The Contemporary Context of Educational Change Essay Example for Free

The Contemporary Context of Educational Change Essay If there ever was a time in which schools could operate in isolation, that time has long since vanished. There are now many actors and players who would like their say in shaping what is taught, to whom, and how, and who want to take a lead on the education stage. Some will have greater authenticity than others, but none will be capable to lead on their own. The leadership tapestry is multifaceted, rich and ever changing. Leadership is more than a role-based function assigned to, or attained by one person in an organization who uses his or her power to influence the actions of others. It extends beyond the instantaneous school community, embracing those numerous actors on the wider leadership stage—governments, trade unions, school districts and businesses—recognizing the diverse roles which they play. Orton, J. and Weick, K. E. (1990)description of educational organizations as â€Å"loosely coupled systems â€Å"is a third image of the university that still captures the frustrations of deans and college and university presidents who often describe managing change in higher education as â€Å"herding cats†. School leadership is a way of influencing others through communication. Yet it took half a century before researchers stopped up looking at the traits of leaders and began to think concerning the leadership situation itself. Since then a lot of work has been done on how people become leaders as well as how they can best influence followers, how they can develop teacher and student morale, and how they can better the performances of staff members as well as the children they serve. A recent survey of the research agreed on these points: 1. Leadership is not domination or compulsion of others but the encouragement of efforts to achieve communal goals; and 2. Leadership promotes change but it can also oppose change when it feels itself susceptible (G. Egan, 1990, pp. 48-49). The idea of leadership as a network of relationships amongst people, structures and cultures, both within, and across organizational boundaries has been re-affirmed. The numerous actors are drawn together in quest of the education reform agenda: an agenda that has focused to a great extent on schools. Increasingly, governments of different persuasions have shared the belief that the macro-problems of the state and society can be addressed through improving the micro-efficiency of the school. As a consequence, schools have been assigned the task of righting a range of social and economic ills—a role which numerous would argue is beyond the capability of schools to achieve. â€Å"Rising national expectations about schools have been accompanied by reduced teacher autonomy and increasing demands for higher performance—of teachers, as well as of pupils† (MacBeath, Moos and Riley 1996, 223-50). One of the fundamental areas of agreement between researchers who have investigated educational change concerns the powerful impact of head teachers on processes related to school effectiveness and school improvement. Research identifies consistently that those schools which have demonstrated the capacity to improve themselves, tend to be led by head teachers who have made a significant contribution to the effectiveness of their staff. â€Å"Whatever else is disputed about this complex area of activity known as school improvement, the centrality of leadership in the achievement of school level change remains unequivocal† (West Jackson 2001). This should not surprise us—â€Å"it is now more than twenty years since leadership was identified as one of the key components of ‘good schools’ by Her Majesty’s Inspectorate of Schools in England. HMI stated that without exception, the most important single factor in the success of these schools is the quality of the leadership of the head† (DES 1977:36). In particular, the local management of schools has resulted in the head teacher becoming a manager of systems and budgets as well as a leader of colleagues. In addition, the increasingly competitive environment in which schools operate has placed a much greater emphasis upon the need to raise standards and to improve school outcomes. One of the major growth areas of the burgeoning management development field has been head teacher training. While much of this training has been narrowly focused and competency driven, it has nonetheless, reinforced the centrality of the head’s role in leading school development and improvement. This broadening of interest in, and understanding of, the head’s leadership role parallels the pattern of development of leadership theory generally. In the UK the adoption of local management of schools has come from a belief in the relationship between decentralization and enhanced school effectiveness. In particular, the shift towards the self-management of schools has been premised upon the assumption that management decisions are more likely to be effective if they are located within the institution. This emphasis upon ‘self-management’ has been welcomed by many head teachers, primarily because of the possibility it offers for increased control over policies and resources and expanded scope for leadership. â€Å"Management is therefore developing as a significant challenge to improve organizations and has become a key concern of many† (De Long Seeman 2000:33) What starts as freedom to move around budget items and resources, to alter and to develop new priorities, inevitably brings with it new staff management issues. Indeed, it may well be that it is not the technical skills of financial or resource management that we have to assimilate, but the rather more complex interpersonal skills needed to create support for new priorities amongst the staff group. â€Å"There are also evaluating acts, which measure staff decisions or accomplishments against organizational goals and standards. And finally, there is the diagnostic function, which seeks to point out sources of difficulties, problems that need to be resolved, and the steps that need to be taken to resolve them†. (Robert G. Owens, 2004, pp. 176-182). It is here, in the implementation of interpersonal skills in times of difficulty, as well as times of growth, that the leadership individuality of the head teacher will be tested. It may be that the current prominence within head teacher training focuses too much on the technical competencies of management, and not enough on the personal and interpersonal qualities that are expected to be needed as schools take increased accountability for improving themselves. Similarly, this focus on the relationship between leaders and work groups and the ways in which the leader can extend and harness the relationship has been replicated in the development of leadership theory usually—it is not a ‘school’ issue as such. â€Å"It has been widely argued that complex and dynamic changes, such as the ‘cultural’ changes that are required for sustained school improvement, are less likely to occur as a result of transactional leadership† (Burns 1978, Caldwell 1999). A model of leadership more similar with the requirement of cultural change is that of transformational leadership. This approach of leadership focuses on the people involved and their relationships, and needs an approach that seeks to change feelings, attitudes and beliefs. Transformational leaders not simply manage structure, but they resolutely seek to impact upon the culture of the school so as to change it. It has been argued that cultural transformation and all the related complexities that surround school-based change are at the core of school improvement. Consequently, both supposedly and conceptually, transformational leadership would emerge to be consistent with a desire to bring concerning school improvement, rather than just ‘change’ the school. Of course, while the centrality of leadership in this school improvement process is unquestionable, there is a matter over who the ‘leaders’ are in the interest of improvement efforts. There is a rising research literature that points towards the importance of leadership at all levels within the organization. For instance, the leadership role of what might be termed ‘middle managers’ has been recognized as important, for example, in explaining differential school effectiveness (Sammons et al. 1996; Harris et al. 1995). Likewise, there are increasing calls for and recognition of a leadership role for teachers in the context of their own areas of direct accountability. Yet there is some research evidence that suggests that there is an ever-growing segregate between ‘leaders’ and ‘followers’ as a consequence of the changes arising from the self-governance of schools (Wallace and Hall 1994). The strong managerially culture obvious in some schools has resistant the separateness of the senior management team and has claimed leadership as an activity for the few, rather than the many. Schools committed to continuous improvement found that such schools feel constrained by this formulation of leadership as a function of hierarchy and are moving beyond it. Instead, these schools enlarge both leadership and ‘followership’ as generally based functions within the culture of the school. Hopkins et al. 1994 noted that a school that looks to the head teacher as the sole source of direction and inspiration is relentlessly constrained in its development capacity. Yet school structures often support this rather limited view, imposing a hierarchy of roles over the real sharing of knowledge and skills. Most often linked with school improvement. In practice, this means that head teachers give others real authority and assist them to extend to be able to use this authority prudently. This means giving up the idea of structure as control, and viewing structure as the vehicle for authorizing others. But it is not easy to give up control. Even when goals are agreed, it is not all the time easy to trust others to use their own knowledge and skills to take change about. Yet trust is critical to support the leadership climate. The