and • News-style reports
application of knowledge/understanding • Animations or stop-motion
• How-to videos or simulated teaching
• Advertisements, infomercials, or book
trailers
• Screencasts
• Music videos
Serve as a creative work • Digital stories

• Screenplays
Set up a context for a problem to be solved/ • Story problems

challenged/inquired about • Unsolved mysteries
Collect visual/audio data for observations, or • Interviews

analysis or to document events • Landmarks or geographic features
• Natural objects or events
• Music, dance, drama, or readings
• Athletic skills
• Vocational skills
For classroom or personal viewing, students’ digital videos may be stored on a computer hard drive,
a portable drive, a DVD or CD, a handheld device such as an iPod Touch, or a cell phone. However,
you may want to create opportunities for student electronic discussion around the videos, or you
may want to share them with broader audiences. If this is the case (and depending on school policy)
you may want to upload videos to a class web page or to a video repository such as YouTube or
TeacherTube, or to a blog or wiki where students can post comments.
Synchronous Sharing
All of the social networking examples discussed so far involve asynchronous sharing,
where participants create posts at different times. In this format, class participation can
be extended so that a student in a study hall or library period can log on and contribute. It
also allows a discussion to evolve over time in order that students can build on the foun-
dation of earlier comments.
190
Another option involves synchronous sharing, in which students comment while they
watch the video. This form of simultaneous conversation is sometimes referred to as
“back-channel” discussion. Laptop carts or classroom sets of handheld devices such as
the iPod Touch make this strategy feasible in some circumstances.
A back channel is an online, synchronous dialogue that appears alongside spoken words,
digital video, or presentations. Back channels typically provide participants with a public
and open venue for discussing presented content in a manner that minimizes distur-
bances and maximizes collaborative participation.
Some web-based videoconferencing and live video streaming applications, such as

Elluminate (www.elluminate.com) and Ustream (www.ustream.tv), incorporate their
own back-channel tools. You can also find stand-alone tools that facilitate back-channel
discussion, such as CoverItLive (http://coveritlive.com) and Meebo (www.meebo.com).
Incorporating a back channel into a video viewing experience potentially serves a

number of educational objectives:
■ Engagement. Watching video is a relatively passive but complex experience

that requires an audience to assimilate a range of inputs. Using back-channel
discussion while viewing video creates a forum for posing questions, deliv-
ering clarifications, and engaging with the visual/auditory stimulus.
■ Increased accessibility for all learners. Individuals who fear public speaking
in face-to-face situations can thoughtfully compose and deliver insights that
would not ordinarily be shared.
■ Formative assessment. When back-channel commentary can be saved, it offers

the opportunity to review questions and issues raised by the students during
the presentation.
■ Global participation. Online back channels allow people from geographically

distant areas to engage in the conversation surrounding digital video.
Although there are potential advantages to back-channel communication, there are also
significant educational issues that need to be considered. Providing students with back-
channel tools to support synchronous dialogue while a video is playing may also distract
and divide their attention. Research on conditions under which such use might be effec-
tive has not yet been conducted.
191
Conclusion: The Future of Digital Video

IN 1878, Eadweard Muybridge, the father of the motion picture, took a series of pictures
of a galloping horse to determine whether all four hooves left the ground at the same
time. Muybridge later projected the series of images, mounted on a series of glass frames,
through a lens to create the first motion pictures. Remarkably, these first moving images
from the 19th century are now available through the California Museum of Photography
website (www.cmp.ucr.edu).
These initial moving pictures captured by Muybridge (Figure 8.4) involved months of
development and research. A gathering of any size today includes several individuals who
have cell phones with video capabilities. Digital video has become ubiquitous, woven into
the social fabric as a casual means of ongoing communication. Emerging technologies
are transforming digital movies into countless forms far beyond any that Muybridge
might have imagined.
Today, both teachers and students can easily acquire video with a smartphone, edit the
video on the phone, and communicate with others by sharing the edited video either
offline or online via traditional web pages or a variety of social networking sites. By
combining their technical, pedagogical, and content knowledge, teachers today have
opportunities for teaching with video that would have seemed like science fiction in the
era of the filmstrip.
Source: http://commons.wikimedia.org/wiki/File:Muybridge_race_horse_gallop.jpg
F IG U R E 8 . 4. A photo sequence by Eadweard

Muybridge of a race horse galloping. First published in
1887 at Philadelphia. (Human and Animal Locomotion,
plate 626, Thoroughbred bay mare “Annie G.”
galloping.)
192
Instructional strategies for integrating digital video will continue to emerge as the tech-
nological capabilities evolve. Teaching with Digital Video merely serves as a starting point
for innovative teachers and technology coordinators thinking about how students can
learn by watching, analyzing, and creating digital video across the curriculum.
References
Dale, E. (1969). Audiovisual methods in teaching. New York, NY: Dryden Press.
Hoban, C. F., & van Ormer, E. B. (1951) Instructional Film Research 1918–1950 (Technical
Report No. SDC 269-7-19). University Park, PA: Pennsylvania State College.
193
A P P EN D I X A
glossary
applet. A small software program (or application) that can run in a
web browser.
back channel. An electronically mediated conversation that takes place at the

same time as a live or video-recorded presentation.
bandwidth. The amount of electronic data that can be transferred from one
point to another, usually expressed as bits (of data) per second. A high band-
width is required for transmitting large files, such as digital video.
bin. In some video editing software the “bin” refers to the folder in which
media for a specific video project are collected before being placed in the video
storyboard. The bin does not contain the actual media itself, but, rather, stores
information about the location of the media. Thus, if you delete content from
the bin, you are not deleting the actual media file, just the link to that media
file.
blog. An abbreviation for “web log,” a blog is a website that allows users to add
ongoing text entries from one or more authors. All entries are saved and appear
in reverse chronological order. Images and videos can also be added to most
blog sites. (See Chapter 8 for an expanded definition.)
critical viewing/critical media literacy. The ability to apply critical analysis

to media. Critical viewing may include interpreting the message, identifying
stylistic mechanisms used by the creator, examining social influences on the
message, and comparing and contrasting the media presentation with reality.
(See Introduction for an expanded discussion.)
digital story. A short, personal video narrative that includes photographic and
other still images and a musical soundtrack.
195
Appendix A ■ Glossary
digital video. Video that is converted into a long series of 0s and 1s when it is recorded.
This enables digital video files to be copied repeatedly without any degradation in
quality, because each copy is a clone of the original. This can be contrasted with analog
video, where each successive copy introduces a level of degradation to the image and
sound quality.
flexible format. The ability to format a digital video to multiple video streams simultane-
ously regardless of the original image types (standards), formats (e.g., resolutions), and
frame rates.
Geometer’s Sketchpad. A dynamic construction, demonstration, and exploration soft-

ware program developed by Key Curriculum Press with which users can build and
investigate mathematical models, objects, figures, diagrams, and graphs.
live streaming. A live broadcast that is streamed to viewers (see streaming video).
multimodal writing. Writing that incorporates two or more modes of communication,

such as text, images, sound, and video.
new literacies. In this book, we use new literacies primarily to refer to the ability to
understand information presented across media made possible by new digital electronic
technologies (including text, images, sound, video, and animation) and to communicate
in these multiple modes. New literacies can also refer to the practices surrounding digital
information (for example, hyperlinking) and the ethos of a more participatory, collabora-
tive, and less author-centric manner of creating and communicating information.
mashup. Often referred to as “video mashup”; refers to a combination of video clips from
multiple sources.
probeware. One or more digital measurement devices, or probes, and accompanying

