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  • 1.
    Deldén, Maria
    Dalarna University, School of Education, Health and Social Studies, Educational Work. Umeå universitet, Institutionen för idé- och samhällsstudier.
    Det räcker inte att bara visa en film: Historisk spelfilm i undervisningen2016In: Medier i historieundervisningen: Historiedidaktisk forskning i praktiken / [ed] Anna Larsson, Umeå: Institutionen för idé- och samhällsstudier, Umeå universitet , 2016, 1, p. 179-195Chapter in book (Other academic)
  • 2.
    Deldén, Maria
    Dalarna University, School of Education, Health and Social Studies, Educational Work. Umeå universitet, Institutionen för idé- och samhällsstudier.
    Historien som fiktion: gymnasieelevers erfarande av spelfilm i historieundervisningen2014Licentiate thesis, monograph (Other academic)
    Abstract [en]

    The present study explores the reception of historical feature films in history education. It is concerned with how pupils experience the films as well as the significance of the feature film for their understanding and interpretation of history. The study incorporates empirical data from classroom projects in two different Swedish upper secondary schools where film was used as an educational tool. Observations of classroom activities were made and interviews with twelve pupils and their history teachers were conducted.

    The study applies a phenomenological approach. The lifeworld of the pupils is in focus, specifically the aspect of the lifeworld they live and experience in history class when film is used as a means of understanding the past. The phenomenon studied is thus how the pupils experience the film, and through the film, history itself. Theoretical notions from film reception studies and history didactics are used as analytic tools.

    The study shows how emotional and cognitive processes converge in the pupils’ meaning making of the films. The embodiment of the films’ narrative is an important factor that contributes to both the understanding of the film as well as of history. The pupils experience the films emotionally, feeling both empathy and antipathy for the various characters, physically through sight and sound as well as embodied reactions, and cognitively through an understanding of the film’s narrative. Embodied experience is fundamental for history to become materialized. The audiovisual portrayal and materialization of the past becomes embodied in the pupils so that the experience of the film and of the historical lifeworld presented therein becomes part of their lifeworld. Generally, pupils consider the films to be trustworthy, though this perceived accuracy depends on how authentically the narrative is performed and the pupils’ previous store of historical knowledge. 

    A didactic dilemma to consider when using historical feature film in the classroom is the contradiction between the aesthetic experience of a feature film and its use as a tool for understanding the past. The captivating character of feature film evokes empathy and engagement with the films’ characters regardless of the degree of historical accuracy. This is a critical issue for teachers; there needs to be balance between respect for the pupils’ aesthetic experience of the film and the need to guide them to develop for example the skills of historical empathy, where distance is necessary for the pupils to be able to consider different perspectives.

  • 3.
    Deldén, Maria
    Dalarna University, School of Education, Health and Social Studies, Educational Work. Umeå universitet, Institutionen för idé- och samhällsstudier.
    ¿La ficción para qué?: Literacidad de películas históricas2017In: Caminos de la enseñanza de la historia / [ed] Paulina Lapatí Escalante, José Carlos Blázquez Espinosa, Siddharta Camargo Arteaga, Querétaro, México, 2017, p. 1242-1259Conference paper (Refereed)
    Abstract [es]

    El texto se basa en mi tesis doctoral, Elcine como herramienta didáctica. Investigo el sentidohistórico creado a partir de las películas históricas. Laspelículas históricas forman parte de la cultura histórica,como una memoria cultural. Basándome en el filósofohistórico alemán Jörn Rüsen exploro cómo podemoscrear sentido a la historia mediada por el lenguajedel cine. Utilizo entrevistas con jóvenes, como ‘sociosde un diálogo crítico’, donde los jóvenes expresan susexperiencias de películas históricas. Pongo las vocesde los jóvenes a dialogar con teorías de las didácticasde la historia y teorías del cine. Llego a la teorizacióndel concepto de la literacidad de películas históricas(historical film literacy). Una conclusión sobre la literacidadcine-historia para crear sentido a la historia esque se trata de una fusión holística entre la emocióny la cognición, donde la dialéctica entre ambas es lovital. La experiencia del cine en el espectador la nombrovaloración emocional, con el significado de que sebasa en sentimientos básicos combinados con pensamientosde carácter más abstracto, de valor o juicio.La perspectiva crítica es importante dado que el sentidohistórico también tiene que ver con la dialécticapasado - presente - futuro, y la consciencia históricadel ser humano.

