iREAD
Keystone State Reading Association
Forty-sixth Annual Conference
October 19, 2013
BOOK TRAILERS:
Why? (Research)
How? (Pragmatics)
Wow! (Analysis))
Wow!
BUT, let’s start with WHAT!
WHAT is a book trailer???
Let’s take a look at one and then define the term!
One Crazy Summer.wmv
http://www.youtube.com/watch?v=PGjVR4WC4Ns
&feature=youtu.be&noredirect=1
http://www.youtube.com/watch?v=l4OmnIj4zIE&fe
ature=youtu.be
Your thoughts
How would YOU define a book trailer after
viewing one exemplar?
How would YOU use it?
Our thoughts
• Book trailers are digital matchmakers!
– Like a movie trailers because they build
anticipation through digital images and sounds.
– Like a book talks because they introduce children
to new reading material.
• Book trailers are close cousins to post reading
comprehension strategies because their
creation requires critical thinking. (And
children CAN design these!)
For some time, book publishers,
authors, & illustrators have created
book trailers as promotional tools.
Recently, wise educators (Agosto, 2012;
Dopke-Wilson, 2009; Kajder, 2008; Woods & Beach,
2009) built
on this concept and began
using book trailers as a mediated
instructional strategy for reluctant or
struggling readers.
We define book trailers
as a literacy tool
for ALL learners and ALL levels!
Book trailers provide pragmatic and
stimulating space for engaging readers of all
ages and abilities because they combine
literacy practices (i.e., previewing/providing
schema/setting purpose) and technological
expertise (i.e., embedding images, sounds), in
a socially interactive setting.
Why use book trailers?
Research Support
First, let’s look at effective teachers . . .
Effective teachers have a positive effect on
students’ reading achievement and these effects
persist throughout the elementary grades
(Konstantopoulos & Chung, 2011).
They do this by providing their students with many
opportunities to engage in meaningful reading and
writing activities (Allington & Johnson, 2002; Helman, 2009;
Pressley, 2006; Taylor, Pearson, Peterson, & Rodriguez, 2003).
Second, let’s consider
three points from research
1. Visual art and drama are tools for thinking
and interpreting literature (Short, 2011)
2. Children are “hardwired to learn through
making and interpreting symbol systems visually,
linguistically, and performatively” (Heath &
Wollach, 2008, p. 10)
3. When children read closely and critically, they
become co-creators with the text (Roser,
Malach, & Bomer, 2012).
Third, specific research on
motivation & reading
• Study of 3rd-5th graders regarding what motivates
students to read
• 4 motivational factors emerged:
1. prior experiences with books [seen on tv in or in
the movies]
2. social interactions about books
“Children place a high priority on reading
books they hear about from others” (p.177).
3. book access
4. book choice
(Koskinen, Palmer, Codling, & Gambrell, 1994)
Book Choice
• Student choice is the key for motivation and high
performance in reading (Bang-Jensen, 2010)
• Many states publish quality book lists each year (a
means of student self-selection) (Johnson & Blair,
2003)
• Lists become a “unifying literacy undertaking” helping
everyone choose from the same list, rather than from
different leveled readers (Bang-Jensen, 2010, p. 173)
• “Providing students with more choice in their reading
selections give students a more positive attitude
towards reading and ownership in their education”
(Ivey & Broaddus, 2001, p. 21)
Self- Awareness
• Choice & self-awareness—students know their
preferences of books
• Reader identity – sense of control &
confidence
• To expand the reach of children’s choice
programs, school media specialists could help
to develop readers through student choice
lists
(Bang-Jensen, 2010)
Social Relationships
• Choice & Social Relationships—Peers talk and influence
book choice (Bang-Jensen, 2010)
• “Some children carefully observed the reading habits
of their friends, or their classroom idols, and began
reading similar books in order to strengthen their
relationship with these friends.” (Pierce, 1999, p. 367).
• “It is beneficial to support children’s communication
through book sharing opportunities, book clubs, read
alouds, and discussion groups” (Hoffman, Hunt, Taylor,
2008, p. 24)
How? The Pragmatics
But first things first
YIKES!!!
WHAT ABOUT COPYRIGHT?!
From Copyright Confusion to
Copyright Clarity
• Lack of knowledge affects the quality of
teaching and learning
• “I heard (or she/he said) that once there was
teacher who got fired (lost their license, was
marched out of school, stripped naked) for
using an image from the Internet.”
Truth or Myth?
BOTH!
• It’s TRUE that teachers (and others) are
confused about copyright.
• It’s a MYTH that there is not more to “fair use”
than merely to use or not to use.
Consider the next slide. Is someone going to jail?
Transformativeness!
It will “shake your world” (Hobbes, 2010, p.8)
Aristotle had it right: people create new ideas
from old ones. (Thus the saying, “There’s
nothing new under the sun!”
So what is it?
Some helpful vocabulary
• Transformativeness is the term emerging for
the repurposing of copyrighted materials as
part of the creative process.
• Attribution (citing) is the practice of
acknowledging the use of other people’s ideas
as part of your work.
• Plagiarism is using someone’s work without
attribution. It is NOT copyright infringement,
but they do overlap a bit.
Consider the words of Carrie Russell
from the ALA:
• “Fair use cannot be reduced to a checklist. Fair
use requires that people think.”
• But for this presentation, we provide five
principles from The Code of Best Practices in
Fair Use for Media Literacy
Educators can
1. Make copies of newspaper articles, TV
shows, and other copyrighted works and use
them and keep them for educational use
2. Create curriculum materials and scholarship
that contain embedded copyrighted
materials
3. Share, sell, and distribute curriculum
materials tht contain embedded copyrighted
materials
Learners can
• Use copyrighted works in creating NEW
materials
• Distribute their works digitally if they meet
the transformativeness standard.
BACK TO OUR REGULARLY
SCHEDULED PRESENTATION . . .
How do you make a trailer?
Let’s look at two more and distinguish what
ingredients are needed.
http://www.youtube.com/watch?v=tnGOI46nEc
A
http://www.youtube.com/watch?v=C3hAgcJ_Z0&feature=youtu.be
The WOW!
Let’s make a book trailer!
Analyzing
Connect to CCSS
Time for questions
Contact us!
Anita N. Voelker, Ph.D.
[email protected]
Emily Deines
[email protected]
Danielle Morabito
[email protected]
HELPFUL RESOURCES
Hobbs, R. (2010). Copyright clarity. Thousand
Oaks, CA: SAGE.
School of Communications American University.
(2013). The code of best practices in fair
use for media literacy education. Available
http://www.centerforsocialmedia.org/fairuse/related-materials/codes/code-bestpractices-fair-use-media-literacy-education
References
• Bang-Jensen, V. (2010). A children's choice program:
Insights into book selection, social relationships, and
reader identity. Language Arts, 87(3), 169-176.
• Hoffman, J., Hunt, C., & Taylor, L. (2008). Who says this
is a good book? Students report what they look for
when choosing texts. Illinois Reading Council Journal,
36(4), 20-26.
• Palmer, B., & Codling, R. (1994). In their own words:
What elementary students have to say about
motivation to read. Reading Teacher, 48(2), 176-78.