computer software that enables real-time digital data collection and analysis.
screencast. A digital recording of activity on a computer screen (also known as screen

capture), which may include audio narration.
social networking sites. Websites that allow users to construct public or semipublic
profiles about themselves, define a list (network) of others with whom they have a connec-
tion, and view information shared by others in their network. Social networking sites
may include e-mail and instant message capability as well as blogs (for ongoing discus-
sion) or wikis (for collaborative work). They may also include the capability to share
images, videos, and bookmarked URLs. Popular examples include Facebook, MySpace,
Twitter, WordPress, Digg, and Google Sites.
196
Glossary ■ Appendix A
storyboard. A series of illustrations created for the purpose of planning the sequence of a
motion picture.
storyboard view. A phrase used in some video editing software to describe an interface
that shows thumbnails of individual video clips, as well as still images (if used) and any
transitions placed between them.
streaming video. A form of delivering digital video in which the host sends the video
gradually to the user’s computer. Streamed video can either be prerecorded or a live
broadcast. (For an expanded definition, see the section on downloading video from the
web in Chapter 6.)
video clips. Short excerpts from movies, television shows, professionally prepared educa-
tional videos, or personally created videos.
video editor. A software program that enables users to edit video footage (cutting
sections of video, combining multiple videos, adding text and special effects, etc.).
Video editors can also facilitate translation of video from one format to another.
virtual manipulative. A digital, or computerized, version of a concrete manipulative

typically used to help students learn mathematics concepts (such as blocks, rods, or
bean sticks).
webcam. A digital video camera designed specifically to transmit video over the Internet.
wiki. A web-based tool that consists of documents or web pages that can be created
collaboratively within a group of any size designated by the creator. (See Chapter 8 for an
expanded definition.)
wizard. Refers to software programs that guide the user so that tasks may be easily
completed. Most wizard-based applications use a series of dialog boxes or on-screen
prompts to guide the user along a sequence of steps to perform a certain function. This
type of program-based assistance can be especially useful for novice users who are unfa-
miliar with the software application.
YouTube. An online video repository (www.youtube.com) where digital video creators

can upload and share short videos. The video collection can be searched and viewed by
anyone. For a collection of short videos on how to use YouTube, see www.youtube.com/t/
yt_handbook_home.
197
A P P EN D I X B
Bernard Robin
copyright
a few words about
and educational fair use
Some educational projects you or your students create may contain video clips
that come from movies, television shows, and news broadcasts. Technologically,
locating these kinds of video clips and then reusing or remixing them to create
meaningful projects has become easier every year. Video projects making use
of these media resources help facilitate classroom learning and inquiry while
engaging and motivating students to demonstrate their knowledge and under-
standing of important educational content.
Issues of ownership, copyright, permission, and educational use invariably

come up in any discussion involving the use of digital video clips originally
created by someone else. Chapter 6: “Acquiring Digital Video” includes a
section on extracting video clips from DVDs, but as you may know, most
commercial DVDs of movies contain copy protection to prevent this type of
extraction. We do not advocate the breaking of copy protection on DVDs; the
technique that was included in Chapter 6 was for use with the many DVDs that
do not contain copy protection.
The use of copyrighted material is indeed a serious issue and one that is being
studied and discussed by many educators and policy makers. Unfortunately,
there is not yet a definitive answer to
this question, nor is there a simple test
fair use via video
to determine what materials you may
or may not use in educational projects. To review the fundamentals
You will need to try to answer the ques-
of educational fair use via
tion yourself based on several factors,
such as the digital medium being video, see the YouTube
used; the nature of that use; the poli- movie “Copyright 101 for
cies in place at your school or district; Teachers” at www.youtube.
and, perhaps most importantly, your
com/watch?v=rzlry1c76nc.
comfort level in using, and having
your students use, material that can
easily be downloaded from the web or
created with commonly available hardware and software.
199
Appendix B ■ Copyright and Educational Fair Use
All of the video clips used in projects described in the web supplement to Chapter 6
(http://site.aace.org/video/books/teaching/acquire) were designed and created by educa-
tors and students for nonprofit use. Many of the clips used in the projects are readily
available on the web and were easily found and downloaded. The number of digital
video clips on the web will continue to increase, and software and hardware options for
working with digital video will become more available, less expensive, and easier to use.
Nonetheless, significant obstacles and challenges remain for using these kinds of digital
video materials in classroom instruction. In addition to the commonly accepted practices
under current copyright guidelines that allow use of copyrighted material for commen-
tary, satire, and criticism, we hope soon to see expanded support from copyright holders
and policy makers regarding the use of digital material by teachers and students. The
benefits of such policies will be significant for all educators who seek to transform their
students from consumers of digital video to active researchers and creators of new and
exciting educational projects.
200
A P P EN D I X C
technology
national educational
standards
National Educational Technology Standards
for Students (NETS·S)
All K–12 students should be prepared to meet the following standards and
performance indicators.

Students demonstrate creative thinking, construct knowledge, and develop innovative
products and processes using technology. Students:

Students use digital media and environments to communicate and work collaboratively,
including at a distance, to support individual learning and contribute to the learning of others.
Students:
a. interact, collaborate, and publish with peers, experts, or others employing a variety of
digital environments and media
b. communicate information and ideas effectively to multiple audiences using a variety of
media and formats
c. develop cultural understanding and global awareness by engaging with learners of
other cultures

Students apply digital tools to gather, evaluate, and use information. Students:
c. evaluate and select information sources and digital tools based on the appropriateness to
specific tasks
201
Appendix C ■ National Educational Technology Standards

Students use critical-thinking skills to plan and conduct research, manage projects, solve problems, and
make informed decisions using appropriate digital tools and resources. Students:
5. Digital Citizenship
Students understand human, cultural, and societal issues related to technology and practice legal and
ethical behavior. Students:
a. advocate and practice the safe, legal, and responsible use of information and technology
b. exhibit a positive attitude toward using technology that supports collaboration, learning, and
productivity
c. demonstrate personal responsibility for lifelong learning
d. exhibit leadership for digital citizenship

Students demonstrate a sound understanding of technology concepts, systems, and operations. Students:
c. troubleshoot systems and applications
d. transfer current knowledge to the learning of new technologies
© 2007 International Society for Technology in Education (ISTE), www.iste.org. All rights reserved.
202
National Educational Technology Standards ■ Appendix C
National Educational Technology Standards

for Teachers (NETS·T)
All classroom teachers should be prepared to meet the following standards and
performance indicators.
1. Facilitate and Inspire Student Learning and Creativity

Teachers use their knowledge of subject matter, teaching and learning, and technology to facilitate
experiences that advance student learning, creativity, and innovation in both face-to-face and virtual
environments. Teachers:
a. promote, support, and model creative and innovative thinking and inventiveness
b. engage students in exploring real-world issues and solving authentic problems using digital tools and
resources
c. promote student reflection using collaborative tools to reveal and clarify students’ conceptual
understanding and thinking, planning, and creative processes
d. model collaborative knowledge construction by engaging in learning with students, colleagues, and
others in face-to-face and virtual environments
2. Design and Develop Digital-Age Learning Experiences and Assessments