transformational approach is stranded in trust: â€Å"Trust is the essential link between leaders and led, vital to people’s job, status functions and loyalty, vital to fellowship. It is doubly important when organizations are reaching rapid improvement, which requires exceptional effort and competence, and doubly so again in organizations like schools that offer few motivators†. (Evans 1998:183) Labaree (1997) described the educational goals of democratic equality and social mobility as conflicting because they represent competing visions of education and the structure of education. He defined democratic equality as an ideological tradition â€Å"that sees schools as an expression of democratic political ideals and as a mechanism for preparing children to play constructive roles in democratic society† (p. 43). As he explained further, the pursuit of equal access, whereby everyone â€Å"should have an equal opportunity to acquire an education at any educational level† (p. 46), is one form of this goal. This goal has made attending a postsecondary education institution a norm, rather than an exception, for high school graduates. The result, Labaree argued, has been tremendous public funding support designed to open up all levels of education to everyone. Institutional ramifications include â€Å"the proliferation of programs and courses, the search for ways to improve pedagogical efficiency, the concern about enhancing administrative control, and the stress on fiscal parsimony† (p. 46). In contrast, Labaree (1997) defined the social mobility goal as providing â€Å"students with the educational credentials they need in order to get ahead in [the existing socioeconomic] structure† (p. 50). He saw this as an individual goal, rather than a collective goal, like democratic equality, because social mobility emphasizes â€Å"individual status attainment rather than the production of human capital† (p. 51, emphasis in the original). He saw the tension between equal access and social mobility as â€Å"providing an unlimited possibility for education attainment† (p. 69) so long as there is a â€Å"pyramid-shaped occupational structure† (p. 69). Social equity arguments for postsecondary education attainment combine the goals of access and of mobility, despite their apparent conflict. Labaree (1997) acknowledged that these two goals are expressed in â€Å"the market for educational credentials† (p. 71). Within school improvement it is often proposed that cultural transform (which supports new teacher collaborations, new teaching as well as learning processes that, in turn, lead to enhanced outcomes for students) desires to be a central focus of leadership studies. The types of school cultures most helpful of school improvement efforts appear to be those that are mutual, have high expectations for both students and staff, that show a consensus on values, that hold a secure environment and those which persuade all teachers to presume leadership roles suitable to their experience (Hallinger and Leithwood, 1996). In summary, the role of leadership in school improvement is to take about cultural change by altering the processes which occur within the structure and not inevitably to affect the structure itself. Work Cited Burns, J M, 1978, Leadership, New York, Harper and Row Caldwell, B J, 1999, Reinventing School Leadership for Lasting Reform in the Third Millennium. In The Life and Work of Teachers in Changing Times: International Perspectives, Day, C, Fernandez, T, Hague, T Moller, J (eds), London, Falmer Press De Long, D. and Seemann, P. (2000). Confronting conceptual confusion

Comparison of French and German Cinema, 1930-1945

Comparison of French and German Cinema, 1930-1945 Introduction The dissertation aims to analyse the effects of totalitarian politics on the cinematic tradition of two of Europes most cultured nations, Germany and France. The study of cinema during the time period, 19301945 is a highly relevant discussion; one which is infrequently dissected by serious academic debate largely due to the lack of literature on the subject in comparison to studies pertaining to the effects of fascism upon other implements of the state, in particular religion and the military. Perhaps film students of the West still find it difficult to comprehend the fact that the Nazis were such a long way in front of their competitors when it came to the influence of National Socialist propaganda on the German people. As early as 1928 Hitler had come to understand the fundamental power of utilising modern forms of propaganda in paving the way for tyrannical rule, as he outlines in a speech dated 28 November (1999:151). The more one addresses only one social class, the easier it becomes to make promises. One knows from the beginning what each class wants If you are always only addressing yourself to one category, then political propaganda becomes infinitely easy. Certainly, in tandem with pervasive fascist symbolism and the dissolution of democratic political debate, the saturation of all forms of contemporary media was the key factor in Hitlers total seduction of the German nation. As such, the topic is relevant for the twenty first century where dictators still maintain power over illeducated people whose information is pumped into them via state propaganda machines that feed off insecurity, prejudice and paranoia, as modernday Zimbabwe currently illustrates. The study will be split into chapters as cited on the title page with the aim of creating an advanced understanding of how the Nazis used cinema as a tool of tricking the German people into believing concepts such as Lebensraum and the Jewish Question were issues of national urgency. The study will likewise examine the role of the Vichy collaborators in the seduction of French people, citing the essential similarities and differences of the two in terms of filmic content and production techniques. Clearly, as the instigator of right wing cinema as a political tool of mass hysteria, the German model will be first to be discussed, though the point should be made straight away that the Vichy Regime was not merely coerced into collaboration: there was active and passionate interest in France in fascist ideology with plenty of Vichy statesmen wishing to follow the path set about by the Hitler State. At no point should it be believed that Vichy cinema was a symptom of the occupation; it wa s, and remains, a marker for French sociopolitical beliefs at the time. Famous and infamous films such as Jean Renoirs La Grande Illusion, Bertolt Brechts Kuhle Wampe and Marcel Carnes Les Enfants du Paradis will be featured within the dissertation, citing specific examples from the movies to highlight how dissenters managed to voice their disapproval in highly subtle fashions that were unique to the extreme fear experienced in fascist Europe at the time. Comparisons between movie production under the influence of occupation, dictatorship, peacetime and war will provide fuel for the debate within. A conclusion will be sought as to the overall features that appear uniform within right wing film making, in addition to citing the subtle differences in the experience of movie production under the spectre of totalitarianism, as witnessed in Germany and France between 1930 and 1945. Chapter One: The effect of fascism on German Culture, 19301945 The short lived Weimar Republic is a source of great fascination for students not only of history but also of art, culture and society. Its relevance is in its oddity: the strange timeframe it fits into either side of Kaiser Wilhelm II and the Nazi State, two of the most suffocating and frustrating regimes in European history in terms of creative and artistic achievement. The Weimar Republic was responsible for a brief burgeoning of liberal German film making, art, sculpture, music, theatre and culture that was the envy of the western world at the time. Perversely, the strict socioeconomic conditions of the day appeared to ensure that the Republic would be as frivolous as it was unfortunate; as daring as it was politically unstable. Yet, as Elssaesser (2000:151) suggests, Weimar cinema may also have made it easier for Hitler to cast his cinematic spell on the German people. What has become abundantly clear is that the cinema permeated Weimar society as a very contradictory cultural force, at once part of oppositional Modernist avantgardes and in the forefront of capitalisms own modernising tendencies (as technology, industry and fashion) and for this very reason, invested with the hopes of revolutionary changes while susceptible to being used as the instrument for their containment (in the form of specular seduction, nostalgia, propaganda.) Diversity was the key to Weimar Cinema; it was an expression of multicultural Europe that was unfortunately located in the wrong place and time. With the Prussian aristocracy, disillusioned exmilitary personnel and marginalised masses of unemployed, the Weimar Republic was insufficiently prepared to withstand a structured coup from within when it inevitably came. Furthermore, the liberalism of the Republic gave added ammunition to the nascent Nazi State, giving Hitler and his propaganda minister, Josef Goebbels a readymade scapegoat for the deplorable state of German infrastructure during the early part of the 1930s. Indeed, it was Goebbels (1993:159) who highlighted the condition of the German nation before the National Socialists came to power in 1933 the state of the nation according to fascist eyes. Had it not been for the National Revolution, Germany would have been completely swissified, a nation of hotel porters and waiters, a nation having no political sense whatsoever that had lost any idea of its own historical significance. The effect of a onedimensional, intensely political approach to cultural affairs meant a surgical shift in the prism through which German society charted its progress between 1918 and 1933, and 1933 to 1945. Most art and film historians see the change that occurred in German culture after 1933, with the infamous burning of the books (May 1933) and mass emigration of a wealth of