Presentation by Andreas Schleicher Tackling the School Absenteeism Crisis 30 ...
Ogres Are Like Onions: Peeling Back the Layers of Film as Text
1. “’It‟s Movie Day!‟
Lights go off, heads go down, and teachers
finally get some grading done.
Using film in the classroom is better than this, of
course, but every time I wheel that VCR down
the hallway, I know what the other teachers– and
my principal– are thinking: „Is Golden showing
another movie? Doesn‟t he teach at all?‟ All
right, maybe they don‟t think that; maybe I only
think they think that, which is just as bad. Why
do we still feel somewhat guilty about showing a
film in school? Maybe because everyone in the
school knows about that one teacher who shows
all the Star Trek films to his classes three times
a year” (Golden)
2. • Why does it have to be like that?
• We, like Golden, are proposing that
it DOESN’T.
3. • “Great films are the modern vernacular
equivalent of ancient classics, embodiments
of the human capacity to imagine and create
in a commonly understood language. Great
art represents the highest use of the
creative spirit and provides a uniquely
aesthetic experience. What others have
attained in poetry, prose fiction, music,
theater, ballet, and opera, filmmakers now
attain with the tools and techniques of
cinema” (Nichols)
4. “OGRES ARE LIKE ONIONS!”
PEELING BACK THE LAYERS OF FILM AS TEXT
• Studying film as text embraces almost all areas of
English instruction, including media literacy, student
engagement, reading and writing informational text
(through film criticism), differentiating instruction to
accommodate varied learning styles, and developing
a way of teaching students to analyze literature in a
medium that not only piques and keeps their
interest, but also prepares them for high stakes tests
such as the EOC or HSAP.
5. • We’d like to get started with some film clips you might recognize…..
• During this video, we invite you to do the following things:
• 1. Record your initial response a few titles that resonate with you.
• 2. Record any personal connections you make with those.
• We’d like you to try to record at least three responses as or after you
watch. Try to record a combination of both initial response and
personal connections.
6. IF YOU DON‟T MIND….
• We now invite you to share one or two (or all!) of your
responses with someone near you.
• What were your reactions? What feelings were elicited?
What memories were stirred?
• Take a minute to share with a neighbor.
7. • “Movies deliver a powerful emotional
impact distinct from the impact of
other media. This, too, relates to the
ability of moving images to bring
situations and events back to life on a
screen as well as to aesthetics ” (Nichols).
• In short, films are powerful. Why on earth wouldn’t we
tap into and embrace that power?
9. EXPANDING OUR DEFINITION OF “TEXT”
Consider these…
1. Text: A coherent stretch of language that may be regarded as an object of critical
analysis
2. Text: A stretch of language, either in speech or in writing, that is semantically and
pragmatically coherent in its real-world context. A text can range from a single word
to a sequence of utterances and sentences in a speech, a letter, a novel, etc.
(Carter and McCarthy)
So, why not films?
3. “a text may be defined as a relatively independent and hierarchically structured
linguistic unit which reflects a complex state of affairs and has a specific communicative
intention” (Glaser)
Again, why not films?
10. WHY USE FILMS IN THE ELA CLASSROOM?
1. For Engagement and Interest
a. Piquing interest in a topic/skill, maintaining interest in a topic/skill through a medium
in which they are likely already inherently interested
b. “Even contemporary classics…often prove challenging, particularly for reluctant or unenthusiastic
readers. And yet, we want them to understand these works because they have something
important and enduring to say. Using film is a way to help them do this, whether with the filmed
version of the same story, in whole or in part, or a companion text that complements the themes,
characters, setting, or conflicts of that story” (pbs.org).
2. As Valuable supplemental and complementary texts to core
novels/units
a. To EXPAND a unit, rather than make it redundant
3. To both teach and reteach core English skills as defined by the
Common Core Standard initiative
a. Skills and concepts necessary to implement Common Core teaching in your classroom
are easily accessed and honed through film study
11. WHY USE FILM IN THE ELA CLASSROOM?
• ON a basic level, standards aside, we use film in the English Language Arts classroom for
the same reason we teach beloved novels:
• “I think in art, but especially in film, people are trying to confirm their own
existences.” –Jim Morrison
• They transport, inspire, educate, sadden, empower, cheer up, etc. They allow and
encourage escapism.
• Because “every encounter with a cinematic world is more like a guided tour, and
every tour guide, or filmmaker, has her own perspective on the film world she displays
for us. Viewers need not accept the filmmaker‟s perspective, but they cannot escape
it either” (Nichols).
• In short, films accomplish the same things emotionally that any treasured novel
would. They simply must go about it a different way.
12. HOW NOT TO USE FILM (WHAT WE’D LIKE TO MOVE AWAY FROM)
• The tendency to make a film‟s function in the classroom become “reward”
• for “getting through” a unit or “getting through” a novel; for good behavior; in
exchange for completion of other tasks, etc.
• The tendency to use film time as a break from actually teaching
• Lessons and activities using film should be just as rigorous for both student and
teacher
• They should require as much planning and effort in execution as any other stimulating
lesson
• The tendency of English teachers to default to the film-version of a novel
• Supplement and/or complement the core novel/unit as well!
