Abstract
The three Rs for schoolchildren were once thought to be reading, writing, and ‘rithmetic. These were considered foundation skills for literacy, generally understood as the ability to read, write and interpret information using the tools of the time. According to some media scholars, we now require multiple literacies. Douglas Kellner suggests that ‘we need to learn to think dialectically, to read text and image, to decipher sight and sound … to develop forms of computer literacy’.1 While typewriters and biros were once key technologies of literacy, networked computers now play the central role.
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Notes
Quoted in David Trend, The End of Reading: From Gutenberg to Grand Theft Auto (New York: Peter Lang, 2010), p. 137.
Mary Carruthers, The Book of Memory: A Study of Memory in Medieval Culture (Cambridge: Cambridge University Press, 1990), p. 12.
Roland Barthes, Image, Music, Text (London: Fontana Press, 1977), p. 146.
See Jay David Bolter, Writing Space: Computers, Hypertext, and the Remediation of Print (Hillsdale: Lawrence Erlbaum, 1991).
Gunther Kress and Theo van Leeuwen, Reading Images: The Grammar of Visual Design (Abingdon: Routledge, 2006), p. 17 (emphasis added by author).
Gunther Kress, Literacy in the New Media Age (London: Routledge, 2003), p. 5.
See Gunther Kress, Learning to Write, 2nd ed. (London: Routledge, 1994).
Patrice Pavis, Dictionary of the Theatre: Terms, Concepts and Analysis (Toronto: University of Toronto Press, 1998), pp. 60–1.
Sweetgrass, directed by Lucien Castaing-Taylor and Ilisa Barbash (2009; New York: Cinema Guild, 2010), DVD.
Patricia Aufderheide, Documentary Film: A Very Short Introduction (Oxford: Oxford University Press, 2007), pp. 44–9.
Quoted in Yael Zarhy-Levo, The Making of Theatrical Reputations (Iowa City: University of Iowa Press, 2008), p. 45.
Joram ten Brink, Building Bridges: The Cinema of Jean Rouch (London: Wallflower, 2007).
Jean Rouch, Ciné-Ethnography, vol. 13 (Minneapolis: University of Minnesota Press, 2003), p. 267.
Paul Henley, The Adventure of the Real: Jean Rouch and the Craft of Ethnographic Pilmmaking (Chicago: University of Chicago Press, 2009), p. 268.
Errol Morris, ‘Truth Not Guaranteed: An Interview with Errol Morris’, Cineaste 17, no. 1 (1989): pp. 16–17.
Anna Grimshaw and Amanda Ravetz, Observational Cinema: Anthropology, Film, and the Exploration of Social Life (Bloomington: University of Indiana Press, 2009), p. 65.
Charles Mahoney, ed., A Companion to Romantic Poetry, vol. 73 (Chichester: Wiley Blackwell, 2011), p. 167.
Leviathan, directed by Lucian Castaing-Taylor and Verena Paravel (2012; New York: Cinema Guild, 2013), DVD.
Timothy Corrigan, The Essay Film: From Montaigne, After Marker (Oxford: Oxford University Press, 2011), p. 197.
Nanook of the North, directed by Robert J. Flaherty (1922; New York: Criterion, 1999), DVD.
Stories from the North, directed by Uruphong Raksasad (2006; Bangkok: Extra Virgin, 2010), DVD.
Endel Tulving, Elements of Episodic Memory (Oxford: Oxford University Press, 1985).
Laura Tunbridge, The Song Cycle (Cambridge: Cambridge University Press, 2010), p. 3.
Sunrise: A Song of Two Humans Photoplay, directed by F. W. Murnau (1927; Los Angeles: Fox Films, 2009), DVD.
Jean-Pierre Geuens, Film Production Theory (Albany: State University of New York Press, 2000), p. 90.
Agrarian Utopia, directed by Uruphong Raksasad (2009; Bangkok: Extra Virgin, 2011), DVD.
Uruphong Raksasad, Agrarian Utopia Director’s Statement, http://www.filmfestival.be/pressfiles/Agrarian%20Utopia.pdf, accessed 22 July 2013.
Patience (After Sebald), directed by Grant Gee (2012; New York: Cinema Guild, 2012), DVD.
W. G. Sebald, The Rings of Saturn (London: Random House, 1998).
Patience (After Sebald), directed by Grant Gee (2012; New York: Cinema Guild, 2012), DVD.
Phillip Lopate, ‘In Search of the Centaur: The Essay-Film’ in Beyond Document: Essays on Non-Fiction Film, ed. Charles Warren (Middletown: Wesleyan University Press, 1996), p. 245.
Lise Pratt and Christel Dillbohner, eds., Searching for Sebald: Photography After W.G. Sebald (Los Angeles: Institute of Cultural Inquiry, 2007), p. 104.
Lawrence Lessig, Remix: Making Art and Commerce Thrive in the Hybrid Economy (New York: Penguin, 2008), p. 69.
My Winnipeg, directed Guy Maddin (2007; Montreal: Seville Pictures, 2008), DVD.
Walking from Munich to Berlin, directed by Oskar Fischinger (1927; Los Angeles: CVM, 2006), DVD.
Guy Maddin, My Winnipeg (Toronto: Coach House Books, 2009), p. 6.
Keyhole, directed by Guy Maddin (2011; Thousand Oaks: Monterey Media, 2012), DVD.
Gaston Bachelard, The Poetics of Space, trans. M. Jolas (Boston: Beacon Press, 1994).
William Beard, Into the Past: The Cinema of Guy Maddin (Toronto: University of Toronto Press, 2010), p. 284.
Michael Temple and James Williams, eds., The Cinema Alone: Essays on the Work of Jean-Luc Godard1985–2000 (Amsterdam: University of Amsterdam Press, 2010), p. 34.
Dziga Vertov, Kino-Eye: The Writings of Dziga Vertov, trans. Kevin O’Brien (Berkeley: University of California Press, 1984), p. 199.
Three Songs of Lenin, directed by Dziga Vertov (1934; Los Angeles: Image Entertainment, 2000), DVD.
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© 2014 Kathryn Millard
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Millard, K. (2014). The New Three Rs of Digital Writing: Record, Reenact and Remix. In: Screenwriting in a Digital Era. Palgrave Studies in Screenwriting. Palgrave Macmillan, London. https://doi.org/10.1057/9781137319104_4
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DOI: https://doi.org/10.1057/9781137319104_4
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