indigenous creative talent, as symptomatic of authoritarianism throughout the world. Bland, repetitive instances of film making and culture took the place of innovation and the first seedlings of avantgarde technique. Aesthetics and the human form took on added significance. Heavy handed plot lines guided the viewer of both art and cinema along a straightforward journey to the ideological heart of work without trusting the audience with the even the slightest semblance of individual reasoning. These are the popular images of authoritarian art forms promulgated after the defeat of fascism in Europe. Yet it would be incorrect to assume that German film making after 1933 was merely an exercise in retrospective propaganda studies; as shall be discussed in following chapters, Goebbels was fond of puncturing all genres of movies with National Socialist ideals with the result that a kaleidoscope of imagery is available to the twenty first century film student, each portraying a different vision of the fascist dream. It should come as little surprise to students of history to see a broad similarity between movies made in Nazi Germany and Soviet Russia: both countries relied upon eradicating the opposition and portraying the leader in an invincible light. Censorship at home and at the national borders also meant that fewer foreign films were being shown; those very few that made it past the German borders having to be screened first by the Nazis in order to gain an audience inside of Germany. Furthermore, the considerable risk that a film maker ran of being arrested, taken to concentration camp or even killed because of making a statement that the Nazi hierarchy did not favour was too great for all but the most ideologically driven of artists to bear. The result was an exodus of talent from Germany and a narrowing of vision to the extent that diversity, as a description of German cinema, became a complete misnomer. Art and cinema in the Third Reich were thus reduced to an entity in support of the regime; the hand over of the baton of creativity to autocracy was assisted by the state overhaul of existing cultural ministries. As part of the broader policy of Gleischaltung (coordination) the Reich Chamber of Culture (established in November 1933) oversaw this new breed of politicised movie making and art that presented a ludicrously perfect form of the Aryan man, engaged in the typical German pursuits of sport, work and family, as Seligmann et al (2003:50) detail. Images depicted Germans not just as modern day heroes but also as the heirs to Europes greatest cultural and imperial tradition, that of Alexander the Great and Caesar. As Aryans and National Socialists were elevated to the status of hero, so the Nazis used cinema and indeed every tool of popular culture at its disposal to reenforce the slide of the enemy into the sociological abyss. Over a short period of time, the Jews took over from the Weimar Republic and the Communists as the central target of Nazi abuse as one by one the political enemies of the state were made obsolete, leaving the racial enemies of the state as the sole carriers of the burden of national pariahs. Propaganda and film would play a disconcertingly influential role in the social facilitation of the Holocaust the essential psychological background whereby a nation might be made complicit in mass, statesponsored murder. As the violence and oppression against the Jews (and against gypsies, the handicapped and homosexuals) was increased, so the state began to use film and culture as a means to making the population complicit in their racial crimes. Reichskristallnacht (89 November 1938), for example, was a stateignited campaign of hatred against Jewry that was completed by the ordinary German people, a spontaneous orgy of destruction that would have been unimaginable were it not for the driptap effect of incessant fascist film making and media saturation, as Kershaw (2000:1412) underscores. The scale and nature of the savagery, and the apparent aim of maximising degradation and humiliation, reflected the success of propaganda in demonising the figure of the Jew certainly within the organisations of the Party itself and massively enhanced the process, underway since Hitlers takeover of power, of dehumanising Jews and excluding them from German society a vital step on the way to genocide. Der Erwige Jude (The Eternal Jew), the most extreme example of film utilised as a weapon of war, was a blatant and extreme vision of the life of common Jewry; the degradation of the living condition in the Warsaw Ghettoes providing the inspiration for the movies creator, Josef Goebbels who visited the area in 1940. The film portrayed Jews as vermin, cementing the belief in the viewer (coupled with state newspaper and radio) that the Jews were not only the enemy of the state but, more importantly, subhuman. As with all aspects of Nazi Germany, the murderous end effect can only be understood by taking the gradual desensitisation of the nation into account, a phenomenon that propaganda and film were instrumental in helping to bring about. Chapter Two: Occupied France: Vichy Collaboration in Moulding the Image of Fascist Europe The French experience of film was, until the continentwide rise of fascism, much the same as in Germany even if there were also fundamental differences between the two countries that made the transition from democracy to authoritarianism a more traumatic experience for the French, one that the nation has still not fully come to terms with. To start with, France, more than any other European nation, is synonymous with high culture, art and vision, characterised as the trend setting nation for creativity throughout the western world. Via Marcel Duchamp, for example, France was home to the origination of abstract art, his sculpture, Fountain (1917) often cited as a watershed in art and visual intention in the history of the West. In addition, France had dictatorship thrust upon it in a different way to the Germans. Clearly, autocracy can only arise from it being forcibly imposed on a population, yet in Germany it was Germans taking control of their own people, whereas, after the symbolic signing of the armistice on 22 June 1940, the French were dictated to by Germany from the vantage point of a vanquished nation. Therefore, there was more a sense of cultural partition between France in the 1930s and France in the 1940s that was not the case over the Alsace border into Germany. This starting point of a nation being defeated in war has been, ultimately, the greatest stumbling block regarding a better historical comprehension of the excesses of Vichy both from within and outside of French borders: for as long as the French were willing to rewrite history to paint the picture of a demoralised people who were fundamentally opposed to the right wing ideology of National Socialism, the country would be unable to see its true reflection. However, after the accumulation of two generations of historiography, Vichy was gradually deemed to be an active collaborator in the extremism that was witnessed in French culture and politics between 1940 and 1945 rather than a government coerced into cooperation. Marshall Pà ©tain may have been little more than a puppet figurehead, but he represented a large sector of conservative France that wished to eradicate the achievements of the artistic and philosophical endeavour of the early twentieth century so as to reembrace outmod ed notions of colonial France. Indeed, the right wing bloc who made up the core of the Vichy government were sympathetic to the anti-Semitic views of the Nazis the botched military trial of Captain Alfred Dreyfus for spying in 1894 highlighting a chequered history of a country that had barely bothered to even notice its own deeply resentful views concerning the Jews. The official separation of Church and State by law in 1905 merely paid lip service to a deepseated problem of prejudice in France. Although France had changed geographically, ethnically, politically and culturally between the two decades, a certain sense of continuity is detectable in French cinema of the period, which was certainly not the case in Germany. This was due to a combination of German censorship and genuine Vichy desire to ignore the shameful effect of the Occupation. As JeanPierre Jeancolas attests in his essay on the 1945 Vichy sponsored picture, Les Enfants du Paradis (2000:78), the realism that French cinema was so famous for showed no signs of cracking after 1940. The occupation of France in 1940, the control direct or indirect of its cinema by the German forces, condemned use of the present tense. Fiction films were allowed, at best, to portray a kind of vague present day, a period which had the appearance of the present, but not its singular hardships: the cars or the costumes are of 1943, but the French are depicted in light-hearted romantic entanglements, stories that never show the daily problems of finding food, or the presence of Nazi uniforms. Mention must be made of the division in France after her capitulation in 1940. Put simply, the country was split into half via north and south, whereby Paris, Brittany and the northern shores were deemed to be part of a territory called Free France, while the southern part of the nation, including major cities such Marseilles and Bordeaux (both of which had large ethnic and Jewish communities) was placed under the control of the Vichy Government. Vichy struggled to unite the two divisions until 1943 at the earliest, a time which signalled an increase in French resistance as, after the Battle of Stalingrad (February 1943) the sense of a slow protracted capitulation in the East led to a renewed sense of optimism in the West. It is important, therefore, to recognise the difficulty in defining a singular French brand of cinema after 1940. There were noticeable anomalies in how the Germans treated the two main zones. Newsreel propaganda, for instance, was different: in the Occupied Zone, cinemas screened antiBritish German newsreels, while in the Unoccupied Zone, Vichy largely steered clear