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Auteur Theory is a way of looking at films that state that the director is the “author” of a film. A film is a reflection of the director’s artistic vision; so, a movie directed by a given filmmaker will have recognizable, recurring themes and visual queues that inform the audience who the director is (think a Hitchcock or Tarantino film) and shows a consistent artistic identity throughout that director’s filmography. The 3 Components of Auteur Theory Andrew Sarris, film critic for The New York Times, expanded on Truffaut’s writing and set out a more comprehensive definition for auteurs according to three main criteria: technical competence, distinguishable personality, and interior meaning. 1. Technical competence: Auteurs must be at the top of their craft in terms of technical filmmaking abilities. Auteurs always have a hand in multiple components of filmmaking and should be operating at a high level across the board. 2. Distinguishable personality: What separates auteurs from other technically gifted directors is their unmistakable personality and style. When looking at an auteur’s collected works, you can generally see shared filming techniques and consistent themes being explored. One of the primary tenets of auteur theory is that auteurs make movies that are unmistakably theirs. This is in sharp contrast with the standard studio directors of the era who were simply translating script to screen with little interrogation of the source material or editorial input. 3. Interior meaning: Auteurs make films that have layers of meaning and have more to say about the human condition. Films made by auteurs go beyond the pure entertainment-oriented spectacles produced by large studios, to instead reveal the filmmakers unique perspectives and ruminations on life. https://www.masterclass.com/articles/film-101-what-is-an-auteur#3ClNjwO6Gkgjd8ix2Cm5qI Who is the author of a TV program? It seems like it ought to be an easy question to answer, but it is not. There are, of course, scriptwriters, who are the literal authors of episodes in the sense of generating words that an actor eventually speaks, but in a soap opera or a sitcom there may be a dozen or more scriptwriters working on dialogue as the months go by. Is any one of them truly responsible for the overall tenor of the show, or are they just following rigid guidelines set down by other scriptwriters ahead of them? And the script is just the blueprint of an episode anyway. Actors, production designers, directors, videographers, editors, and on and on, are all necessary to construct an episode from that blueprint. Should we call one of them the author? And, at a more basic level, should we even bother looking for authors in television? Do viewers need to know who created a program in order to enjoy it? What does it add to our appreciation or understanding of television if we assign authorship of a program to an individual? In the closely related medium of the cinema, questions such as these have been answered by the auteur theory, which stems from the French word for “author,” auteur. Its basic precept is that a single individual is, and should be, the “author” of a work in order for it to be a good, artistically valuable work. A book, poem, film, or television show should express this individual’s personality, his “vision” (the masculine pronoun is significant; auteurist studies almost all focus on men). This notion stems from the nineteenth-century Romantic image of the author as a figure who sits alone in a dingy room, scratching out angst-ridden poems with a quill pen. The tormented, misunderstood author or artist is a cherished character type that can be traced back to the poet Lord Byron (1788–1824) and observed in numerous portrayals of demented painters, musicians, and writers in television programs and other media. Consider this: Have you ever seen or read a story about a creative person who wasn’t somehow strange or crazy? The auteur theory originated in French film criticism of the 1950s, where it was initially theorized that auteurs could be drawn from the ranks of producers, directors, scriptwriters, actors, and other filmmaking personnel.1 However, the vast bulk of auteurist film criticism has been about directors: Alfred Hitchcock, John Ford, and Quentin Tarantino, among many others.

