Foreign Films: A Cultural Experience in the Classroom

Transcription

1 Foreign Films: A Cultural Experience in the Classroom Julia Daine, B.A,, University of Oklahoma, Liberal Studies Graduate Program, Museum Studies Introduction We are not nor have we ever been isolated from the influences of the outside world. However, with the advent of the internet, mass media, and nonstop flights abroad we must recognize that we belong to a global community. Exposure to other cultures occurs daily by simply turning on the television or talking to a neighbor. It is one thing to watch a Hollywood blockbuster and quite another to immerse ourselves in the world of a foreign film. Therefore, we have to ask ourselves why we neglect this rich and diverse avenue, which can lead to understanding other cultures. Foreign films have long been overlooked as an educational tool. We teach our students literature that originated from all around the world, but we tend to forget that what often spurs the imagination is both visual and auditory. Foreign films are a facet rarely used outside the foreign language classroom. Despite this, we, as educators, must acknowledge that we live in a global community and begin to look toward the tools that can assist the leaders of tomorrow in understanding the different cultures they will encounter. Therefore, it is our responsibility to expose students to other cultures so that they may successfully traverse the world both professionally and personally. The purpose of this paper is to provide an autobiographical account of how foreign films can give students a glimpse into a plethora of societies granting cultural understanding and acceptance and why it is imperative that we do so. Specifically, through an interpretive lens to personal narrative I explore the benefits of cultural enrichment, academic advantage and global awareness that can occur through the use of foreign films. My Background I was raised and educated in a Midwestern community in the United States. As a child I did not have the opportunity to travel abroad or have any formal exposure to other cultures. Of course, the school system ensured that all students were taught among other things world history, literature, and a foreign language. These sound like the perfect opportunities to expose students to other cultures, but unfortunately facts and standardized tests were paramount over cultural exploration and understanding. As a teenager I came across an international film channel. Through these films I was able to get a glimpse or snapshot of other cultures. I distinguished both differences and, surprisingly, many similarities between these cultures and my own. I came to comprehend the enormity of this discovery and would later realize the impact it would have on my life. I began to understand that I live in a global community filled with other rich and beautiful cultures. Understanding Foreign Films Overtime, I came to realize that watching a film that represents the nation in which it was made spurs the imagination and tells of the perspective, the subtle yet lasting influences of history as well as the depth of a culture. Furthermore, foreign films allow the viewer to notice similarities and differences between cultures and facilitate

2 critical thinking through questions and dialogue (Roden, 2005). Through my own experiences I realized that when students view a foreign film they can see through the eyes of that culture. It is important to be aware that watching foreign films is completely different than watching films from our own culture or country of origin, even if the film is about another culture. When we watch a movie based in another culture but filmed by those from our own cultural background we see the story through a tented lens; a lens tented by the cultural influences, which guide the views of the filmmaker. Braveheart is an example of a movie based in Scotland and about Scots, but directed by Mel Gibson from the United States. Though popular and highly regarded by the motion picture industry, this film is American and does not convey the cultural subtleties of a Scottish made film about Scottish history. Some believe that watching an adaptation of a foreign film will have the same effect and will convey the same cultural subtleties; this is a mistaken assumption. In addition, the adaptation of a foreign film is simply a remake through tented lens of the filmmaker. To illustrate, examine the differences between the Japanese film Ringu (1998) and the American remake entitled The Ring (2002). The suspense, characterization, and obvious cultural references differ greatly. The story originally took place in Japan and the subsequent remake in the United States. So, students cannot say that by seeing the The Ring that they saw a Japanese film. Foreign films convey the uniqueness of a culture s customs, values, humor and much more through imagery and sound, this cannot be accurately replicated. Experiences with Students Only Exposed to Popular TV and Stereotypes Egypt: As an undergraduate at Pepperdine University in California I had the opportunity to pursue my dreams of traveling through numerous international programs. I enthusiastically embarked on these international programs, which took me across Australia, Europe, Asia, and into Africa. My first adventure took me through Egypt, Turkey, Italy, and Greece. I had seen films from each of these countries, which gave me insight or a glimpse of the cultures that permeate and shape the arts, attitudes, and lives of these remarkable people. I was in awe when I stepped off the plane in Cairo, but not in shock. I entered this international program with no expectations only a little snapshot from the foreign films I had seen of what lay ahead. To my surprise, other students in my program were confused to see this sprawling city by the Nile River. History teaches of the Ancient Egyptians, but in school little talk is devoted to Egypt s modern culture. Popular films about Egypt originating from other countries are typically focused on the pyramids, mummies, and ancient mythology. Most do not realize that Egypt has a thriving film industry producing many moving and enlightening movies each year. These films provide outsiders with the opportunity to better understand modern Egypt and replace old ideas of this ancient society with a modern view of the existing cultural and political atmosphere. Australia: My next journey began in Australia my second year at Pepperdine University. I had seen popular films such as Crocodile Dundee (1986) and a program by the Discovery Channel about life in Australia that focused primarily on rodeos and