of any mention of the war of the German presence in France at all. It is likewise important to recognise that the Vichy propaganda machine was not under the same level of autocratic control as was the case in Germany. There was no allpowerful figurehead to rival Goebbels in France. Pierre Laval was the clearest comparison to him but the Deputy Prime Minister spent much of his time in Paris negotiating with the Germans. In addition, Laval believed fervently in the power of broadcast media as the fundamental tool to seduce a weary population, neglecting largely the cinema and music. Furthermore, Laval delegated control of the propaganda machine to Paul Marion after 1942, which meant a discernible lack of leadership. A comparable model to Goebbels extensive communications system cannot be found in Vichy France. However, this does not mean to say that the Vichy Government was without persuasion or an ideology of its own. Although Occupied France was under the control of Germany, Vichy was given leeway in terms of national reeducation and, as the administration grew more secure in the southern part of the country (coinciding with entire divisions of German troops leaving France to fight on the increasingly demoralising Eastern Front), so a discernibly French model of fascism was seen in all walks of life, extending quickly to the national movie community. Continuity in all areas is the chief characteristic of Vichy cinema. As beforehand, Paris remained the creative hub of wartime France; many of the cast and directors of the films of the thirties remained to star in Vichy pictures. Jean Gabin and Michele Morgan were two big name stars who fled the country, but the rest mostly remained in France and continued to work. The Germans did not permit French films to cross the demarcation line until February 1941 when it became apparent that the same stifling effect of authoritarianism was prevalent in French as well as German cinema: there was no question of antiGerman films being shown because they were not being made. As a rule, movies produced during the Vichy years were unanimously nostalgic. As in the 1930s, many of the movies of the early 1940s were scripted around the French experience of World War One, characterising the recent experiences of the nation in the form of one actor or actress. The core Vichy values of family, la patrie and duty were cited in almost every film of the period, such as La Voile Bleue (1942), an anachronistic view of rural southern France that was the biggest commercial success of the forties in France. However, as Julian Jackson (2001:3201) details and contrary to popular belief, there was not a plethora of explicit right wing propaganda present in films made on the fascist side of the Vichy watershed. Paradoxically, many themes that one might expect to have figured more prominently after 1940, almost disappeared from the screen. Before 1940, many French films contained critical portrayals of British characters; after 1940 the British are absent. Before 1940 films had frequently depicted Germans sympathetically; after 1940, despite collaboration, Germans almost disappear from the screen. In the 1930s, antagonism to foreigners had been a frequent theme; after 1940 it was less present. Most surprisingly of all, whereas hostile depictions of Jews had proliferated in the 1930s, they are almost absent after 1940 As far as feature films are concerned, if they reflect anything different from the films of the 1930s it is Vichys desperate wish to believe the outside world did not exist. If a viewer was unaware of the historical subtext of the films produced during the 1930s and 1940s in France, they would not know occupation occurred at any point. But perhaps this was precisely the point: to cover over the huge dent in national pride at having to endure occupation by pretending that it did not exist. Learning from Goebbels, Vichy would also have been aware that, regarding propaganda, less can often mean more. Chapter Three: Josef Goebbels and the Intervention of Propaganda Cinema Unlike in France where a clear line of cinematic continuity can be traced, in Germany there is little doubt that movies made pre1933 would not be funded under Nazi rule. Kuhle Wampe (1932), for instance, was a decidedly Weimar production. The film was written and coproduced by Bertolt Brecht who was known within Germany to be a left wing film maker and sympathiser, yet one who did not favour the heavyhanded film making approach, as the following excerpt (1996:138) underscores. This way of subordinating everything to a single idea, this passion for propelling the spectator along a single track where he can look neither right nor left, up nor down, is something that the new school of play righting must reject. Betraying such antiauthoritarian views, it is no surprise that Kuhle Wampe turned out to be a socialist classic, an art house production made all the more poignant due to the cusp of the historical wave upon which contemporary Germany was riding. Brechts vision of a utopian community that rejects pricefixing and imperialism has been viewed as the last independent breathe of Weimar culture the final flourish before people such as the writer left Germany forever. Films such as Kuhle Wampe, as well as The Threepenny Opera, Kameradschaft and The Blue Angel all produced between 1930 and 1932 ensured that the shift, when it inevitably came, towards the right was all the more transparent because pictures such as these simply ceased to exist in Germany after 1933. Propaganda and cinema were married in the Third Reich like never before. Deconstruction of the pluralist approach of Weimars brief democratic tradition was the first step the Nazis took in reconfiguring the German nation in their own distorted image, followed inevitably by the edification of a new mythology, built exclusively around the twin pillars of the ubiquitous power of the Fuhrer and the antiGerman predilections of the communists and international Jewry. At first, of the two, the Fuhrer Myth was the most important solidifying effect in the Nazi consolidation of power. Hitler had learnt from Mussolini the herald of Fascism according to Hugh TrevorRoper (1995:174) that a tyrant could exert sole control over a modern, industrial European country but only via eliminating all competing iconography and elevating the leader to a quasireligious status, which could only be achieved by extensive propaganda exercises. As Ian Kershaw (1998:289) explains, the all encompassing image of Hitler portrayed in banners across German cities, in schools and in cinemas throughout the nation was vital not only in securing the stability of the Nazi State but also in making a subliminal connection between himself and the traditional heroes of German history within the broader national consciousness. For Hitler himself, the Fuhrer myth was both a propaganda weapon and a central tenet of belief. His own greatness could be implicitly but unmistakably underscored by repeated reference to Bismarck, Frederick the Great and Luther. Initially, even Goebbels was taken aback by the way in which the Nazis were able to instil their extremism throughout the country. A process that should have been osmotic took place with astonishing rapidity, as the Propaganda Minister (1996:41) himself explained in April 1933. What we are now experiencing is only the transfer of our own dynamism and legality to the state. This is taking place with such breathtaking speed that one scarcely has any time to call his own. Goebbels considered himself to be a man of culture and the filmmakers that he most admired did not come from the right wing stock that one would naturally associate with the Propaganda Minister. For example, Goebbels was a big fan of American cinema and he privately thought that the film making industry in the United States was far ahead of German production to that point. One of his favourite movies, although he denounced it in public, was Gone with the Wind, and he was likewise a great fan of the icon of Soviet propagandist cinema, Eisensteins Battleship Potemkin. Within the broader sphere of German film making during the period 1935 to 1945, Goebbels was the most important man in the country. All of the guidelines pertaining to film production in the postsilent era were rewritten after the Nazis seized power. As ever, culture and film became officially politicised and, as a by-product of Gleischaltung, the movie production apparatus fell into the hands of the Reich Ministry for Popular Enlightenment and Propaganda. Therefore, without Goebbels patronage a film would never make it past the level of script. His control was absolute, even extending to the question of financing production. Whereas under the Weimar Republic censorship and rating were separate bodies, the Nazis held onto both principles offering a tax rebate for positive film ratings, thus exerting considerable financial pressure on production companies that persisted in making unsatisfactory films. Reuth (1993:1945), in his rich biography of Goebbels, details the full extent of his control over movie making in Germany during this period, a description of a cultural power more potent than any available to the leader of each of the German Armed Forces. He had lists prepared of his favourite actors, as well as of Hitlers. He also kept close track of upandcoming talent, which he insisted on seeing for himself producers also depended on Goebbels favour, for he had created a comprehensive apparatus that allowed him to intervene in all phases of film production. The film department in the Propaganda Ministry, whose director Ernst Seeger served simultaneously as head of the office of film standards, oversaw production planning. All screenplays were examined for appropriate artistic and intellectual attitudes He [Goebbels] read film scripts almost every evening, and not infrequently revised them according to his own notions, using a green ministers pencil that became infamous among directors. Only after he had approved a project could the Film Credit Bank respond to a request for financing. Goebbels would