Film-based language teaching

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Under film-based Language Teaching refers to the teaching and learning of English (or another foreign language) with the help of audiovisual media. Engelbert Thaler , Carola Surkamp and Christiane Lütge are the representatives of film-based language teaching in German-speaking countries .

justification

An audiovisual text addresses cognitive , communicative , personal, affective and attitudinal dimensions . It can function both as an informational text (speaking and writing about the film) and as an instrumental text (learning languages ​​with the film). It is particularly suitable for understanding (and practicing) spoken language - with the aid of paralinguistic interpretation aids ( listening with one's eyes ). The interactive colloquial use of language in particular is still neglected in the foreign-language classroom. Since logistical barriers are also becoming easier to overcome (English-language TV channels, the Internet, rental outlets, a wide range, falling DVD prices), the value of films as a learning resource seems undisputed. The following arguments for the use of audiovisual formats in foreign language teaching are given in detail (e.g. Thaler 2007):

  • Popularity and motivation
  • Audiovisual attractiveness
  • authenticity
  • Personal importance
  • Training of receptive skills (hearing-sight-understanding)
  • Promotion of productive skills (speaking, writing)
  • Intertextual literary skills
  • Intercultural learning
  • media / film literacy (formal-aesthetic and content-critical film skills)

Formats

Film-based language teaching does not have to be limited to the undoubtedly attractive feature films, but can also fall back on a variety of film formats that are shown in toto or excerpts and can be divided into three groups according to the duration of the film:

  • Short formats (1–5 minutes): music video clips, skits, TV news, speeches, weather reports, commercials, interviews
  • Medium formats (20–45 minutes): sitcoms , soaps , talk shows , game shows, documentaries
  • Long formats (90+ minutes): feature films, live reports from national events, sports broadcasts

Forms of presentation

There are basically four options available, especially for the medium and longer variants (Thaler 2007). Since each of these four options has specific advantages, but also shortcomings, the choice should be based on the respective film, the desired learning goals , the time available, the level of learning of the students and the need for variety.

mode description Benefits disadvantage
Block presentation Screening of the entire film, viewing in one piece without interruption
  • natural visual behavior
  • Tension, identification
  • lower expense
  • passive consumption
  • poor learning efficiency
  • Candy didactics
Interval presentation Subdivision of the film into individual sequences (approx. 15 '), successive viewing over several hours
  • Possibilities for didactic preparation
  • pre-, while-, post-viewing tasks per hour
  • See the entire movie
  • Fragmentation of the film
  • Loss of tension
  • Expenditure of time
  • unnatural visual pattern
Sandwich presentation Demonstration of selected sequences, skipping other scenes
  • didactic preparation ( pre / while / post stages )
  • less time required than with interval P.
  • Skipping unimportant passages
  • Dismemberment of the film
  • Understanding problems due to incompleteness
Segment presentation Presentation and editing of just one scene or sequence (e.g. opening scene)
  • Focus on an essential sequence
  • minimum time required
  • didactic and methodical flexibility
  • repeated performance
  • Isolation of a scene
  • Neglect of important film aspects
  • Reduction in entertainment value

activities

There are now a large number of (more closed) exercises and (more open) tasks for the specific design of film-based lessons (e.g. Lütge 2012, Sherman 2003, Stempleski / Tomalin 2001, Thaler 2013). The former are strongly teacher-controlled with largely predictable responses, the latter give learners more room for maneuver and more individual results.

Problems and possible solutions

The multitude of activities and arguments for the use of films should not hide the fact that several problems can arise in the foreign language classroom. The following table lists the four main areas of conflict - and gives possible solutions:

Problems Possible solutions
Time conflict :

long film vs. short lesson

  • time-saving presentation types
  • independent film study
Communication conflict :

Language level film vs. Learners

  • Farewell to wanting to understand everything
  • Film selection tailored to the level of learning
  • simple plots
  • many word-picture congruences
  • slow, clear standard pronunciation
  • Segment method
  • Repetitions
  • Pointing
  • pre-relieving activities
Reception conflict :

visual vs. auditory channel

  • Targeted use of the three combination modes of sound and subtitles
  • Dosing of the subtitles (successive withdrawal after initial tuning in )
Target conflict :

Learning value vs. Entertainment value

  • Balance between learning and pleasure
  • Balance language work - tension
  • Restrict the use of the pause button
  • Avoid repeating a scene too often
  • dosed use of grammar / vocabulary exercises

See also

Literature (selection)

  • Jane Sherman: Using Authentic Video in the Language Classroom . Cambridge University Press, Cambridge 2003.
  • Susan Stempleski / Barry Tomalin: Film. Oxford University Press, Oxford 2001.
  • Roswitha Henseler / Stefan Möller / Carola Surkamp: Films in English Lessons - Basics, Methods, Genre . Kallmeyer, Seelze 2011.
  • Christiane Lütge: Teaching English with films . Cornelsen, Berlin 2012.
  • Engelbert Thaler : Teaching English with Films . UTB, Paderborn 2013.
  • Engelbert Thaler: Film-based Language Learning. In: Praxis Fremdsprachunterricht 1, 9–14, 2007.
  • Engelbert Thaler: Hear-See-Understanding. In: Praxis Fremdsprachunterricht 4, 14–19, 2007.