Evaluation - Scottish Screen

The lead practitioner employed a range of pedagogical techniques from writing vocabulary
on the board as pupils generated it, to encouraging pupils to make connections with rhythm in
the real world and worlds of music and film during the music section of some lessons.
Throughout lessons, the lead practitioner demanded close observation from pupils, including
the 3Cs and 3Ss, and the pattern of footfall when stamping out various rhythms.
Observation of teachers
During lessons in the first phase of the evaluation, teachers acted mostly as observers, taking
notes for future reference. They also assisted by undertaking practical tasks such as writing
vocabulary on the board and supporting pupils during storyboarding. At the second round of
observations, this situation had completely changed and teachers undertook all classes on
their own. Typically, after initial explanations by the teacher of the context and recall of
roles, classes were generally pupil-directed.
Teachers allowed pupils to generate the knowledge required to take forward the lessons,
sometimes through ‘sitting back’ but taking careful note of where the lesson was going and
by active intervention at other times. For example, one teacher started a DVD and stopped it
immediately at the title, asking pupils to predict what happens, thereby capturing close
reading of the film from the outset.
Throughout all lessons, the teachers did not accept unsupported answers or first answers.
Instead, they probed using process questions in order to elicit accuracy and justification from
pupils. Mostly, teachers questioned for exploration of ideas on feelings and meaning and
pupils’ suggestions on the content. All answers, suggestions, ideas and other contributions
were challenged and probed for justification.
When the pupils were working individually, in pairs or small groups, teachers supported
those who were slow to get started or who became stuck. One teacher rounded off her lesson
by pointing out that the focus group (which was to follow and would involve the entire class)
was a related activity.
Teachers also used MIE lessons as opportunities to foreground the social aspects of learning.
For example, one teacher began a lesson by recounting previous work on MIE and roles
within this project in detail. She made a point of stressing how criticism had been
constructive and any laughter had been friendly rather than derisory. During filming, she
allowed the class to solve problems that arose without intervening. When asked questions by
pupils, she referred them to the director or camera crew as appropriate. She only intervened
when one pupil appeared to become a little upset. In addition, she ensured that the end
discussion was pupil led and set up a re-run of the film at the pupils’ request. Finally, she led
the discussion toward which parts of the film required more work, what that work was and
when it would be addressed. The pedagogical approach described here was typical of
teachers’ approaches throughout our second round of observations in cluster A.
Observation of pupils
Pupils were attentive and engaged throughout all observed lessons. They were enthusiastic in
their answers to lead practitioner’s and teachers’ questions. Factual recall questions were
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