Teachers design, develop, and evaluate authentic learning experiences and assessments incorporating
contemporary tools and resources to maximize content learning in context and to develop the knowledge,
skills, and attitudes identified in the NETS•S. Teachers:
a. design or adapt relevant learning experiences that incorporate digital tools and resources to promote
student learning and creativity
b. develop technology-enriched learning environments that enable all students to pursue their individual
curiosities and become active participants in setting their own educational goals, managing their own
learning, and assessing their own progress
c. customize and personalize learning activities to address students’ diverse learning styles, working
strategies, and abilities using digital tools and resources
d. provide students with multiple and varied formative and summative assessments aligned with content
and technology standards and use resulting data to inform learning and teaching
3. Model Digital-Age Work and Learning

Teachers exhibit knowledge, skills, and work processes representative of an innovative professional in a
global and digital society. Teachers:
a. demonstrate fluency in technology systems and the transfer of current knowledge to new technologies
and situations
b. collaborate with students, peers, parents, and community members using digital tools and resources to
support student success and innovation
c. communicate relevant information and ideas effectively to students, parents, and peers using a variety
of digital-age media and formats
d. model and facilitate effective use of current and emerging digital tools to locate, analyze, evaluate, and
use information resources to support research and learning
203
Appendix C ■ National Educational Technology Standards
4. Promote and Model Digital Citizenship and Responsibility

Teachers understand local and global societal issues and responsibilities in an evolving digital culture and
exhibit legal and ethical behavior in their professional practices. Teachers:
a. advocate, model, and teach safe, legal, and ethical use of digital information and technology, including
respect for copyright, intellectual property, and the appropriate documentation of sources
b. address the diverse needs of all learners by using learner-centered strategies and providing equitable
access to appropriate digital tools and resources
c. promote and model digital etiquette and responsible social interactions related to the use of
technology and information
d. develop and model cultural understanding and global awareness by engaging with colleagues and
students of other cultures using digital-age communication and collaboration tools
5. Engage in Professional Growth and Leadership

Teachers continuously improve their professional practice, model lifelong learning, and exhibit leadership in
their school and professional community by promoting and demonstrating the effective use of digital tools
and resources. Teachers:
a. participate in local and global learning communities to explore creative applications of technology to
improve student learning
b. exhibit leadership by demonstrating a vision of technology infusion, participating in shared decision
making and community building, and developing the leadership and technology skills of others
c. evaluate and reflect on current research and professional practice on a regular basis to make effective
use of existing and emerging digital tools and resources in support of student learning
d. contribute to the effectiveness, vitality, and self-renewal of the teaching profession and of their school
and community
© 2008 International Society for Technology in Education (ISTE), www.iste.org. All rights reserved.
204
IN D E X
Page references followed t or f indicate adaptations, 117–118

tables or figures, respectively. addition: Abbott and Costello Argue
about Addition, Multiplication, and
A Division activity, 45–49
Abbott and Costello Argue about Adobe Captivate (software), 9, 152, 175
Addition, Multiplication, and Division
Adobe Dreamweaver (software), 186
activity, 45–49
Adobe Premiere Elements (software), 156,
13 X 7 is 28, 46
169t, 170f
Two Tens for a Five, 49
advertising
AC power supply and battery, 160
analzying television commercials,
acceleration: Analysis of the Motion of a 122–123
Model Rocket activity, 96–101, 98f, 99f,
creating proactive television commer-
100f
cials, 128
accessibility for all learners, 191
age-specific strategies, 178–180
Acid Xpress, 173
for grades 4–8, 178–179
acquiring digital video, 8, 147–164
for grades 9–12, 179–180
activities
for grades K–3, 178
Abbott and Costello Argue about
Algebra Tiles virtual manipulative (NLVM),
Addition, Multiplication, and
65–66, 66f
Division, 45–49
Alice in Wonderland activity, 50–53
Alice in Wonderland, 50–53
Allen, George, 16
Analysis of the Motion of a Model
Rocket, 96–101 ALShow (software), 149t
Digital Book Trailers, 124–129 American history
Exploring the Speed of Sound, 85–88 media-enhanced field trips, 136–137,
137f
Families and Food, 33–36
Modern Times (activity), 22–26
Marching Band Choreography, 71–78
“An Occurrence at Owl Creek Bridge”
Modeling the Solar Eclipse, 102–105
(Bierce), 117
Modern Times, 22–26
Analysis of the Motion of a Model Rocket
Northern Exposure Clips–Bridging into activity, 96–101, 98f, 99f, 100f
Inquiry, 112–118, 116f
analyzing digital video, 6–7
The Path of a Rock Embedded in a Tire,
for English language arts, 110, 111–129
55–61
for history, 31
Performance Poetry, 119–123
for language arts, 119–123
Rates of Change, 62–65
for mathematics, 54–65
in social studies, 21–37
for science, 92–101
Train Switcheroo, 67–70
for social studies, 26–31
Where Did the Sugar Go?, 89–92
205
Index ■
analyzing thematic comparisons, 123 Bierce, Ambrose, 117

animation bin, 195
Math Demos, 58 blocked sites, 29
phases of the Earth as viewed from the moon, Blogger, 188
83t blogs, 132, 188
“Anything But Square Design” website , 138 “Anything But Square Design” website, 138
AoA DVD Ripper SE 5, 158 definition of, 195
applets, 195 for extended educational travel, 138
ARCS model. See attention, relevance, confidence, MED 4800: France & Media blog, 138
and satisfaction (ARCS) model
“To Peru and Back” website, 138, 139f
Ashampoo Burning Studio Free 5, 158
“Tokyo Morning Trains (February 1991)”
assessments, 66, 180 (Saxon), 28
creating videos for, 66 book trailers
formative, 191 Digital Book Trailers activity, 124–129
attention, relevance, confidence, and satisfaction storyboards for, 126, 127f
(ARCS) model for instruction, 42
broadcast, cable or satellite TV, 157–158
audio
BSCS: “Five-E” instructional model, 83
adjusting sound clarity, 162
Burns, Ken, 166, 168f
music, 173, 174
Burns, Ken effect, 166, 168f
narration, 174
sound effects, 142–143, 174 C
Austin Powers: The Spy Who Shagged Me, 43 cable or satellite TV, 157–158
AutoScreenRecorder (software), 153t California Museum of Photography, 191
Autumn Wave camcorders. See digital video camcorders
HDTV-GT Receiver, 157 CamStudio (software), 153t
OnAir Creator, 157, 157f Camtasia Studio (software), 9, 60, 152, 176f
AV DVD Player Morpher 3, 158 editing screencasts with, 175, 176f
aviation videos, 62 Quiz and Survey Manager, 175, 176f
Avid Technology, 169t “Candles” video (SITE Screening Room), 83t
Canopus ADVC55 Video Digitizer, 156
B
Canopus ADVC110 Video Digitizer, 156, 156f
back-channel discussions, 121, 190, 191
Capra, Frank: It’s a Wonderful Life, 123
back channels, 191, 195
capturing video
background, 161
from broadcast, cable or satellite TV, 157
background music, 174
with conversion software, 153
bandwidth, 195
from offline media, 155–158
Behind the Mask (Choi), 35–36
from your computer screen, 152, 153
Best Fest America, 143
Carroll, Lewis, 53
Bicycle Rock—Part 1, 56, 57
cell phones, 132
Bicycle Rock—Part 2, 56, 57
Center for Digital Storytelling, 176
206
■ Index
CF (Compact Flash) cards, 163 conference calls, 180