even intervene in the shooting, often dropping in on studio, checking the rushes, and rating the finished product. From October 1935 on , he alone determined which films would be banned. Goebbels was the first head of communications anywhere in the autocratic world to understand the power of cinema in seducing a country; combined with his absolute control over all areas of broadcasting, films would see to it that Germans saw no other image of themselves apart from the vision in his mind for over ten years. However, this is not to state that films made in Germany during this period ought to be dismissed as wasteful propaganda, good for nothing but a lens through which to view National Socialist ideals. As will become apparent, a great many German productions of this time were goodhumoured, light hearted affairs that do not conform to the preconceived notion of a nation forced to watch endless versions of Der Erwige Jude and similarly dark depictions of dictatorship. Although many films were made that were instantly recognisable as party political broadcasts, such as Patrioten (1937), there were likewise others that provided a more panoramic view of Germanys splintered cultural psyche during the Third Reich. The following two chapters will examine two polar opposites of Third Reich cinema Heimatfilme and Exilfilme two bookends of the typically Nazi notion of home and abroad. As always when revisiting the ideology of National Socialism, there was very little room for any grey area in between extremes Chapter Four: Heimatfilme 47.8 per cent of the films produced during the Third Reich were comedies, 27 per cent were problem films, 11.2 per cent were adventure stories and only 14 per cent were considered outright propaganda films (Reuth, 1993:283). One of the most cherished German films of all time, Die Feuerzangenbowle (1944) was made during the darkest most desperate days of the war when all but the most closeted and narrow minded of Nazis could see that the war was never going to end in a German victory. The story, involving a mature student who never got to enjoy the hilarity of public school, could not have been, aesthetically and emotionally, further away from the politics of the time. But that was the point all along. By manipulating the mood of the audience, the Nazi propaganda state could change focus as and when external events demanded it. Die Feuerzangenbowle, for instance, might never have been produced if it was created during the honeymoon period of the early years of the dictatorship. Clearly, propaganda can be inserted into a storyline via more subtle camera and plot techniques and this is how Goebbels set about reenforcing core ideals into the German film loving audience. According to Reuth (1993:284), Goebbels and the Nazi propaganda machine preferred a more pervasive approach to political persuasion, especially concerning the most important issue of armed conflict on two fronts. Goebbels saw to it that the war, which became the main theme in films from 1939 on, was linked to the most varied genres, so as to make indoctrination of the audience imperceptible and keep the medium of film attractive. As he expected of all his propaganda ideally, so too in film, one and the same message was to be conveyed over and over again under constantly varied aspects. Of all the creative, cinematic options open to Goebbels, the most popular genre favoured by the Nazi hierarchy was the Heimatfilme, a uniquely German cinematic experience that played on the national obsession with the homeland. Apart from Austria, no other European country has the same nostalgic disposition towards artistic portrayal of the homeland quite like Germany. Because the nation was only unified after the FrancoPrussian War in 1871, successive generations of German film makers consistently looked back to the patriarchal preindustrial period inciting dreamy landscapes and a simple way of life to try to evoke the sense of longing the displaced German people of the countryside may have felt before unification. Manuala Von Papen (1999:12) highlights the reasons why Heimatfilme appealed to the Nazi leadership. This seems to be a genre virtually exclusive to the German-speaking countries and therefore untranslatable. Heimat means home, but also much more than that; it also stands for the entirety of ones cultural, social, ethical and historical heritage and provides an individual, a group of a whole nation with their identity, their Heimatgefà ¼hl. Clearly, the notions of volk (people) and heimat (home) were central concepts to the longevity of National Socialism. By combining the two, Heimatfilme leant the Nazis the opportunity to pander to the broader European taste for nostalgia as well as reenforcing the belief that Hitler was the true defender of German interests abroad. In a revolutionary move in light of the despotism of the regime, the Third Reich severed the equation of dictatorship with brainwashing propaga

Student Sleep Habits and Their Grades Essay -- academic performance, sl

Introduction Sleep has always been a popular subject among humans. There have been many studies that examine sleep and its correlation with a wide variety of variables, such as depression, energy levels, and grades. Students, as a group, are widely studied. As the world’s future leaders and thinkers, there is great importance placed on their achievements. In this study the effect of student sleep habits on perceived academic performance is investigated. Many things may affect students’ academic success among these variables are sleep habits. This study will look at sleep habits and grades to see if a significant correlation exists between the two. Sleep is an interesting subject and if a correlation between it and grades may be drawn, whether negative or positive, it will help to further educate and encourage more productive habits among the young and bright individuals that society relies upon. The public should care about the study because the impact is of a nature that could affect the community. Studies have previously been conducted about sleep and students. These studies cover a variety of variables including sleep length, inductive reasoning, preference in time of day, grade-point average, sleep quality, etc. (Escribano & Dà ­az-Morales, 2013);(Gilbert & Weaver, 2010). In one study researchers used Likert scales on a one to five platform to gather information (Gilbert & Weaver, 2010), and another on a one to four scale (Gaultney, 2004). Another study had a survey that asked for objective information such as exact grade-point average (Kelly, Kelly & Clanton, 2010). Yet another study used sleep logs and divided the students into a series of three classes based on their sleep habits (Tsai & Li, 2004). This stu... ...nces, Volume 55, Issue 2, July 2013, Pages 106-111, ISSN 0191-8869 http://dx.doi.org/10.1016/j.paid.2013.02.011 (http://www.sciencedirect.com/science/article/pii/S0191886913000809) Kelly, W. E., Kelly, K. E., & Clanton, R. C. (2001). The relationship between sleep length and grade-point average among college students.   College Student Journal, 35(1), 84-86. Ling-Ling Tsai, Sheng-Ping Li, (2004) Sleep patterns in college students: Gender and grade differences, Journal of Psychosomatic Research, Volume 56, Issue 2, February 2004, Pages 231- 237, ISSN 0022-3999, http://dx.doi.org/10.1016/S0022-3999(03)00507-5. http://www.sciencedirect.com/science/article/pii/S0022399903005075) Unknown. (unknown).  Table of critical values for pearson's r.. Retrieved on 11/17/2013 from http://www.radford.edu/~jaspelme/statsbook/Chapter%20files/Table_of_Critical Values_for_r.pdf

The Trade War between America (USA) and the European Union (EU) :: essays papers

Chiquita Brands International Inc. is best known as the world’s number one distributor of banana’s, which account for more than half of its sales. For the past decade, Chiquita’s sales have dropped dramatically and the company is now on the verge of bankruptcy. Currently, Chiquita is trying to avoid filing for a Chapter 11 by attempting a major financial restructuring of their debt. There are many factors that have contributed to the company’s downward spiral, although all of these factors are linked to the trade barriers imposed by the European Union on banana imports. The European Union enacted import restrictions on banana’s in 1993, and just recently, is attempting to revise the old regime in order to comply with the World Trade Organization. The EU is preparing to introduce a new import system dubbed â€Å"first-come first-served† which they believe will be a WTO compatible system. Chiquita filed a lawsuit in January, 2001 against the European Union seeking reparations in the amount of $525 million for their losses that resulted from the old biased import system (Palmer). Chiquita is just one of many companies that were affected by this biased import regime, but some other companies still managed to work around the import restrictions. Chiquita’s rivals, Dole Food and Fresh Del Monte, although bruised as well by the European restrictions and falling banana profits, are in much better shape. Both have managed to increase their market share in Europe, largely at Chiquita’s expense (Alden). Chiquita, however, sought out and fought a political battle against the European Union with the United States government backing them. The old EU import regime was not only an issue for the companies involved, but for the United States as a whole, since it affected banana’s and other agricultural products sold in the US. The regime initially was enacted in 1993, and was later ruled in 1997 to not be in compliance with the World Trade Organization (PR Newswire). The regime was designed in part to protect less efficient banana growers in former European colonies. Chiquita’s management has complained for years that the policies of the EU have cost the company millions by favoring banana’s from Caribbean producers in former European colonies. The EU’s rules were judged to discriminate in favor of growers in EU territories and the Caribbean at the expense of Latin American producers and U.