13. AN EXAMPLE OF FILM INTEGRATION IN THE ENGLISH I CLASSROOM
• “It…works well as an introduction to film and
literary analysis, since the characters,
conflicts, and themes are obvious, but also
meaty enough to support extended writings
and discussions” (Golden 98).
• As you watch the following film clip, we
invite you to do the following: Record any
and all examples of literary elements or
figurative language used.
14. AN EXAMPLE OF FILM INTEGRATION IN AN ENGLISH I CLASSROOM
• Data Sheets:
• Simple, yet comprehensive snapshot of basic, standards-based, literary analysis skills
• Given as a pre-assessment the first week of school (met with MUCH ADO from my students) on short
story “Shame” by Richard Gregory, with pretty horrendous results
• Enter: Literary Elements Review Unit (in preparation for study of Bronx Masquerade thematic unit)
• Basic lessons on literary elements leading up to scaffolded, 3-day close study of the film “Shrek”
• Students must view film ACTIVELY (stress this!)
• Data Sheet broken up into four independent sections (handouts)
• Students divided into small groups, each group assigned a section of which to take full ownership and
responsibility, although students analyzed film for evidence/examples for ALL sections
• “Jigsawed” all groups’ contributions and conclusions into a collaborative Data Sheet that students
received copies of, referred back to throughout subsequent units
19. COMMON CORE STANDARD CORRELATION
• CCSS.ELA-Literacy.L.9-10.5 (Language) Demonstrate
understanding of figurative language, word relationships,
and nuances in word meanings.
• CCSS.ELA-Literacy.L.9-10.5a (Language) Interpret
figures of speech (e.g., euphemism, oxymoron) in
context and analyze their role in the text.
• Depending on the task you have students engaging in during a film and the
film you are using, this can be easily applied.
20. COMMON CORE STANDARD CORRELATION
• CCSS.ELA-Literacy.RL.9-10.3 (Reading) Analyze how complex characters
(e.g., those with multiple or conflicting motivations) develop over the
course of a text, interact with other characters, and advance the plot or
develop the theme.
• CCSS.ELA-Literacy.RL.9-10.2 (Reading) Determine a theme or central
idea of a text and analyze in detail its development over the course of the
text, including how it emerges and is shaped and refined by specific
details; provide an objective summary of the text.
• “Contemporary thinkers on media literacy have argued that the same habits that a good
reader brings to a written text are those that a critical viewer brings to a visual text;
enhancing one effortlessly enhances the other. In both, a critical thinker predicts, makes
connections, infers, asks questions, and interprets. In both, meaning is made through the
details of character, theme, plot, mood, conflict, and symbolism. For both, we must guide
students to be active interpreters” (pbs.org).
21. COMMON CORE STANDARD CORRELATION
• CCSS.ELA-Literacy.RL.9-10.5 (Reading) Analyze how an author‟s choices
concerning how to structure a text, order events within it (e.g., parallel plots), and
manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension,
or surprise.
• “Film worlds seem autonomous and complete…It is important to remember, though,
that these worlds are the product of a creative process and that they are seen and
represented from the distinct point of view of their creator” (Nichols).
• CCSS.ELA-Literacy.RL.9-10.7 (Reading) Analyze the representation of a subject or a
key scene in two different artistic mediums, including what is emphasized or absent
in each treatment
• In other words, the skill of cross-medium analysis and criticism of the same
text/scene is not completely abandoned by Common Core
22. A LAST THOUGHT…
• “Irony in film is all about „puncturing the expectations of the
viewer‟…we‟re not talking about surprise or twist endings in
film…nor are we talking about satire. The best examples of irony
in film are the ones hinting that the meaning intended by the
director (or writer) is the exact opposite of what he or she
appears to be presenting” (Golden 88-89).
• Critical film analysis can be a rich, multidimensional, meaningful
process for students.
23. What forms of text do you use
in your English Classroom?
FORMS IN ENGLISH CURRICULUM
24. PONDERING FORM
“The look of a painting, the flow of a novel,
and the shape of a film all accomplish the
same thing: they produce the viewer’s
immediate experience of a distinct world.
Pondering its significance follows from active
engagement with form.”
(Nichols, 2010, p.13)
25. FORMS OF TEXT IN THE ENGLISH CLASSROOM
• Fiction • Non-Fiction
• Poetry • Articles
• Essays
• Epic
• Memoirs
• Ballad
• Academic Texts
• Haiku
• Sonnet ALL OF THESE HAVE SPECIFIC
CONVENTIONS THAT WE STUDY
• Novel ACCORDING TO THE SPECIFIC FORM!
• Short Stories
26. OUR COMFORT ZONE
“As English teachers we feel comfortable discussing the important
elements of a poem, short story, or novel because we have had
practice and background in discussing the effect that, say, word
choice, meter imagery, or point of view is supposed to have on the
reader. We know that a poet, using a particular rhyme scheme or
metaphor is no doubt doing it on purpose, and we are able to guide
our students to recognize the craft of the writer in doing so. Like a
poet, a filmmaker uses various devices and techniques for a
desired effect.” (Golden, p.1)
27. FILM STUDY W/ NORTH BY NORTHWEST
• Look at the terms on your list.
