There's money to be made in education, argues Bob Bowdon, therefore entirely if you cut out the unprofitable bits, like adept teachers. In his education docudrama "The Cartel," Bowdon, a TV news reporter in New Jersey, paints a terrific ugly impression of the institutional degeneracy that has resulted in very nearly unbelievable wastes of taxpayer money. The numbers reveal the tale: $17,000 spent per pupil, and at hand's but a 39% reading proficiency rate, it's hard to reason that there's a crisis afoot, but harder to agree on a solution.
Here are two major factions in Bowdon's picture -- the villains are reasonably clearly the Jersey teachers union and school board who funnel 90 cents of every dollar away from teachers' salaries and towards incidentals, including six-figure salaries for school administrators. The other faction are the supporters of charter schools, the private schools that can elude the influence of the public school system and would help inner-city kids if their taxpayer money could be more advisably used. Bowdon makes much of the fact that it's well-nigh impossible for a teacher to be fired, a safety net that does little to incite hard work in those teachers who discern they have a career regardless of how many of the three Rs they teach -- if any.
"'The Cartel' examines lots of various aspects of public education, tenure, backing, patronage drops, subversion --meaning thievery -- vouchers and charter schools," says Bowdon. "The label education documentary can sound to some like dull squared, but in fact the movie itself betrays an fervent passion for the predicament of particularly inner-city children."
Bowdon's docudrama started touring the festival circuit in summer of 2009 and made its theatrical debut in April 2010. It consequently proceeds the more-recently released, though higher profile, education documentary "Waiting for Superman," directed by Davis Guggenheim ("An Inconvenient Truth"). Bowdon sees the two documentaries as taking dissimilar approaches to the equal problem, "The Cartel" by examining public policy and "Superman" focusing on the human-interest aspects. "My film is the left-brained version, more analytical," Bowdon says, "'Waiting for Superman' is more the right-brained treatment."
The left-brained tactic means arguments that follow the economics -- money misspent, opportunities wasted. He follows the money to make conclusions about how shameless the Jersey school system is, but his picture features moments of elevated emotion and grief. One girl, crying after discovering she wasn't selected in a lottery for a charter school, tells the story of What Went Wrong as well as Bowdon's arguments.
And whilst there's a satire in this kind of public corruption happening in a state renowned for its organized crime, it's clear that this is not an isolated collapse. Bowdon's film illustrates a local dilemma, but any watcher will spot the systems of system failure in their own state's schools. Bowdon puts his faith in the charter schools, where the taxpayer has influence over the kind and quality of instruction. But he also makes it undeniable that those in power are going to be unwilling to give it up without a fight. - 40729
Here are two major factions in Bowdon's picture -- the villains are reasonably clearly the Jersey teachers union and school board who funnel 90 cents of every dollar away from teachers' salaries and towards incidentals, including six-figure salaries for school administrators. The other faction are the supporters of charter schools, the private schools that can elude the influence of the public school system and would help inner-city kids if their taxpayer money could be more advisably used. Bowdon makes much of the fact that it's well-nigh impossible for a teacher to be fired, a safety net that does little to incite hard work in those teachers who discern they have a career regardless of how many of the three Rs they teach -- if any.
"'The Cartel' examines lots of various aspects of public education, tenure, backing, patronage drops, subversion --meaning thievery -- vouchers and charter schools," says Bowdon. "The label education documentary can sound to some like dull squared, but in fact the movie itself betrays an fervent passion for the predicament of particularly inner-city children."
Bowdon's docudrama started touring the festival circuit in summer of 2009 and made its theatrical debut in April 2010. It consequently proceeds the more-recently released, though higher profile, education documentary "Waiting for Superman," directed by Davis Guggenheim ("An Inconvenient Truth"). Bowdon sees the two documentaries as taking dissimilar approaches to the equal problem, "The Cartel" by examining public policy and "Superman" focusing on the human-interest aspects. "My film is the left-brained version, more analytical," Bowdon says, "'Waiting for Superman' is more the right-brained treatment."
The left-brained tactic means arguments that follow the economics -- money misspent, opportunities wasted. He follows the money to make conclusions about how shameless the Jersey school system is, but his picture features moments of elevated emotion and grief. One girl, crying after discovering she wasn't selected in a lottery for a charter school, tells the story of What Went Wrong as well as Bowdon's arguments.
And whilst there's a satire in this kind of public corruption happening in a state renowned for its organized crime, it's clear that this is not an isolated collapse. Bowdon's film illustrates a local dilemma, but any watcher will spot the systems of system failure in their own state's schools. Bowdon puts his faith in the charter schools, where the taxpayer has influence over the kind and quality of instruction. But he also makes it undeniable that those in power are going to be unwilling to give it up without a fight. - 40729
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