Electronic Security Essay -- Internet Technology Essays

Electronic Security Have you ever wondered what happens to your credit card number when it's sent through a "secure" server to Yahoo or Amazon? Have you ever wondered: Is my data safe? Unfortunately no activity on the Internet is private or secure. Anything stored on a home system is completely vulnerable to the outside world (unless of course the system is isolated from the Internet). Another thing to think about is the fact that any data on any type of disk can be salvaged. So if a corrupt disk is discarded, the data can be recovered with the right tools. The same is true with computer hard drives, flash memory, compact Disks etc... There are actually people who recover data for their income. These people usually don't discriminate against one customer or another they just extract the data and hand it to them on a silver platter. In the movie The Net Ms. Bennett (Sandra Bullock) works for a software company. She beta tests and de-bugs programs. She finds dangerous information that ultimately launches her into an epic battle against a group of terrorist hackers, the stakes: her life and identity. Could this really happen? In theory, someone's life could be screwed up and/or stolen. To gain control of a whole country's databases and networks would require a better-laid plan than the plot in the movie. In order to have access to secure national data; a very powerful decrypting program would be needed, as well as a way to cover up the point of ingress. Having a contact on the "inside" wouldn't hurt either. The movie plot seems a little far-fetched. World domination is not as easy as Hollywood makes it out to be. In the real world most network hacking is used to cover up secret events and information, which could pos... ...oice is to be careful with the information released to the public, forcing anyone who wishes harm to work for the information. Electronic security is a false notion, due to the fact that humans created the code or encryption in the first place. So other humans could also think up ways to break or modify other People's work. It is impossible to make a code so amazing that it is unbreakable. If it is invented by a human mind, it can be understood and used by another human mind, in time. Works Cited The Net. Screenplay by John Brancato, Michael Ferris. Dir. Irwin Winkler. Perf. Sandra Bullock, Ray McKinnon, Jeremy Northam. Columbia Pictures, Winkler Films. 1995. Holeton, Richard. Composing Cyberspace: Identity, community, and knowledge in the electronic age. New York, San Francisco, St. Louis: Stanford University, 1998 (Wolves of the plateau. 132-142)

Cisco case Essay

1. What are the challenges faced by Cisco in introducing a major product like Viking? There are four main challenges encountered by Cisco: Time-to-Market pressure: Cisco has only one year to launch Viking. Since the development of technology accelerates information exchange and boost customers’ demand, only companies that can catch the market transitions quickly can survive in the rapidly-changing society. Cost pressure: Price competition in hi-tech market is rather fierce. E.g. bandwidth prices were constantly dropping while customers expected continuous improvement in price-performance on their equipment. Immense technical complexity and concern on outsourcing production: For example, Viking contained some 300,000 components, which is 30 times more than in a small business router. So this requires a high ability for the contract manufacturer and a close cooperation between Cisco and the manufacturer. Uncertainty in NPI’s effectiveness and efficiency: This newly introduced mechanism requires substantial global operation collaboration among far-flung teams, which contains considerable uncertainties. 2. In selecting Foxconn and involving it from the start, what were the potential risks and values to Cisco? Risks: Lack of experience in handling technical complexity: Foxconn has never made complex product like Viking before. Excessive dependence on vertical integration: Overly depending on a single manufacturer will run a great risk of whatever financial and operational constraints it has. Meanwhile, Cisco may lose the opportunity to select the most appropriate suppliers. Values: Low cost: Selecting Foxconn can dramatically decrease the cost due to the cheaper labor force and materials from China and other Asian countries, as well as reduction in transition. Efficient supply chain: A single site and its vertical integration create an agile structure, which promotes the efficiency greatly. Long-term incentive to develop the contract manufacturer: If Foxconn performed well in making a high-end router in a low-cost manufacturing environment, Cisco would have more flexibility for  further products. 3. What should Cisco do to ensure successful development and launch of the Viking router? There are three major ways for Cisco to ensure success: Engaging supply chain partners early on to help simplify product design and manufacturing processes. Getting Foxconn closely involved early in development to lower risk. Utilizing technology to execute global, cross-functional teamwork, and to ensure smooth collaboration with Foxconn. Adopting innovative and intensive marketing strategies.

Database Needs for Early Learning Programs Essay

The Outcomes and Targets for the recently passed Families and Education Levy are very high. At the heart of the levy is accountability and using data in timely ways to improve annual outcomes. In the realm of Early Learning the dollars will double and the number of children and professional staff served will increase dramatically. The need for reliable, accessible data is great. An HSD IT web based data system (ELNIS) was created in 2006 for the previous levy. It was deployed in the summer of 2007 and began to be used in the 2007-2008 school year. Hosted by the state of Washington, it is accessible to each agency under contract with the city through a city purchased computer and digital certificate. Help desk support and training are also provided by the city. In 2009 the state ECEAP program substantially changed its enrollment form. ELNIS no longer matches the data elements required by the state. It was decided, because the change came so late in the year, that it was not feasible to make the changes in ELNIS. For the 2009-10 and 2010-11 school years the data has been out of sync with enrollment forms for ECEAP. ELNIS was designed in 2005 with the hope of having a single early learning data base for ECEAP, Step Ahead, and Child Care Subsidy. This proved to be unfeasible given the time constraints and limited resources available to accomplish the task. Children are entered into multiple data bases that do not connect with each other, but all ECEAP children are also in ELNIS. In 2010 Creative Curriculum substantially change the child assessment tool, such that in the final year of the levy 2010-2011 the child assessment data is no longer uploaded into ELNIS. Again it was decided not to reconfigure ELNIS to match the changes in the assessments because of time and cost, until the new levy passed. The OFE monthly report drives the immediate need for data. Each month OFE requires a data set of demographics, attendance and assessment data be delivered on the last day month following the month reported. In the MOA each year between OFE and HSD the data elements are negotiated. The data reporting required for early learning in 2010-2011 is on pages 5 – 8 of this report. These will still form a substantial part of the required data, but there will be additional items and number of records will increase substantially. Further, each year an analysis is completed by the data and evaluation strategic advisor in August/September for the previous school year. The data is used to help managers and education specialists to improve the performance of the agencies in the next school year. This process begins by creating a large data set of assessments matched to each child who has been served. The early vision was that the data would be stored in ELNIS and download for use in evaluations ready to be reported or analyzed. ELNIS is capable of containing the demographic