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This forum is the question: how should we as scholars, instructors, and That said, as Walter and others also argue,Īll film becomes a historical source as a cultural artifact. Sources-whether documentary or historical fiction feature films.Ĭable history channels, Hollywood, and many other producers make and remakeįilms about historical events and people which inform and flavor our understanding Skill, as Walter and others note, is crucial for films as historical Therefore, the skill to read the message through the medium is as essential as Unprepared to live thoughtfully and productively in the present and future. Students who lack the tools to evaluate and work with nonprint media will be In 1991, the MediaĬommission of the National Council of teachers of English (NCTE) warned that As Postman (1985) argues, media culture rather than theĬlassroom has become the students' first curriculum. Walter's 2006 "Historical Literacy: Reading History Scullin honed his interests and skills in reading media historically (including The Wall) while a student in Sundermann's history courses, leading toĪs Scott Bailey stated in the his announcement for this forum, "Film now playsĪ preponderant role in shaping individuals' conceptions of the global past andĬan many times provide an initial understanding of an historical event orĬhoice to include feature and documentary films in her history classes isīolstered by Trenia R. Regularly uses film as sources in her British and World history courses.
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History senior lecturer at the University of Washington, Tacoma, Libi Sundermann Why and how The Wall can-and should-be used as a historical The film for college instructors and students to deepen their understanding of Using film-and the special case of using The Wall-in the historyĬlassroom with emphasis on providing that historical context and analysis of 5 This article, focused on The Wall (film), describes our approach to Imagery and sound for Trump's plans for a US-Mexico border wall. Has been misappropriated-most recently by US Trump supporters and others as Historical context and meaning, especially as the iconic The Wall image Many, however, could benefit from examining the film in its Wall, both the film and its music, continue to resonate around the world.Ģ010–2013 global The Wall Live tour and his current global Us + Them tour means new global audiences, including twenty-first century youth andĪdults, may be familiar with Roger Waters, his music, and elements of The Subcultures, women's liberation, civil rights, political trends, and questionsĪbout identity and performative actions-in this case through mass media and Used to open discussions to myriad postwar global issues including (male) Systems, and makes more subtle references to issues of empire, race, andĭecolonization throughout these postwar decades.
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Youth and gender (masculine and feminine), the rise and fall of authoritarian 3 The film makes clear references to social and identity movements related to Politicians such as Margaret Thatcher, and Cold War tensions in the 1970s andĮarly 1980s. The progressive "Global Sixties," the conservative backlash by Conservative Global post-World War II youth angst, social movements, and politicalĬhallenges marked by the immediate postwar decades (1945 through the fifties), 2 At the same time, the film provides multiple entry points for discussions of Twentieth century through the eyes of disillusioned postwar Anglo-American Hindsight to examine the film in its historical context: a film that uses liveĪction, graphic art, and progressive rock music to depict the post-World War II Passed its thirty-fifth anniversary, Pink Floyd's film Pink Floyd: The Wall has established itself both as a cult classic and historical source. We do need an education: Teaching Pink Floyd: The Wall Libi Sundermann and Joshua Scullin