chaos theory, 43 content, 4–5
Chaplin, Charlie content-based instructional settings, 17–18
Modern Times, 21, 22 content-first framework, 3
“The Tramp,” 21, 21f, 23 content standards, 32
Choi, Yangsook: Behind the Mask, 35–36 contests, 143
choreography conversion software, 153
Crazy Math Teacher: The Dance of the Parallel copyright, 173, 199–200
Lines, 65 Corel Video Studio (software), 169t
Marching Band Choreography activity, 71–78, Corzine, Jon, 140f
72f, 75f, 76f
costs, 160
Cinematize 2, 158
CoverItLive.com, 121, 191
citizenship, 20. See also digital citizenship
Crazy Math Teacher: The Dance of the Parallel Lines,
class web pages, 186–187 65
embedding videos on, 187, 187f creating digital video, 7, 8–9, 165–182
YouTube videos embedded on, 28f, 29 for active viewing, 161–162
CNET Flash video format (FLV) players, 148 for English language arts, 110, 111–129
CNN for language arts, 124–129
presidential primary debates, 31 for mathematics, 65–78
“YouTube Debates,” 16 with only still images, 166–168
collaboration process for, 166
National Educational Technology Standards for public service announcements, 128
Students (NETS•S), 133, 201
for science, 101–105
skills framework for, 134
for social studies, 32–37
commercials. See television commercials
tasks involved, 165–166
communication, 9–10
thematic explorations, 128–129
back-channel discussions, 190
tips for student-created projects, 176–181
with digital video, 183–192
Creative Commons, 36, 173
National Educational Technology Standards for
creativity, 201
Students (NETS•S), 133, 201
credit screens, 172
via social media, 186–191
critical media literacy, 122–123, 195
communities of practice, 133
critical thinking, 202
community, local, 139–141
critical viewing, 6, 195
Compact Flash (CF) cards, 163
culture: Families and Food activity, 33–36
computers
cycloid functions
capturing video from your computer screen,
152 Cycloid video (Wilson), 56, 58, 59f
downloading video to, 149–151 The Path of a Rock Embedded in a Tire activity,
55–61
playing digital video clips on, 148
saving video to, 151–152, 174
207
Index ■
D definition of, 2, 195

dance downloading from the web, 149–151
Crazy Math Teacher: The Dance of the Parallel educational, 2, 184, 184t
Lines, 65 embedding, 28f, 29, 154, 154f, 187, 187f
Marching Band Choreography activity, 71–78 in English language arts, 107–130
database software, 119, 121 examples students might create for instruc-
databases, online, 119, 121 tional purposes, 190, 190t
Dazzle DVD Recorder, 156 exporting edited video, 174
Dazzle Video Creator (software), 156 extracting from DVDs, 158
decision making, 202 fair use via, 199
Delicious, 189 file formats, 148, 149t
Diamond Multimedia TV Wonder HD 650 file structure, 169
PCI-Express X1 TV Tuner, 157 and film studies, 109–110
Digg, 189 future of, 192–193
Digital Book Trailers activity, 124–129 goal of, 9
digital cameras and informal learning, 131–144
camcorders, 158–164 as informal learning resource, 136
Flip Video cameras, 163–164 introducing problems with, 70
still digital cameras, 164 limitations of, 19
digital citizenship in mathematics education, 39–79
National Educational Technology Standards for music for, 173
Students (NETS•S), 202
playing clips on computers, 148
postproduction techniques, 142–143
Teachers (NETS•T), 204
project assessment, 180
digital images, 36
saving, 151–152, 174
Digital Juice, 173
in science education, 81–106
digital natives, 132
searching for, 150
digital still cameras, 164
sharing and discussing, 189–191
digital story, 195
sites for shooting footage, 142
digital video, 2–3
in social studies education, 15–37
acquiring, 147–164
socially networked video, 20
adding audio to, 174
sound bites, 128
analyzing, 6–7
storing, 190
capturing from computer screen, 152
streaming video, 120
capturing from offline media, 155–158
student-centered classroom uses of, 5–7
communicating with, 183–192
as supplemental, 185
in content-based instructional settings, 17–18
as timing tool, 92
copyright and music in, 173
tips for student-created projects, 176–181
creating, 7, 8–9, 161–162, 165–182
transportation digital videos available on
across curriculum, 4–5, 15–144
YouTube, 27
208
■ Index
trimming, 171–172 DVD camcorders, 163

viral, 20 DVDs, 158
watching, 5–6
E
ways to acquire, 8
Earth science
working from primary sources to create
movies, 16, 17f Earth phases as viewed from the moon, 83t
digital video adaptations, 117–118 Modeling the Solar Eclipse activity, 102–105
digital video camcorders, 132, 158–164 Easy DVD Ripper & Converter 3, 158
basic features, 159–160 eclipses
costs of, 160 Modeling the Solar Eclipse (activity), 102–105
DVD camcorders, 163 Modeling the Solar Eclipse (SITE Screening
Room), 103, 104, 104f, 105, 105f
flash memory card camcorders, 163
editing screencasts, 175
hard disk drive (HDD) camcorders, 163
editing video
mini-DV camcorders, 162–163
online sites for, 174–175, 175t
recording formats, 162–164
software for, 168–176
ultraportable, 163–164
Edublogs, 188
digital video players, free, 148, 149t
educational digital video, 2, 184, 184t
digital video thematic explorations, 128–129
educational fair use, 199–200
digitizers
educational travel, extended, 138–139
El Norte, 26
Dazzle DVD Recorder, 156
Elluminate, 191
“Digitizing Video Clips from VHS Tapes” (SITE), 156
embedding videos, 29
Discovery Education, 18
on web pages, 28f, 187, 187f
discussing videos, 189–190
from YouTube, 154, 155f
Dissolving Sugar Cubes (SITE Screening Room), 90,
91f engagement, 191
division: Abbott and Costello Argue about English language arts, 107–130, 108–109
Addition, Multiplication, and Division activity, analyzing digital video in, 110, 111–129
45–49 characteristics of educational digital video,
Doctor Doctor—Steel Drum Implosion, 83t 184, 184t
documentaries creating digital video in, 110, 111–129
in language arts, 123 Northern Exposure Clips–Bridging into Inquiry
in social studies, 26 activity, 112–118, 114f, 116f
student-created short documentaries, 136–137, watching digital video in, 110, 111–129
137f English Language Arts Standards, 111
Donald in Mathmagicland, 49 environments
Donne, John: “Meditation 17,” 123 learning environments, 133–134, 135t
downloading video, 149–151 sites for shooting video footage, 142
dramatic adaptations, 117–118 EQUALS program (UC Berkeley), 68
DV Sound Bites, 128 Expanding Your Horizons custom search, 150
209
Index ■
Exploring the Speed of Sound activity, 85–88, 86f, Flickr.com, 36