data (although it no longer matches the data collected for ECEAP families) for each child, the agency, site and classroom data, and the ECERS assessment. It can no longer upload the Embedded Child Profile Assessment data, the PPVT- 4 child data, nor any data about professional development. All of this data must be managed separately in Excel spreadsheets and appended to the download from ELNIS. Increased needs for data and new data elements The new levy includes six components of which are three are new and three are expanded: †¢Professional Development †¢Family Engagement and Outreach †¢Preschool †¢Kindergarten Transition †¢Home Visiting Program †¢Health and Mental Health Support for Children The new required elements for reporting are expected to include the following indicators of progress toward the outcomes: †¢Parent-Child Home Program (PCHP) – Caregivers/Adults will demonstrate increased positive behavior on the Parent and Child Together tool (PACT). †¢PCHP – Children will meet standard on the Child Behavior Traits (CBT) and the Teacher Rating of Oral Language and Literacy (TROLL). †¢Family Friend and Neighbor’s (FFN†S) Care Providers – Caregivers/Adults will demonstrate increased positive behavior on the Parent and Child Together tool (PACT). †¢Step Ahead Preschool Programs – Children enrolled will meet the Standard Score and/or make gains on the Peabody Picture Vocabulary Test-4 (PPVT-4) of Receptive English by the end of the preschool year. †¢Step Ahead Preschool serving children who are English Language Learners: Children will make statistically significant gains in English Language Acquisition at the end of the preschool year on the PPVT-4. †¢Step Ahead Preschool – Children will meet age level expectations at the end of the preschool year on Teaching Strategies Gold Child (TSG) assessment. †¢Children served by Step Ahead and SEEC and enrolled in full-day kindergarten – Children will meet the age-level expectations on Washington Kindergarten Inventory of Developing Skills (WaKIDS) . †¢SEEC Pre-K – Classrooms will meet the Environmental Rating Scale (ERS) standard at the end of the program year. †¢SEEC Pre-K – Teachers will meet standard on the Classroom Assessment Scoring System (CLASS) at the end of the program year. †¢Children enrolled in Step Ahead pre-K program will have fewer than 5 absences per semester. †¢Children served by a Step Ahead Preschool will be assessed at level 2 or higher on the district English assessment test at the beginning of Kindergarten. †¢Number of early learning and child care settings receiving targeted consultation or training. †¢% of children who enroll in kindergarten on time. †¢% of children enrolled in full day kindergarten. †¢% of children who attend 90% of school days. †¢% of children who meet the birth to 3-year indicator for health (TBD). †¢% of 4 year olds who meet standard on the curriculum embedded assessment in preschool. Early Learning Health †¢Number of early learning and child care settings and providers receiving targeted consultation or training. †¢Number of children in early learning and child care settings receiving developmental assessments. †¢Number of children in early learning and child care referred for mental health therapy and/or medical follow-up. †¢Number of low-income families linked to a health care home, Medicaid coverage, and/or other health care resources. Assessment Tools used to provide outcome and indicator data Formative Assessments †¢Child: Teaching Strategies Gold (administered fall, winter and spring of the pre-k year) †¢Classroom: Curriculum-embedded classroom checklist (administered annually) †¢CLASS: Annual voluntary observation of pre-k and kindergarten- 3rd grade teachers to measure teacher effectiveness. Summative Assessments †¢Child – PPVT-4 (administered fall and spring of pre-k ) †¢Child – WaKIDS ( administered fall and spring of kindergarten) †¢Classroom – ECERS ( administered annually) Performance Payment with OFE will likely include these Outcomes (indicators) 2010-11 Indicator BaselinesNumber of Students Meeting IndicatorPercent of Students Meeting Indicator Families demonstrating increased positive behavior on the PACT and the CBT 35/4283. 3% Children making gains in the Standard Score from the fall pre-PPVT to the spring post-PPVT 657/93570. 3% Children with a minimum of two assessments meeting age-level expectations on Teaching Strategies Gold397/546 73. 0% Children are in classrooms meeting an ECERS standard of 5 in each subscale or an average of 6 in all subscales. 397/636 62. 4% Indicator Targets2010-20112012-132013-142014-152015-162016-172017-182018-19 Families demonstrating increased positive behavior on the PACT and the CBT 83. 3% 84% 85% 86% 87% 88% 89% 90% Children making gains in the Standard Score from the fall pre-PPVT to the spring post-PPVT 70. 3% 73% 76% 80% 83% 86% 89% 90% Children with a minimum of two assessments meeting age-level expectations on Teaching Strategies Gold 73. 0% 75% 78% 81% 84% 87% 89% 90% Children are in classrooms meeting an ECERS standard of 4 in each subscale or an average of 6 in all subscales. 62. 4% 67% 71% 76% 80% 85% 89% 90% Conclusions: ELNIS as currently configured will not meet the needs of the Early Learning System to report data to the funder, to use data for improving outcomes, or to manage data for contract payment purposes and monitoring. Either work needs to begin ASAP on reconfiguring ELNIS or a new data system needs to be created or purchased. Options include an HSD IT build or a purchase of a configurable off the shelf software system, such as Adsystech or ETO. Data will need to begin being reported to OFE in the fall of 2012, eight months from now. What options exist for meeting this need? What resources are available? What planning team should be assembled? Data Set currently required to be reported by OFE (2010-2011) SEEC Early Learning – Pre-K Source: HSD (monthly) Data ElementData TypeNotes YearNumericThe year of the period that the data is reported for. e. g. 2006 for reporting period December 2006. MonthNumericThe month of the period that the data is reported for. e. g. 12 for reporting period December 2006 Child HSD IDNumeric1 = English 2 = Other than English 3 = English and another language 4 = not reported Student IDNumericEnter SPS Student ID after child is enrolled in Kindergarten Ethnicity CodeChar 25 categories from SPS Child’s Home LanguageNumeric Gender CodeChar 1 SEEC Agency CodeChar 4Corresponds with Agency name look-up table SEEC Site CodeChar 4Corresponds with classroom site look-up table SEEC Classroom Code Char 7Corresponds with classroom look-up table. SEEC StatusNumeric1 = Step-Ahead Pre-K 2 = Step Ahead Match SEEC TierNumericTier I – Step Ahead, Tiny Tots, Refugee Women’s Alliance, and Jose Marti Tier II – Denise Louie Education Center/Head Start Tier III – Non-Step Ahead Early Childhood Education and Assistance Programs (ECEAP) , Neighborhood House Head Start Tier IV – Comprehensive Child Care Program (CCCP), other Head Start Programs in the City of Seattle Days in Pre-K ProgramNumeric/NullTotal number of days the student has participated in the Pre-K program during the month. ECERS Average Subscale Scores and average totalNumericRange 1-7 ECERS – Met StandardYes/No/Null ECERS average score of 4 across all 7 elements Classroom Quality StandardYes/No/NullClassroom met quality standards Classroom LevelNumeric/NullClassroom score based on years of experience and training 1st Child Assessment – Social/Emotional DevelopmentNumeric/NullStudent’s level from the 1st Creative Curriculum child assessment or High/Scope COR 1st Child Assessment – Physical DevelopmentNumeric/NullStudent’s level from the 1st Creative Curriculum child assessment or High/Scope COR. 1st Child Assessment – Cognitive DevelopmentNumeric/NullStudent’s level from the 1st Creative Curriculum child assessment or High/Scope COR 1st Child Assessment – Language DevelopmentNumeric/NullStudent’s level from the 1st Creative Curriculum child assessment or High/Scope COR 2nd Child Assessment – Social/Emotional DevelopmentNumeric/NullStudent’s level from the 2nd Creative Curriculum child assessment or High/Scope COR 2nd Child Assessment – Physical DevelopmentNumeric/NullStudent’s level from the 2nd Creative Curriculum child assessment. or High/Scope COR 2nd Child Assessment. Cognitive DevelopmentNumeric/NullStudent’s level from the 2nd Creative Curriculum child assessment or High/Scope COR. 2nd Child Assessment – Language DevelopmentNumeric/NullStudent’s level from the 2nd Creative Curriculum child assessment or High/Scope COR. 3rd Child Assessment – Social/Emotional DevelopmentNumeric/NullStudent’s level from the 3rd Creative Curriculum child assessment or High/Scope COR. 3rd Child Assessment – Physical DevelopmentNumeric/NullStudent’s level from the 3rd Creative Curriculum child assessment or High/Scope COR. 3rd Child Assessment. Cognitive DevelopmentNumeric/NullStudent’s level from the 3rd Creative Curriculum child assessment. 