This essay argues for a paradigm shift in what counts as learning and literacy education for youth. Two related constructs are emphasized: collective Third Space and sociocritical literacy. The construct of a collective Third Space builds on an existing body of research and can be viewed as a particular kind of zone of proximal development. The perspective taken here challenges some current definitions of the zone of proximal development. A sociocritical literacy historicizes everyday and institutional literacy practices and texts and reframes them as powerful tools oriented toward critical social thought. The theoretical constructs described in this article derive from an empirical case study of the Migrant Student Leadership Institute (MSLI) at the University of California, Los Angeles. Within the learning ecology of the MSLI, a collective Third Space is interactional^ constituted, in which traditional conceptions of academic literacy and
instruction for students from nondominant communities are contested and replaced with forms of literacy that privilege and are contingent upon students' sociohistorical lives, both proximally and distally. Within the MSLI, hybrid language practices; the conscious use of social theory, play, and imagination; and historicizing literacy practices link the past, the present, and an imagined future.
On film studies courses, students are asked to treat as objects of study the same films which they may more commonly experience as entertainment. To explore the role of academic writing in this, an action research project was carried out on a university film studies course using a systemic functional linguistics approach. This paper presents a key assessment essay genre, referred to as a taxonomic film analysis. This genre was analysed drawing on the work of Halliday and Mathiessen, 2004 and Martin, 1992 and Lemke, 1985 and Lemke, 1990), focussing on three aspects: the genre acts performed in the process of analysing film; the conceptual frameworks of film studies knowledge, or ‘thematic formations’ (Lemke, 1993) drawn on and re-constituted in the assignment; the particular ways that language is used to perform these acts and build these thematic formations. For EAP to be relevant to film students, it is proposed that EAP specialists need to engage with these three aspects of film study. This application of SFL in film studies EAP is intended as an illustration of how SFL tools can be used for relevant EAP provision across the HE curriculum.
Highlights
► The key genre identified was taxonomic film analysis. ► Deploying film studies language and genre converts film into an object of study. ► EAP lecturers need to engage with both the language and the meaning making of film student