TEACHING PHILOSOPHY

Having had the privilege of learning from passionate and learned teachers and of experiencing first-hand the gratification of seeing one's own students flourish, I regard teaching as a crucial part of my own development and responsibilities as a filmmaker. Because most of my teaching has been in the context of film practice and theory, I view myself and my students as engaged in a collaborative exploration of the medium of learning, rather than viewing teaching merely as a transfer of knowledge between students and teacher.

In order to become adept at making films, there is a certain body of knowledge that the teacher must help students master. This body of knowledge is not simply the intelligent study of the craft of filmmaking, but also the craft of analysis and criticism. Indeed, this dual study enlarges on the various possible reactions to the historical situation of film. It shows students whether they have comprehended and assimilated the work, which becomes tangible in their own work.

In the process, I create in the classroom a disciplined atmosphere in which I transmit my ideas and explain how I arrived at them. From my experience, this encourages students to challenge me and form their own individuality. The re-evaluation of values becomes the students’ quest. I see my teaching as a catalyst for skepticism in what students believe film is and in the value of the films they create themselves. The lesson we learn in the classroom is that we need to develop an imagination that allows us to create our own films and essays, in spite of all the ingrained principles and values of over a hundred years of film practice and theory. As one of my students puts it: “This class taught me to write with my own voice.”

The artistic traditions that are in fact relevant to film students have, I believe, no clear boundary. That is, the very nature of the medium of film in my view mandates an interdisciplinary approach. It is important that students understand that this is a complex yet young medium, one whose course is not yet fully determined. This affords them a unique opportunity. I ask students, then, to keep in mind how they might influence the course of film practice and theory rather than simply be influenced by it.

How, specifically, would I go about implementing my collaborative, interdisciplinary educational philosophy in the classroom? In the context of an intro-level production course, I introduce students to the craft of filmmaking in addition to the craft of analysis and criticism. The craft of filmmaking includes lectures, workshops, and having the students work in small groups to create the films, alternating between Directing, Writing, Photography, Editing, and Producing, giving each student ample experience in all aspects of filmmaking. I challenge them to create a film every two weeks. By the end of the semester each student produces a considerable body of work, 7-9 unique films to deepen the students’ filmmaking craft I introduce them to the craft of analysis and criticism. We start by studying key films in the framework of 20th century intellectual history, art, music, and literature. In conjunction with our film viewings and filmmaking, we read several essays as well. I challenge students to write a short critical essay dealing with a specific topic on a bi-weekly basis. With each new essay, students are required to incorporate and expand their work in the previous essay. By the end of the semester each student produces a 20-page essay that is the summation of the all the shorter essays.

Throughout the semester students work together in teams of 2-3, often changing their partners with each new class topic. I ask them to do several oral presentations on their films and readings in which the rest of the class participates directly with little intervention from me. In post-lecture discussions I call on students randomly. They are required to answer questions and also to ask the same question in a different way so that we may arrive at a deeper understanding of the topic at hand. If they can’t answer the question I ask them to discuss it with their particular group for that week. This Socratic method probes students' core comprehension, beliefs, and values. As the course unfolds students find that the course is structured around them and that they themselves are the subject matter of study.

I follow the same strategies in my advanced production courses but I intensify the process of the intellectual dialogues among students. I ask them to play a bigger role in determining what it is they want to make. I give them time to develop their films and essays. The class as a group works with each student closely on all aspects of their work, from research to writing, production, and post-production. As in the intro-level course, the Socratic method is used to help students confront their beliefs and ultimately question how they ought to live in the world. Indeed, the goal of education for me is to drive students to the understanding that self-knowledge, that which shows us who we really are, is the first step toward a moral and peaceful life.