Animal Rights and Diet Success Criteria I can explain key terms which describe the type of diets people have I can explain the advantages and disadvantages of different types of diet Animal Rights and Diet Match up the terms with the meaning Term Meaning Omnivore - eats fish but no other type of meat Vegetarian - eats most types of meat and vegetables Pescetarian - doesn’t eat any products that come from animals Vegan - doesn’t eat meat but will eat dairy products like milk Place the different diets on a spectrum All meat No animal products at all Vegetarian Vegan Omnivore Pescetarian Omnivore Omnivore Most people in the UK are omnivores Match the countries with the amount of meat eaten per person per year Country Meat per person per year India 9.9 kg USA 4.4 kg Bangladesh 120 kg UK 111.5kg Nepal 84.2 kg Australia 4 kg Numeracy How much meat is consumed in the UK per year? (Amount of meat eaten X the UK population) 2. How much meat is consumed in Bangladesh per year? (Amount of meat eaten X the Bangladesh population) Country Meat per person per year USA 120 kg Australia 111.5kg UK 84.2 kg Nepal 9.9 kg India 4.4 kg Bangladesh 4 kg UK – 64 million Bangladesh – 165 million http://www.telegraph.co.uk/travel/maps-and-graphics/world-according-to-meat-consumption/ 7 Why do people eat meat? Discuss Tradition (their family has always done it) Culture (celebrations) Taste Convenience Nutrients such as B12, protein and iron Consumption of meat is rising across developing countries because higher incomes generally mean more meat eating. Pescetarian "Yeah, I'm a vegetarian." "But that looks like fish you're eating." "Oh yeah, I eat fish.“ An estimated 5% - 6% of people in the UK are pescetarians. How many people is this? Approx. 3.6 million Calculation – 66,000,000 /100 x 5.5 = 3,630,000 9 Which group is cuter? Animals Fish 10 People often don’t feel as much love for fish as they do for fluffy, cute mammals. The may think fish don’t feel pain. They may be fussy. They think fish isn’t meat. Not farmed as much as mammals; can be wild. To get nutrients they wouldn’t get from just vegetables and grains. (Omega 3 is in plants but in higher concentrations in oily fish) Why are people pescetarians? https://www.vegsoc.org/sslpage.aspx?pid=753 http://articles.mercola.com/omega-3.aspx Fish – In a perfect world, fish can provide you all the omega-3s you need. Unfortunately, the vast majority of the fish supply is now heavily tainted with industrial toxins and pollutants, such as heavy metals which include mercury, lead, arsenic, and cadmium, PCBs, and radioactive poisons. These toxins make eating fish no longer recommended. 11 Vegetarianism Vegetarians will not eat any meat or product that comes from the slaughter of animals e.g. gelatine. About 3% of the UK population are vegetarian. How many people is this? 1.9 million 12 Why are people vegetarian? They don’t like the idea that animals are killed so they can eat Health reasons Don’t like meat Brought up vegetarian Environmental reasons Religious reasons (e.g. some Buddhist, Hindus) Watch the following clip twice. The second time, write down the fact which surprises you the most. https://www.youtube.com/watch?v=VW6wfpHFdaI The World Health Organization has classified processed meats – including ham, salami, sausages and hot dogs – as a Group 1 carcinogen (same as smoking/alcohol) which means that there is strong evidence that processed meats cause cancer. Red meat, such as beef, lamb and pork has been classified as a 'probable' cause of cancer. 13 Veganism Not just a diet Around 1% of the population of UK are vegans. A vegan is described by the Vegan Society as “a philosophy and way of living which seeks to exclude—as far as is possible and practicable—all forms of exploitation of, and cruelty to, animals for food, clothing or any other purpose; and by extension, promotes the development and use of animal-free alternatives for the benefit of humans, animals and the environment. In dietary terms it denotes the practice of dispensing with all products derived wholly or partly from animals” Why are people vegan? Why are people vegan? James Aspey: https://www.youtube.com/watch?v=a22XxXP3nU8 Warning: some of the content in this video clip may upset some viewers from 7:14 – 8:11 https://www.youtube.com/watch?v=BtqXeym7H8A Why are people vegan? “Don’t want bad karma” Feel healthier Reduce chances of diseases. Example heart disease. Don’t want to exploit animals Believe in animal rights Sustainability Environment Create a Table of Pros & Cons of Veganism Pros √ Cons - Create a Table of Pros & Cons of Veganism Pros Cons No animals have died for you to eat Some people think it is healthier Help the environment Fewer antibiotics/chemicals that are given to some animals Makes you feel good No vitamin B12 so have to supplement Harder to find food at shops or restaurants May be harder to get enough iron May be more expensive to get substitute meats Judged by family and friends Could put farmers out of business Group Work Source 1 Summarise it in your jotter Explain what the source is/what it says What does it suggest? What is your opinion? Feedback to rest of class https://www.youtube.com/watch?v=SYyjel5VuHg Farmer’s Poem