87f Flip Video cameras, 163–164
exporting edited video, 174 FLV Player (software), 149t
exposure controls, 160 FLV players, 148
extended educational travel, 138–139 focus controls, 159
food
F
digital images to illustrate, 36
fair use
Families and Food activity, 33–36
educational, 173, 199–200
formal learning environments, 133–134, 135t
via video, 199
formative assessment, 191
Fair Use Guidelines for Educational Multimedia
(U.S. House of Representatives Committee on Fractal Zoom Mandelbrot Corner, 40
the Judiciary), 173 fractals, 40
Families and Food activity, 33–36 free digital video players, 148, 149t
feature films, 26 free screen capture programs, 152, 153t
field trips, media-enhanced, 136–137, 137f FreeScreencast.com (software), 153t
file formats, 148, 149t Frontline: The Merchants of Cool (PBS), 122
file structures, 169 Frontline: The Persuaders (PBS), 122
filling the screen, 161 future of digital video, 192
film adaptations, 117–118
G
film and video contests, 143
geocaching, 138
film studies, 109–110, 185
Geometer’s Sketchpad (software), 42, 44, 58, 59f,
first motion picture, 192, 192f
196
text and film pairings for thematic compari-
geometry
sons, 123
Marching Band Choreography activity, 71–78,
filming or shooting video, 158–164
75f, 76f
sites for shooting footage, 142
marching band formations, 71, 72f
“The Final Frontier” (Northern Exposure episode),
global participation, 191
113, 114f, 115, 116f
GlobalSchoolNet.org, 121
Finite Simple Group (of Order Two), 65
Glory, 31
Fireworks Burst 1 (SITE Screening Room), 95, 95f
Google
Fireworks Burst 2 (SITE Screening Room), 95, 95f
“custom search”, 150
first motion picture, 192, 192f
Expanding Your Horizons custom search, 150
Five-E instructional model, 83, 83t
searching for videos on, 150
flash drives, 185
Google Earth (software), 138
flash memory card camcorders, 163
Google Earth Blog, 138
Flash video format (.flv, .swf), 149t, 153
Google Sites, 188, 188f
Flash video format (.flv, .swf) players, 148
grades 4–8: strategies for, 178–179
Flat Stanley, 116
grades 9–12: strategies for, 179–180
flex time, 28
grades K–3: strategies for, 178
flexible format, 196
210
■ Index
graphing calculators, 40–41, 42, 58, 60f Indiana University of Pennsylvania (IUP), 72, 74,
example use, 74, 76f 75f, 76f
Great Depression: Modern Times activity, 22–26 informal learning
guiding questions, 104 digital video and, 131–144
environments for, 133–134, 135t
H resources for, 136
HandBrake 0.9 for Mac, 158 structuring environments for, 141–143
hard disk drive (HDD) camcorders, 163 information fluency, 201
Hauppauge WinTV-HVR 1600 TV Tuner, 157 innovation, 201
HDD (hard disk drive) camcorders, 163 inquiry
HDTV-GT Receiver (Autumn Wave), 157 Northern Exposure Clips–Bridging into Inquiry
high school students: strategies for, 179–180 activity, 112–118, 114f, 116f
highway signs, 63, 63f pedagogy of science inquiry, 82–84
historical artifacts, 16, 16f instruction
history attention, relevance, confidence, and satisfac-
first motion pictures, 192, 192f tion (ARCS) model, 42
ideas for analyzing digital video in, 31 content-based settings, 17–18
media-enhanced field trips, 136–137, 137f example videos students might create for
instructional purposes, 190, 190t
Modern Times (activity), 22–26
visual media for, 16f
National History Day, 142
International Reading Association (IRA), 110, 111
“An Occurrence at Owl Creek Bridge” (Bierce),
117 and National Council of Teachers of English
Standards addressed, 112, 119, 124
short documentaries illustrating leadership,
136–137, 137f International Society for Technology in Education
(ISTE), 110
how-to videos
Internet. See also websites
for mathematics, 66
downloading video from, 149–151
screencasts, 152, 175
interviews, 139–140, 140f
I Inverted Bicycle, 56
iChat (software), 138 iPods, 132
image capturing devices, 160 for teaching mathematics, 41
images voice-recorder-equipped, 139–140, 140f
digital, 36 It’s a Wonderful Life (Capra), 123
Library of Congress photograph collections, 36 IUP. See Indiana University of Pennsylvania
iMovie (software), 41, 156, 169t
J
Clip Size Slider, 171, 171f
Jaycut, 175t
Families and Food activity, 34
Jhally, S., 122
Matrix effect with, 142–143
Jing Project (software), 153t
Measuring the Speed of Sound activity, 94
Jurassic Park, 43
Measuring Time Differences Using iMovie6 (SITE
Screening Room), 94
211
Index ■
K literacy, 108–109
Karplus, Robert, 82 literature adaptations, 117
Ken Burns effect, 166, 168f live streaming
Keyhole Markup Language (KML), 138 back-channel tools, 191
Killing us softly 3: Advertising’s image of Women definition of, 196
with Jean Kilbourne (The Media Education local community connections, 139–141
Foundation), 122
locations for shooting video, 142
L locker problem, 70
La Promesse, 26
M
language, appropriate, 115
Ma and Pa Kettle Find Uranium, 49
language arts, 5
MagicDisc 2.7, 158
analyzing digital video in, 119–123
Magnatune.com, 173
characteristics of educational digital video,
Mandelbrot fractals: Fractal Zoom Mandelbrot
184, 184t
Corner, 40
creating digital video in, 124–129
manipulatives. See virtual manipulatives
Digital Book Trailers activity, 124–129
Marching Band Choreography activity, 71–78, 75f,
ideas for analyzing digital video in, 122–123 76f
ideas for creating digital video in, 128–129 IUP Marching Band 2007—Vivace, 72, 74, 75f,
ideas for watching digital video in, 117–118 76f
Performance Poetry activity, 119–123 marching band formations, 71, 72f
watching digital video in, 112–118 mashups, 149, 196
Lawrence Hall of Science, University of California masking the background, 161
at Berkeley, 68 Math Bits, 44
Leadtek Winfast TV2000 XP Expert, 157 Math Demos, 56, 58
learning Math Education Free Videos, 44
by creating videos for others, 66 Math With Madeline, 65
digital video as informal resource for, 136 mathematics, 4, 39–79
informal, 131–144 Abbott and Costello Argue about Addition,
by teaching and communicating to others, 66 Multiplication, and Division activity, 45–49
ways digital video can enhance science Alice in Wonderland activity, 50–53
learning, 82 analyzing digital video in, 54–65
learning cycle, 82 characteristics of educational digital video,
learning environments 184, 184t
formal vs informal, 133–134, 135t Crazy Math Teacher: The Dance of the Parallel
socially mediated, 133 Lines, 65
structuring, 141–143 creating digital video in, 65–78
lens, 159 Expanding Your Horizons custom search for,
150
Library of Congress, 36
Finite Simple Group (of Order Two), 65
lighting, 161
Fractal Zoom Mandelbrot Corner, 40
limitations of digital video, 19
locker problem, 70
listening, 122
212
■ Index
Ma and Pa Kettle Find Uranium, 49 motion analysis