• View North by Northwest. cropduster
scene.
• Watch for increase in cuts, length of shot.
Nondiagetic sound.
28. QUESTIONS TO CONSIDER
• What does Hitchcock do to make the
scene suspenseful?
• How does he show Thrornhill’s
vulnerability?
• Why does he wait to use nondiagetic
sound until the very end?
30. WRITING IN FILM STUDIES
Writing About Film Imitating Film Writing
• Film Review • Script Writing
• Film Critique • Settings
• Viewing Journals • Descriptions
• Literary Analysis Paper • Shot Movement
• Comparison Papers • Dialogue
• Storyboard Activities
32. REVIEW VS. CRITIQUE
Film Review Film Critique
• Very Familiar Form • Critical Form
• Public / Consumer • Critics/Film Fan Audience
Audience • Goal is to analyze the film for
conventions, form, quality,
• Goal is to convince viewers writing, cinematography and
whether or not to see a film. acting.
• Created for viewers who • Created to further discussion and
understanding of a film or the
have not yet seen the film.
discipline of film study.
33. From Review to Critique
Film Reviews are more familiar to students and therefore a great opportunity for scaffolding.
More accessible/familiar
Both Require: Higher-Level Analysis
form for students.
Close-viewing/ note- (higher-level thinking and
taking. depth of knowledge)
Familiar Audience
Knowledge of Plot Less focus on synopsis,
More focus on plot
synopsis. more focus on analysis.
Understanding of
Theme More extensive writing.
More brief.
36. Reading in the Dark
John Golden (2001)
• Great book for either
English or Film Studies
classrooms
• Practical lessons and
suggestions for using
specific films.
39. Films List for My
Classroom
• Films, Genres, Ratings,
and Objectives
• Keep in mind the culture
of your school.
• Keep parents informed.
40. BENEFITS OF FILM STUDIES ELECTIVE
• Opportunity to reinforce
English Curriculum. A Film Studies elective is
• Improve Critical Thinking a unique way to raise
and Media Literacy. expectations and increase
• Promotes Arts and Culture. academic rigor in a
• Provides Opportunities for subject that students will
Cross-Curricular enjoy.
Collaboration.
41. IDEAS TO CONSIDER IF WANTING TO CREATE A
NEW FILM STUDIES COURSE
• Get your Administration on board. • Get your Media Specialist on board
• Ask them to observe you teaching • Promote course as Media
a film lesson. Literacy
• Make your objectives clear. • Get support for use of video
according to copyright law.
• Bring in National Film Studies
Standards
• Tie in ANY applicable Common • Get Guidance on board.
Core State Standards.
• Promote this class as an option
• Conduct interest surveys with for those interested in the arts.
students to show potential
• Promote the course as an option
enrollment.
for visual learners.
42. KASTENMEIR GUIDELINES
The copyright law did not address the question of off-air recording by instructional
institutions, but a committee of producers and users came to an agreement on guidelines.
COPYRIGHT If the guidelines developed by Representative Kastenmeir’s Subcommittee were
followed, a user would have strong evidence of a good faith attempt to act within the
parameters of Fair Use. Off-air recording guidelines apply only to non-profit educational
institutions. A broadcast may be recorded simultaneously with the broadcast (NOT
• Fair Use CABLE) transmission and retained for a period of 45 calendar days after the date of
recording. Upon conclusion of the retention period, all off-air recordings must be erased
or destroyed.
• Kastenmeir Guidelines An off-air recording may be used once by an individual teacher (in each of his or
her classes) in the course of relevant teaching activities. It may be repeated once
and only once if instructional reinforcement is necessary in the classroom and
• Teachers are required
similar places devoted to instruction within a single building, cluster or campus as
well as in the homes of students with handicapping conditions that prevent them
access to regular classes during the first 10 days of the 45 day retention period.
to fill out a form Off-air recordings may be made only at the request of and used by individual
teachers and may not be regularly recorded in anticipation of requests. No
program may be recorded more than one time by the same teacher regardless of
the number of times it is broadcast.
• Check with your Media A limited number of copies may be reproduced from each recording to meet the
legitimate needs of teachers under these guidelines. Each such copy shall be
Specialist for the
subject to all provisions governing the original off-air recordings.
After the first ten consecutive school days, the only use that can be made of the
recording is teacher evaluation. This evaluation is to be used to determine the
policies in your district. likelihood of using programs in the series or in purchasing a copy of the program.
Off-air recordings need not be used in their entirety. The sequence of use must
follow the order of the program and the recording may not be altered and the
entire program must be taped.
All copies of off-air recordings must include the copyright notice on the broadcast
program as recorded.
Educational institutions are expected to establish procedure to maintain the
integrity of these guidelines. (NOTE: If a licensing arrangement is available you
MUST utilize it.)