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*MCQ Quiz: Understanding Good Practices in Writing AI Prompts** 1. **Q:** What is the first step in crafting an effective AI prompt? - a) Define the objective - b) Select the AI tool - c) Provide examples - d) Choose the target audience 2. **Q:** Why is it important to specify the target audience in a prompt? - a) It helps in choosing the right AI tool. - b) It ensures the output is tailored to the right level. - c) It determines the length of the prompt. - d) It makes the prompt more creative. 3. **Q:** Which of the following is a good practice when writing a prompt? - a) Keep the prompt vague to allow AI flexibility. - b) Include clear and specific instructions. - c) Write a very long and detailed prompt. - d) Start with examples before stating the objective. 4. **Q:** What is the role of examples in a well-structured prompt? - a) To confuse the AI with multiple possibilities. - b) To provide context and clarify expectations. - c) To make the prompt longer. - d) To show off knowledge of the subject. 5. **Q:** When should you select the AI tool in the prompt-writing process? - a) After defining the objective and specifying the audience. - b) Before defining the objective. - c) At the very end. - d) Before writing anything else. 6. **Q:** What is a common mistake to avoid when writing prompts? - a) Being too specific in instructions. - b) Including irrelevant information. - c) Mentioning the target audience. - d) Defining the objective clearly. 7. **Q:** How should the tone of a prompt be set? - a) It should be casual and open-ended. - b) It should be formal and precise. - c) It should change depending on the day. - d) It should be vague to encourage creativity. 8. **Q:** What is the final step in crafting a well-structured prompt? - a) Review and refine the prompt. - b) Select the target audience. - c) Provide examples. - d) Choose the AI tool. https://www.revisely.com/quiz/oEkao

As metodologias de ensino no ensino superior têm evoluído para melhor engajar os alunos, principalmente com o advento das novas tecnologias e mudanças nos hábitos de aprendizado. Aqui estão algumas abordagens modernas e como os podcasts se inserem nesse contexto: Metodologias Ativas no Ensino Superior 1. Aprendizagem Baseada em Problemas (PBL): O aluno é desafiado a resolver problemas reais ou simulados, desenvolvendo habilidades críticas e colaborativas. Isso estimula a autonomia no processo de aprendizagem. 2. Sala de Aula Invertida (Flipped Classroom): O conteúdo teórico é passado para o aluno de forma online (podcasts, vídeos, artigos) antes da aula, e o tempo em sala é focado na aplicação prática, debates e discussões. 3. Estudos de Caso: Alunos analisam casos reais, debatem alternativas de solução e aplicam conceitos teóricos. Esta metodologia incentiva o pensamento crítico e a tomada de decisões. 4. Gamificação: A utilização de elementos de jogos, como competição, pontuação e desafios, para engajar os alunos. Isso torna o aprendizado mais interativo e motivador. 5. Aprendizagem Colaborativa: Focada no trabalho em equipe, onde os alunos trocam experiências, discutem e constroem o conhecimento juntos, reforçando habilidades sociais e acadêmicas. 6. Método Socrático: Envolve a utilização de perguntas para incentivar o pensamento crítico. O professor faz perguntas que desafiam o aluno a refletir e construir sua própria compreensão dos conceitos. Podcasts no Ensino Superior Os podcasts são ferramentas cada vez mais utilizadas para enriquecer o ensino superior. Eles oferecem uma forma flexível e acessível de aprendizagem, podendo ser ouvidos em qualquer lugar e a qualquer momento. Aqui estão algumas maneiras de utilizá-los: 1. Complemento às aulas: Professores podem criar ou recomendar podcasts como material complementar às aulas, permitindo que os alunos revisem os conteúdos em seus próprios horários. 2. Entrevistas com especialistas: Podcasts com convidados especialistas de diversas áreas podem trazer perspectivas práticas e atualizadas sobre temas discutidos em sala de aula. 3. Discussão de temas complexos: Um podcast pode ser um espaço para explorar em profundidade questões que talvez não sejam completamente discutidas durante a aula devido ao tempo limitado. 4. Desenvolvimento de habilidades: Podcasts podem ajudar no desenvolvimento de habilidades como escuta ativa e compreensão oral, além de facilitar o contato com diferentes sotaques e estilos de comunicação, especialmente em contextos internacionais. 5. Podcasts como atividade: Professores podem incentivar os alunos a criarem seus próprios podcasts sobre temas estudados, promovendo a pesquisa, organização de ideias e a comunicação verbal eficaz.

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