The Path of a Rock Embedded in a Tire activity, Earth phases as viewed from the moon, 83t
55–61 Modeling the Solar Eclipse activity, 102–105
Principles and Standards for School Motion Analysis using Logger Pro (SITE
Mathematics (NCTM), 40, 42, 49 Screening Room), 99
Rates of Change activity, 62–65 Movie Maker, 41, 77, 124, 157, 168, 169t, 171
technology for teaching, 40–41 Movie Masher, 175t
Train Switcheroo activity, 67–70 MPEG file format (.mpg, .mpeg), 149t
“train switcheroo” problem (UC Berkeley MSI Theatre 650PRO TV Tuner, 157
EQUALS program), 68, 69–70, 69f
multimodal writing, 7, 108–109, 196
watching digital video in, 43–65
multiplication
What Do You Know about Math?, 65
Abbott and Costello Argue about Addition,
Matrix effect, 142–143 Multiplication, and Division activity, 45–49
Measuring Time Differences Using iMovie6 (SITE Alice in Wonderland activity, 53
Screening Room), 94
Rectangle Multiplication virtual manipulative
MED 4800: France & Media blog, 138 for demonstrating products, 48, 48f
media, new, 132, 143 Museum of the Moving Image, 18
Media Converter, 153, 154f music, 173
The Media Education Foundation, 122 background music, 174
media-enhanced field trips, 136–137, 137f Finite Simple Group (of Order Two), 65
media literacy, critical, 122–123 Muybridge, Eadweard, 192, 192f
“Meditation 17” (Donne), 123
Meebo, 191 N
Memory Sticks, 163 narration, 174
middle school students: strategies for, 178–179 National Council for the Social Studies, 32
mini-DV camcorders, 162–163 thematic strands addressed, 22, 27, 33
mini-DV tape, 162–163, 162f National Council of Teachers of English (NCTE),
110, 111
mobile phones, 132
and International Reading Association
model rockets: Analysis of the Motion of a Model
Standards addressed, 112, 119, 124
Rocket activity, 96–101, 98f, 99f, 100f
National Council of Teachers of Mathematics
modeling
(NCTM)
creating digital video for, 101
Principles and Standards for School
Modeling the Solar Eclipse (SITE Screening Mathematics, 40, 42, 49
Room), 103, 104, 104f, 105, 105f
process standards, 78–79
Modeling the Solar Eclipse activity, 102–105
standards addressed, 45, 50, 55, 62, 65, 71
sample student solution video, 69–70
Modern Times (Chaplin), 21, 22 Students (NETS•S) (ISTE), 110, 133, 201–202
Modern Times activity, 22–26 standards addressed, 22, 27, 33, 45, 50, 55, 62,
moon 65, 71, 85, 89, 93, 96, 101, 112, 119, 124
Earth phases as viewed from, 83t National Educational Technology Standards for
Modeling the Solar Eclipse activity, 102–105 Teachers (NETS•T) (ISTE), 203–204
213
Index ■
National History Day, 142 PBS Mathline, 44

National Library of Virtual Manipulatives, 40, 48f PCTV HD TV Tuner (Pinnacle), 157
Algebra Tiles, 65–66, 66f pedagogy
Rectangle Multiplication virtual manipulative, of science inquiry, 82–84
48, 48f student-centered classroom uses of digital
Transformations-Dilation virtual manipulative, video, 5–7
51, 52 peer reviews, 117
National Research Council. See National Science Percoco, James, 31
Education Standards
Performance Poetry activity, 119–123
National Science Education Standards, 84
permission(s), 199
addressed, 85, 89, 93, 96, 101
Photo Story 3 (software), 34, 35, 166, 167–168, 167f
National Science Foundation, 133
Customize Motion Wizard, 166, 168f
NCTE. See National Council of Teachers of English
saving and exporting edited video, 174
NCTM. See National Council of Teachers of
Photobucket, 175t
Mathematics
photograph collections, 36
NETS•S. See National Educational Technology
Standards for Students Physical Science–Dissolving of Crystals in Water
activity, 89–92, 91f
NETS•T. See National Educational Technology
Standards for Teachers physics
new literacies, 108–109, 196 Analysis of the Motion of a Model Rocket
activity, 96–101
new media, 132, 143
Exploring the Speed of Sound activity, 85–88
new media literacies, 150
Measuring the Speed of Sound activity, 93–95
1984 (Orwell), 128
Pianka, Elisa M.: “Anything But Square Design”
Northern Exposure Clips—Bridging into Inquiry
website, 138
activity, 112–118, 114f, 116f
picture-in-picture features, 9
“The Final Frontier,” 113, 114f, 115, 116f
Pinnacle, 156
O Dazzle Video Creator (software), 156
Obama, Barack, 20 PCTV HD TV Tuner, 157
“An Occurrence at Owl Creek Bridge” (Bierce), 117 Pinnacle Studio (software), 169t
OnAir Creator (Autumn Wave), 157, 157f Video Capture for Mac (software), 156
One True Media, 175t planning informal learning environments, 141
online databases, 121 playing digital video clips on a computer, 148
online games, 132 poetry: Performance Poetry activity, 119–123
online video editing sites, 174–175, 175t Politico: “the 10 most viral videos of the
Orwell, George: 1984, 128 campaign”, 20
ownership, 199 postproduction techniques, 142–143
presidential primary debates, 31
P primary sources, 16, 17f
The Path of a Rock Embedded in a Tire activity, PrimaryAccess, 34, 35
55–61
Principles and Standards for School Mathematics
PBS. See Public Braodcasting Service (NCTM), 40, 42, 49
214
■ Index
probeware, 196 scaling

problem solving Alice in Wonderland activity, 50–53
National Educational Technology Standards for with Transformations–Dilation virtual manipu-
Students (NETS•S), 202 lative (NLVM), 51, 52f
Train Switcheroo activity, 67–70 school projects. See student projects
professional development, 204 science, 4, 81–106
Public Braodcasting Service (PBS), 123, 139 Analysis of the Motion of a Model Rocket
Frontline: The Merchants of Cool, 122 activity, 96–101, 98f, 99f, 100f
Frontline: The Persuaders, 122 analyzing digital video for, 92–101
They Marched Into Sunlight, 26 characteristics of educational digital video,
184, 184t
public service announcements, 128
creating digital video for, 101–105
Q digital video and pedagogy of science inquiry,
QuickTime (software), 132, 148, 149t, 151 82–84
QuickTime file format (.mov, .qt), 149t, 153 Doctor Doctor—Steel Drum Implosion, 83t
QuickTime Pro (software), 151 Expanding Your Horizons custom search for,
150
R Exploring the Speed of Sound activity, 85–88,
Rates of Change activity, 62–65, 63f 86f, 87f
Real Video file format (.rm), 149t Five-E instructional model, 83, 83t
RealPlayer (software), 149t, 152 High speed video of popcorn kernel popping
at 5,400 fps, 83t
recording formats, 162–164
Measuring the Speed of Sound activity, 93–95
(NLVM), 48, 48f Physical Science–Dissolving of Crystals in
Water activity, 89–92
research, 201
watching digital video in, 84–92
resources
ways digital video can enhance learning, 82
for informal learning, 136
screen capture. See screencasts
for storyboarding, 176
screencasts, 9
rockets
capturing video from your computer screen,
Analysis of the Motion of a Model Rocket
152
activity, 96–101, 98f, 99f, 100f
creating, 152
SR-71 Blackbird (SITE Screening Room), 94, 98f
definition of, 196
royalty-free music, 173
editing, 175
Rushkoff, D., 122
free programs for, 152, 153t
S mathematics videos, 60, 61f
satellite TV, 157–158 sample, 175
saving video of writers’ peer reviews, 117
downloading video, 149–151 ScreenToaster (software), 153t
saving and exporting edited video, 174 SD (Secure Digital) cards, 163
Saxon, Lyle: Tokyo Morning Trains, 28 searching for digital videos on the web, 150
215
Index ■
Expanding Your Horizons custom search, 150 social media