3rd Child Assessment – Language DevelopmentNumeric/NullStudent’s level from the 3rd Creative Curriculum child assessment or High/Scope COR. Formative Assessment – ChildYes/No/NullChild met the standard in the final embedded assessment as adopted by the SEEC assessment workgroup. PCHPYes/No/NullParticipated in Parent-Child Home Program. SEEC Early Learning – Peabody Picture Vocabulary Test, Fourth Edition PPVT Source: HSD (twice yearly) Data ElementData TypeNotes Child HSD IDNumeric. Child AgeXX-XXChild’s age at time of test in years and months 1st assessment – standard scoreNumeric/NullStudent’s standard score from the 1st Peabody Picture Vocabulary Test. 1st assessment – raw scoreNumeric/NullStudent’s raw score from the 1st Peabody Picture Vocabulary Test 1st assessment – grade equivalent scoreNumeric/NullStudent’s grade equivalent score from the 1st Peabody Picture Vocabulary Test 1st assessment – age equivalent scoreNumeric/NullStudent’s age equivalent score from the 1st Peabody Picture Vocabulary Test 1st assessment – growth scale valueNumeric/NullStudent’s growth scale value from the 1st Peabody Picture. Vocabulary Test 1st assessment – percentile scoreNumeric/NullStudent’s percentile score from the 1st Peabody Picture Vocabulary Test 2nd assessment – standard scoreNumeric/NullStudent’s standard score from the 2nd Peabody Picture Vocabulary Test. 2nd assessment – raw scoreNumeric/NullStudent’s raw score from the 2nd Peabody Picture Vocabulary Test 2nd assessment – grade equivalent scoreNumeric/NullStudent’s grade equivalent score from the 2nd Peabody Picture Vocabulary Test 2nd assessment – age equivalent scoreNumeric/NullStudent’s age equivalent score from the 2nd Peabody Picture Vocabulary Test 2nd assessment – growth scale valueNumeric/NullStudent’s growth scale value from the 2nd Peabody Picture Vocabulary Test 2nd assessment – percentile scoreNumeric/NullStudent’s percentile score from the 2nd Peabody Picture Vocabulary Test. SEEC Early Learning – ECERS Source: HSD (twice yearly) Data ElementData TypeNotes SEEC Classroom Code Char 7Corresponds with classroom look-up table  1st ECERS score – Space and FurnishingsNumeric/NullAverage score for subscale 1st ECERS score – Personal Care RoutinesNumeric/NullAverage score for subscale 1st ECERS score – Language and Reasoning Numeric/NullAverage score for subscale 1st ECERS score – Activities Numeric/NullAverage score for subscale 1st ECERS score – Interaction Numeric/ NullAverage score for subscale 1st ECERS score – Program StructureNumeric/NullAverage score for subscale 1st ECERS score – Parents and StaffNumeric/NullAverage score for subscale 1st ECERS cumulative classroom scoreNumeric/NullAverage score across all subscales 2nd ECERS Score – Space and FurnishingsNumeric/NullAverage score for subscale 2nd ECERS Score – Personal Care RoutinesNumeric/NullAverage score for subscale 2nd ECERS Score – Language and Reasoning Numeric/NullAverage score for subscale 2nd ECERS Score. – ActivitiesNumeric/NullAverage score for subscale 2nd ECERS Score – InteractionNumeric/NullAverage score for subscale 2nd ECERS Score – Program StructureNumeric/NullAverage score for subscale 2nd ECERS Score – Parents and StaffNumeric/NullAverage score for subscale 2nd ECERS cumulative classroom scoreNumeric/NullAverage score across all subscales. Early Learning – Parent-Child Home Program Source: HSD (twice yearly) Data ElementData TypeNotes YearNumericThe year of the period that the data is reported for, e. g. , 2006 for reporting period December 2006. MonthNumericThe month of the period that the data is reported for, e. g. , 12 for reporting period December 2006. Child HSD IDNumeric Student IDNumericEnter SPS Student ID after child is enrolled in Kindergarten Ethnicity CodeChar 25 categories from SPS, Other, Bi-Racial/Multi Racial Gender CodeChar 1 AgeNumeric In Parent-Child Home Visitor ProgramYes/NoStudent has participated in the Parent-Child Home Visitor Program during the month. Parent-Child Home Visitor Program – Provider CodeNumeric292 = Atlantic Street Center 304 = Neighborhood House at Rainier Vista 305 = Neighborhood House at New Holly 310 = Southwest Youth and Family Services Parent-Child Home Visitor Program – Total Number of VisitsNumeric/NullCumulative number of visits during the month. 1st Child Behavior Traits (CBT) Assessment – Cooperation with Adults Domain Numeric/NullScore ranges 1-4: average score for items that make up the domain shown at left 1. Does not exhibit this behavior 2. Sometimes exhibits this behavior 3. Most of the time exhibits this behavior 4. Always exhibits this behavior 1st CBT Assessment – Attention to Task Domain. Numeric/NullScore ranges 1-4: average score for items that make up the domain shown at left 1. Does not exhibit this behavior 2. Sometimes exhibits this behavior 3. Most of the time exhibits this behavior 4. Always exhibits this behavior 1st CBT Assessment – Engagement in Developmentally Appropriate Tasks Domain Numeric/NullScore ranges 1-4: average score for items that make up the domain shown at left 1. Does not exhibit this behavior 2. Sometimes exhibits this behavior. 3. Most of the time exhibits this behavior 4. Always exhibits this behavior 2nd CBT Assessment – Cooperation with Adults DomainNumeric/NullScore ranges 1-4 2nd CBT Assessment – Attention to Task DomainNumeric/NullScore ranges 1-4. 2nd CBT Assessment – Engagement in Developmentally Appropriate Tasks DomainNumeric/NullScore ranges 1-4 3rd CBT Assessment – Cooperation with Adults DomainNumeric/NullScore ranges 1-4 3rd CBT Assessment – Attention to Task DomainNumeric/NullScore ranges 1-4 3rd CBT Assessment – Engagement in Developmentally Appropriate Tasks DomainNumeric/NullScore ranges 1-4 1st Parent and Child Together (PACT) Assessment – Parent-Child Interactions Domain Numeric/NullScore ranges 1-4 average score for items that make up the domain shown at left 1. Does not exhibit this behavior 2. Sometimes exhibits this behavior 3. Most of the time exhibits this behavior 4. Always exhibits this behavior 1st PACT Assessment -Positive Parenting Behavior Domain Numeric/NullScore ranges 1-4: average score for items that make up the domain shown at left 1. Does not exhibit this behavior 2. Sometimes exhibits this behavior 3. Most of the time exhibits this behavior 4. Always exhibits this behavior 2nd PACT Assessment – Parent-Child Interactions Domain Numeric/NullScore ranges 1-4 2nd PACT Assessment – Positive Parenting Behavior Domain Numeric/NullScore ranges 1-4 3rd PACT Assessment – Parent-Child Interactions Domain Numeric/NullScore ranges 1-4 3rd PACT Assessment – Positive Parenting Behavior Domain Numeric/NullScore ranges 1-4. 1st Teacher Rating of Oral Language and Literacy (TROLL) Assessment – Language ScoreNumeric/NullScore ranges 0-20 (5 items with maximum of 4 points for each item) 1st TROLL Assessment – Reading ScoreNumeric/NullScore ranges 0-20 (5 items with maximum of 4 points for each item) 1st TROLL Assessment – Print Concept ScoreNumeric/NullScore ranges 0-12 (3 items with maximum of 4 points for each item). 2nd TROLL Assessment – Language ScoreNumeric/NullScore ranges 0-20 (5 items with maximum of 4 points for each item) 2nd TROLL Assessment – Reading ScoreNumeric/NullScore ranges 0-33 (8 items with maximum of 4 points for each item; one Yes/No item scored 1/0 ) 2nd TROLL Assessment – Print Concept ScoreNumeric/NullScore ranges 0-28 (7 items with maximum of 4 points for each item).