Film in Action
places the moving image at the centre of the 21st
century language learning agenda. This ground-breaking book shows how teachers can benefit enormously from the emergence of video distribution sites and the proliferation of mobile devices. The book invites teachers to experiment with film, and provides insights into how learners can engage with film, over 100 activities for teachers to bring film into the language class and steps for teachers and learners to create their own moving images.
is a highly visual coursebook for teenage ELT students co-authored by Ben Goldstein
and Ceri Jones
which recognises that youth culture today is visually oriented, that video is becoming the primary means of information presentation in digital global media, and that teenagers relate well to material that is visually attractive. The images and videos, which were produced by Anna Whitcher
, in Eyes Open
have been chosen to appeal to young students and teachers.
Creativity in English language Teaching
is a free, downloadable ELT Council publication.
In her chapter “English through art: an ELT enrichment” Jean Sciberras
explores how paintings can be used as ‘launch pads’ to practise and develop various language skills and sub-skills. The chapter demonstrates that creativity in the language classroom is not limited to the gifted and talented but is something that any teacher can try to apply. The aim of this practical chapter is to provide art-based activities that stimulate language learning, although, of course, alerting students to art appreciation is a desirable by-product.
Creativity in the English Language Classroom
is a free, downloadable British Council publication.
In her chapter ‘Making thinking visible in the English classroom: nurturing a creative mind-set’ Chrysa Papalazarou
looks at how we can encourage creative thinking in the English classroom by using artful visual stimuli and the Visible Thinking approach.
Challenging and Controversial Picturebooks is a book which examines unconventional, non-conformist picturebooks and considers what they are, their audience and their purpose.
In her chapter “What’s Real And What’s Not: Playing With The Mind In Wordless Picturebooks” Sandie Mourao presents the findings of a project she planned in a Portuguese primary school which challenged the reasoning of three small groups of children and produced some thought-provoking discussions.