Google “custom search”, 150 communicating via, 186–191
selecting video from social-sharing sites, 150 context for, 9–10
Secure Digital (SD) cards, 163 socially mediated learning environments, 133
security issues, 180–181 social networking, 20, 40, 132, 196
Sergeant York, 31 social-sharing sites, 150
sharing videos, 35, 162 social studies, 4, 15–37
asynchronous, 190 analyzing digital video in, 26–31
options for, 189–190 characteristics of educational digital video,
synchronous, 190–191 184, 184t
shooting video, 158–164 creating digital video in, 32–37
sites for shooting footage, 142 digital video activities, 21–37
SITE. See Society for Information Technology and Families and Food activity, 33–36
Teacher Education ideas for analyzing digital video in, 31
SITE Screening Room, 10 ideas for creating digital video in, 36–37
Bicycle Rock—Part 1, 56 ideas for watching digital video in, 26
Bicycle Rock—Part 2, 56 Modern Times (activity), 22–26
Candles video, 83t Transportation Systems activity, 27–31
Dissolving Sugar Cubes, 90, 91f watching digital video in, 21–26
Fireworks Burst 1, 95, 95f Social Studies Standards (NCSS), 32
Fireworks Burst 2, 95, 95f Society for Information Technology and Teacher
math-related videos, 56 Education (SITE)
Measuring Time Differences Using iMovie6, 94 “Capturing Video from Broadcast, Cable or
Satellite TV,” 157
Modeling the Solar Eclipse, 103, 104, 104f, 105,
105f “Digitizing Video Clips from VHS Tapes,” 156
Motion Analysis using Logger Pro, 99 SITE Screening Room, 10, 151
Speed of Sound I, 86, 86f, 87f software
Speed of Sound I at 210 Meters, 94 conversion, 153
Speed of Sound II, 86, 94 for extracting video clips from DVDs, 158
SR-71 Blackbird, 94, 98f free screen capture programs, 152, 153t
Sugar Cubes Stirred, 91–92 video editing software, 168–176
Sugar in Hot Water, 91–92 solar eclipses
video downloader, 151 Modeling the Solar Eclipse (SITE Screening
Room), 103, 104, 104f, 105, 105f
Wheel with Graph video, 57, 58
Modeling the Solar Eclipse activity, 102–105
Wheel with Numbers video, 58
solution videos, 69–70
sites for shooting video footage, 142
Sony Creative Software, 169t
650PRO TV Tuner (MSI Theatre), 157
sound
Skype (software), 138, 180
adjusting clarity of, 162
Snapz Pro X (software), 60, 152, 152f
audio and narration, 174
social bookmarking, 189
216
■ Index
Exploring the Speed of Sound activity, 85–88, storyboard view, 169, 170f
86f, 87f storyboarding, 176
Measuring the Speed of Sound activity, 93–95 storyboards
Sound Bites, 128 for book trailers, 126, 127f
sound effects, 142–143, 174 definition of, 196
Sound of Music, 42 streaming video, 120
space science back-channel tools, 191
Earth phases as viewed from the moon, 83t definition of, 197
Modeling the Solar Eclipse activity, 102–105 technology for, 119, 121
special effects, 142–143, 172–173 student-centered classroom uses of digital video,
speed of sound 5–7, 141–142
Exploring the Speed of Sound activity, 85–88 student-created digital video. See student proj-
Measuring the Speed of Sound activity, 93–95 ects
Speed of Sound I (SITE Screening Room), 86, 86f, 87f student projects, 132, 132f
Speed of Sound I at 210 Meters (SITE Screening age-specific strategies, 178–180
Room), 94 example videos students might create for
Speed of Sound II (SITE Screening Room), 86, 94 instructional purposes, 190, 190t
spreadsheet formulas, 60, 61f security issues, 180–181
spreadsheet functions, 53, 53f short documentaries, 136–137, 137f
spreadsheet tables and graphs, 60, 60f storing student-created digital video, 190
SR-71 Blackbird (SITE Screening Room), 94, 98f tips for, 176–181
Stack Traxx, 173 video project assessment, 180
standards on YouTube, 132, 132f
addressed, 22, 27, 33, 45, 50, 55, 62, 65, 71, 85, Studentfilmakers.com, 143
89, 93, 96, 101, 112, 119, 124 Studentfilms.com, 143
content standards, 32 students, 132
English Language Arts Standards, 111 Sugar Cubes Stirred (SITE Screening Room), 91–92
National Educational Technology Standards for Sugar in Hot Water (SITE Screening Room), 91–92
Students (NETS•S), 110, 133, 201–202 synchronous sharing, 190–191
Teachers (NETS•T), 203–204 T
National Science Education Standards, 84 teacher-created web pages, 28f, 29
Principles and Standards for School teachers
Mathematics (NCTM), 40, 42, 49 National Educational Technology Standards for
Social Studies Standards (NCSS), 32 Teachers (NETS•T), 203–204
still images and new media, 143
making videos from still images, 166–168, 167f TeacherTube, 9
photograph collections, 36 Bookmark & Share options, 189, 189f
text over, 172 video downloader, 151
storing digital videos, 190 teaching mathematics, 40–41
217
Index ■
teaching tips, 185 “To Peru and Back” website, 138, 139f
technology, 7–10, 147–192 “Tokyo Morning Trains” (Saxon), 28
adding other technologies, 48 Train Switcheroo activity, 67–70, 69f
Expanding Your Horizons custom search for, sample student solution video, 69–70
150 “train switcheroo” problem (UC Berkeley
National Educational Technology Standards for EQUALS program), 68, 69f
Students (NETS•S), 110, 133, 201–202 trains: “Tokyo Morning Trains” (Saxon), 28
National Educational Technology Standards for “The Tramp” (Charlie Chaplin), 21, 21f, 23
Teachers (NETS•T), 203–204
transformations, 43
Principles and Standards for School Mathematics
with Alice in Wonderland, 51
(NCTM), 40
with spreadsheet functions, 53, 53f
to support back-channel discussions, 121
with Transformations–Dilation virtual manipu-
for teaching mathematics, 40–41
lative (NLVM), 51, 52, 52f
television
Transformations–Dilation virtual manipulative
broadcast, cable or satellite TV, 157–158 (NLVM), 51, 52
“Capturing Video from Broadcast, Cable or transition effects, 172
Satellite TV” (SITE), 157
transportation
hardware devices for capturing broadcasts,
aviation videos, 62
157, 157f
digital videos available on YouTube, 27
television commercials
“Tokyo Morning Trains” (Saxon), 28
analyzing, 122–123
Train Switcheroo activity, 67–70, 69f
proactive, 128
Transportation Systems activity, 27–31
terminology, 115
travel, extended, 138–139
text, 108–109
trimming video, 171–172
definition of, 108
tripods, 161
digital video adaptations, 117
The Twilight Zone, 117
film pairings for thematic comparisons, 123
over video or images, 172 U
text-only frames, 172 ultraportable camcorders, 163–164
thematic comparisons, 123 U.S. House of Representatives Committee on the
thematic explorations, 128–129 Judiciary, 173
themes, 142 Ustream, 119, 121, 122, 191
They Marched Into Sunlight (PBS), 26
V
TI-83 Plus graphic calculator, 74, 76f
Vegas Movie Studio (software), 169t
time-lapse video: Dissolving Sugar Cubes (SITE
Screening Room), 90, 91f Vernier Logger Pro (software), 94
time-lapse video effects, 161 VHS tapes, 156
timeline view, 169, 170f VHS video digitizers, 156, 156f
timing, 161 video. See also digital video
timing tools, 92 first motion picture, 192, 192f
title and credit screens, 172 video camcorders. See digital video camcorders
218
■ Index
video cameras. See digital video camcorders VLC (software), 149t