  • 4.
    Deldén, Maria
    Dalarna University, School of Education, Health and Social Studies, Educational Work. Umeå universitet, Institutionen för idé- och samhällsstudier.
    Las películas históricas, la narración y la recepción de los alumnos2015In: La historia enseñada a discusión: Retos epistemológicos y perspectivas didácticas / [ed] Barajas Trejo, Dení; Martínez Villa, Juana, Morelia, Michoacán, México: D.R. Universidad Michoacana de San Nicolás de Hidalgo, Instituto de Investigaciones Históricas , 2015, p. 905-922Conference paper (Other academic)
    Abstract [en]

    In history teaching sometimes historical feature film is used, as part of the use of different media when teaching and often as a way to visualize the past. This use of historical feature film for teaching and learning purposes raises important questions. This paper first focuses on the reception among students, when the film is used as a didactical tool in the teaching of history. In an empirical study I have investigated the process of meaning making when the students experience historical feature films. The study points to a convergence between cognitive and emotional processes where empathy is an important factor that contributes to the historical and narrative understanding. The paper comes to reflect on the notion of empathy and how it relates to historical empathy; likewise it problematize the didactical dilemma regarding the use of historical films in teaching. The second part of the paper looks at the historical feature film and its use in the perspective of cultural memory and with the help of the metaphor of the palimpsest. I argue that precisely in the interaction between reality, fiction and meaning making that film creates, we find the interesting and challenging teaching and learning opportunities. The potential of the film can be found in the entangled layers of reality and fiction, past and present.

  • 5.
    Deldén, Maria
    Dalarna University, School of Education, Health and Social Studies, Educational Work. Umeå universitet, Institutionen för idé- och samhällsstudier.
    Perspektiv på historiefilmslitteracitet: en didaktisk studie av gymnasieelevers historiska och emotionella meningsskapande i mötet med spelfilm2017Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The present study addresses what happens when historical feature film is used in history education. The purpose of this thesis is to develop new knowledge of historical film literacy through a study of the feature film's didactical potential in an educa­tional context. This is carried out through an analysis of the historical meaning making among upper secondary students when viewing historical feature films, and special attention is paid to the importance of emotions in the students' meaning making through historical feature film. A focus of the study is the didactical dilemma, previously addressed in historical film research, that arises in the use of feature film in history or social studies education, in relation to educational context, film experience, and historical understanding.

    The present thesis is an independent continuation of my licentiate thesis History as Fiction (2014). The empirical material consists of interviews with students and teachers from two upper secondary schools in Sweden, as well as documentation from students' assessments and selected scenes from feature films experienced by the students as they were used in history class.

    The theoretical framework for the study takes an interdisciplinary approach. It is based on Jörn Rüsens under­standing of historical meaning and histo­ri­cal culture, as well as on transaction theory described by John Dewey and Louise M. Rosenblatt. Film reception theory is equally important, represented by theories from David Bordwell and Carl Plantinga.

    The main research question focused on how the concept of historical film literacy could be developed theoretically. Historical film literacy is understood in this thesis as an advanced consciousness of how historical meaning making is created through the individual's transaction with film's narration in a specific context, and how meaning making ideally links historical disciplinary thinking with practical orientation in life. The core of theoretically developed historical film literacy is an understanding of the individual's emotional and aesthetic experience of historical feature film, and elaborated theoretical knowledge about the close relationship between the affective response and the more distanced cognitive activity during and after watching a film. Also crucial for historical film literacy is an under­standing of the historical film's representation of the past as a conflation of facts and fiction. The knowledge of history that students' gain from historical feature film should be constructed in a synthesis of an aesthetic and an efferent stance in the transaction process. This is because the feature film has the capacity to stimulate both a feeling of empathy and of nearness in the viewer as well as a movement of the viewer away from the narration and towards more distanced cognition. This movement helps the viewer to analyze and interpret the historical meaning making from a critical perspective, when the experience of the feature film is transformed to a reflected experience.

  • 6.
    Deldén, Maria
    Dalarna University, School of Education, Health and Social Studies, Educational Work. Umeå universitet, Institutionen för idé- och samhällsstudier.
    The Teacher and Educational Spaces: The Photograph as a Tool for Teacher Reflection2014In: Engaging with Educational Space: Visualizing Spaces of Teaching and Learning / [ed] Catherine Burke, Ian Grosvenor & Björn Norlin, Umeå: Institutionen för idé- och samhällsstudier , 2014, p. 51-59Chapter in book (Other academic)
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