Film as Intervention: Raising the Bar for Teacher’s Engagement with Indigenous Content
Bibliographic record
Abstract
This dissertation aims to ask numerous interrelated research questions. Of most importance and enveloping all of them is: does Indigenous-produced drama, in particular Jeff Barnaby’s Rhymes for Young Ghouls (Barnaby, 2013), create a transformative environment for teachers to engage with issues affecting Indigenous people and the lived history of colonial violence? To find the answer to this question I facilitated 4 discussions with 3 educators where I incorporated Grounded theory with a Cultural studies mode of inquiry. This would also be informed by various theoretical touchstones from the history of Indigenous film and from some of the existing literature on Indigenous education; in particular Susan Dion’s Braiding Histories (2010) read in conjunction with scholar/activist Ariel Smith’s theorization of Indigenous ‘horror’ film (2015). I hypothesized that the teachers participating in the study would have their positionalities disrupted as a result of viewing Rhymes for Young Ghouls (2013) and would then be able to engage their classes in awareness of Indigenous/Canadian issues. Though the participants agreed that it was an emotionally gripping and powerful film the results did not suggest that the research participants changed their views and conceptions of themselves in relation to colonialism as a result of viewing Rhymes for Young Ghouls (2013). The findings demonstrated the potential for a critical intervention to take place when teachers incorporate a film like Rhymes for Young Ghouls (2013) into their curriculum. Evidence of the affective power of Rhymes is represented in the research participants’ responses in addition to the strategies discussed to enable an exhibition of the film to a classroom of young adults. The concluding results will leave one hopeful that there is still a will and a way to incorporate such a gritty film into secondary-school curriculum to challenge ongoing manifestations of colonial violence against Indigenous peoples.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.004 | 0.014 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.005 | 0.004 |
| Scholarly communication | 0.004 | 0.003 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.002 | 0.004 |
| Insufficient payload (model declined to judge) | 0.010 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".