video clips voice-over narration, 174
definition of, 197 voice-recorder-equipped iPods, 139–140, 140f
text-only frames between, 172 VoiceThread, 34, 35
text over, 172
W
working with, 172
watching digital video, 5–6
videoconferences, 180
on computer, 148
back-channel tools, 191
in English language arts, 110, 111–129
web-based, 191
in language arts, 112–118
video contests, 143
in mathematics, 43–65
video digitizers
in science, 84–92
in social studies, 21–26
Dazzle DVD Recorder, 156
watching digital video adaptations, 117–118
“Digitizing Video Clips from VHS Tapes” (SITE),
156 web-based video editors, 174–175
video editors web-based videoconferencing, 191
definition of, 197 “web logs.” See blogs
features of programs, 169–174 websites
programs, 169, 169t blocked sites, 8, 29
video editing software, 168–176 class web pages, 186–187
web-based, 174–175 embedding videos from YouTube in web
pages, 28f, 29, 154
video filters, 142–143
social bookmarking sites, 189
video mashups, 149, 196
webcams, 197
video project assessment, 180
video-sharing sites, 132
Wheel with Graph video, 56, 57, 58
video streaming. See streaming video
Wheel with Numbers video, 56, 58
videos. See digital video
Where Did the Sugar Go? activity, 89–92, 91f
Vietnam War: They Marched Into Sunlight (PBS), 26
Whitehouse.gov, 20
viewfinder, 159
wikis, 132, 188
viral video, 20
definition of, 197
virtual manipulatives
Google Sites, 188, 188f
Algebra Tiles (NLVM), 65–66, 66f
Willamette University Instruction Design Center,
definition of, 197
176
National Library of Virtual Manipulatives, 40
Wilson, Jim: Cycloid video, 56, 58
Windows Media Player (software), 148, 149t, 151,
(NLVM), 48, 48f
151f
Transformations–Dilation virtual manipulative
Windows Media Video (.wmv, .asf) file format, 149t
(NLVM), 51, 52
Windows MovieMaker (software), 41, 156, 169t
visuals, 16f, 142–143
Windows video file (.avi) format, 149t
digital images, 36
Winfast TV2000 XP Expert (Leadtek), 157
Library of Congress photograph collections, 36
219
Index ■
Wink (woftware), 153t Fractal Zoom Mandelbrot Corner, 40

WinTV-HVR 1600 TV Tuner (Hauppauge), 157 High speed video of popcorn kernel popping at
wizards, 197 5,400 fps, 83t
Wonder HD 650 PCI-Express X1 TV Tuner IUP Marching Band 2007—Vivace, 72, 74
(Diamond Multimedia TV), 157 Ma and Pa Kettle Find Uranium, 49
WordPress, 188 Math With Madeline, 65
World Wide Web. See Internet school projects on, 132, 132f
Wrenn, Elaine: “To Peru and Back” website, 138, searching for videos on, 150
139f security issues, 181
Wright, Jeremiah, 20 selecting video from, 150
writers, 122 student-created digital video on, 181
writing, multimodal, 7, 108–109, 196 transportation videos available on, 27
typical contributors, 2
Y
URLs of videos on, 153, 153f
YouTube, 2, 151, 155
Abbott and Costello: In the Navy, 46
Whitehouse channel, 20
blocked sites, 8, 29
YouTube Contests, 143
code for embedding videos from, 29, 29f, 154,
154f “YouTube Debates” (CNN), 16
Crazy Math Teacher: The Dance of the Parallel
Z
Lines, 65
Zoho Creator.com, 121
definition of, 197
zoom, 161
Doctor Doctor—Steel Drum Implosion, 83t
downloading videos from, 153
embedding videos from, 28f, 29, 154, 155f
220

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T E ACH I NG

International Society for Technology in Education

Copyright © 2010 International Society for Technology in Education

Director of Book Publishing: Courtney Burkholder

Library of Congress Cataloging-in-Publication Data

Printed in the United States of America

International Society for Technology in Education (ISTE)

ISTE® is a registered trademark of the International Society for Technology in Education.

LYNN BELL has worked with the Curry School of Education

THOMAS C. HAMMOND is an assistant professor of education at

SARA B. KAJDER is an assistant professor of English education

JOHN K. LEE is an associate professor of social studies and

MARGARET “MAGGIE” L. NIESS is a professor emeritus of math-

JOHN C. PARK is an associate professor of science education at

BERNARD ROBIN is an associate professor in the Instructional

DINA ROSEN is an assistant professor of early childhood educa-

MICHAEL SEARSON is executive director of Kean University’s

DANIEL TILLMAN is a doctoral candidate in the instructional

JANET M. WALKER is a professor of mathematics at Indiana

CARL A. YOUNG, a former middle grades and secondary English

Part 1 ■ Using Digital Video across the Curriculum . . . . . . . . . . . . . . . 13

CHAPTER 1 ■ Digital Video in Social Studies Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

CHAPTER 2 ■ Digital Video in Mathematics Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Performance Poetry: Analyzing Digital Video in Language Arts . . . . . . . . . . . . . . 119

PART 2 ■ Digital Video Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

CHAPTER 6 ■ Acquiring Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

CHAPTER 7 ■ Creating Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Glen L. Bull and Lynn Bell

Digital Video: A Ubiquitous Presence

The availability of video on sites such as YouTube offers oppor-

Nothing I say can do justice to these beautiful creations in their natural

Content: Digital Video across the Curriculum

Watching digital video facilitates knowledge building, enabling students to acquire a

might view a precise moment in the eruption of a volcano or a close-up of a butterfly

students can analyze video of physical objects moving or screencasts of Geometer’s

Technology: New Tools, New Capabilities

Acquiring Digital Video

■ Digitize television broadcasts or VHS movies

■ Extract video from a DVD

Once you have identified relevant content, there is the matter

■ Making a movie from still images alone

■ Extracting clips of specific scenes from longer video

■ Trimming or deleting unwanted video footage

■ Rearranging scenes in a video

■ Combining multiple video clips or combining video and still images

■ Adding special effects and transitions to your video

■ Adding sounds, music, or voice-over narration to your video

■ Adding text-only frames or adding text captions to images or video

Communic ating: Context for a Social Medium

The ultimate goal of digital video is communication. A new generation increasingly

The SITE Screening Room

Thomas C. Hammond and

Content-Based Instructional Settings

F IG U R E 1 . 2 . Working from primary sources to create a digital movie.

Limitations of Digital Video

If a film focuses on a single sequence of events or suggests a linear chain of causation, it

Socially Networked Video and

Digital Video Activities in Social Studies

Watching Digital Video Activity