3 barn dancing. I understood that though an immensely popular Australian film Crocodile Dundee was not representative of the entire Australian culture just as I would not show Lethal Weapon to a group of students wanting to understand the culture in the United States. I did take from Crocodile Dundee a better understanding of Australian humor like Waking Ned Devine (1998) gave me a snapshot of Irish humor. I had also seen popular American movies, which conveyed that Australia s Gold Coast was famous for surfing and other recreational water activities. Having been exposed to other foreign films I knew that Hollywood s interpretation of this culture was not entirely accurate. Consequently, when I moved to Canberra, Australia to attend the University of Canberra, I elected to go without any expectations. This proved to be one of the most valuable decisions of my educational career. Because I expected nothing and ignored all stereotypes I was able to immerse myself in Australian culture. I appreciated every lesson including the differences and similarities between my heritage and the heritage of my new friends. However, several other students who traveled with me had different expectations and as a result different experiences. They came to Australia believing all the popular hype about Australian culture and expected a society where all men dressed like Crocodile Dundee and surfing was the primary cultural activity. They had obviously been exposed to the same popular media as I had yet elected to believe all that they had seen. From this experience I learned that when viewing popular foreign films discussion is imperative to understanding what glimpses students should take to heart. Upon arriving in Canberra, the other students were sorely disappointed. This capital city had a plethora of cultural activities, the students at the university were welcoming, and the landscape was beautiful. However, Canberra was landlocked which meant no surfing. Australia proved to be a modern country with booming industry, massive commercial activity, and its own scene of popular culture. My peers from Pepperdine left after only one semester and chose not to embrace or participate in the Australian culture. Instead they remained in a state of culture shock. They focused only on their disappointment that Australia was not what they believed. These college students felt betrayed by the filmmakers. What they failed to realize is that the filmmakers from the United States focused their lens on what they saw, not on what the Australians view. In fact, they were not betrayed but rather misled by watching this society through a tented lens. Exposure to Foreign Films Student s exposure or lack of exposure to foreign films influences their beliefs about other cultures. Those who are not exposed and confronted with a culture foreign to their own often have feelings of shock, betrayal, confusion, and even prejudice. This prejudice stems from their lack of understanding. This could have been prevented. Instead of isolating students by only exposing them to films from their own society, we must broaden their horizons by exposing them to films from other cultures. We live in a global society, one where isolation is no longer an option. Everyday, students are asked to be tolerant of others and sensitive to different cultural and religious beliefs. We do not just ask; we expect it of them. These things are not innate they must be learned, and we as educators have an opportunity to teach through the medium of film. Granted, one film

4 cannot convey the sum of a culture or society, but it can communicate an accurate glimpse. Monaco (2000) maintains that films operate as a language and when viewed with others can create understanding and shared experiences to explore. As these glimpses accumulate in the mind and are encouraged to flourish through inquiry and discussion the students become aware. This awareness grows to understanding and helps to prepare the students for life in a world connected everyday by modern technology. I believe the classroom is the ideal place to expose students to foreign films. Exposure should not be limited to foreign language classrooms. Literature, history, humanities, art, and the social and political sciences are perfect forums for these films. In literature class, instead of showing a film based on a book read in class, show a film from the culture being represented in the text. History classes offer a plethora of opportunities. In the United States students are taught about the Trail of Tears and the treatment of American Indians. This is a perfect situation to explain that other countries have similar chapters in their history. The Aborigines in Australia suffered similar injustices. The film Rabbit Proof Fence (2002) conveys the similarities and differences between histories. The best way to explore concepts through the use of film in the classroom is through critical thinking followed by inquiry and extensive discussion (Roden, 2005). It is ultimately through inquiry and dialogue that students reflect on their perceptions bringing them more into their conscious awareness allowing their understanding to change (Doll, 1993). For example, after viewing Rabbit Proof Fence the class could discuss the similarities and differences between the treatment of American Indians and the Australian Aborigines. The use of foreign films can spark the imagination that can have far reaching effects. Educators concur that imagination carries powerful implications for learning, critical thinking and growth of consciousness (Bohm & Peat, 1987; Greene, 1995; Damasio, 1999). Consequently, providing opportunity for creative reflection after viewing a foreign film may provide an outlet for the imaginative process. Because of this it is a good idea to have students keeps a journal devoted to questions and thoughts they have about the foreign films shown in class. This is an effective outlet for students to permanently express their thoughts and return to them at a later date. Furthermore, always afford time for discussion after a film (Roden, 2006). Dialogue allows students to communicate their thoughts and learn from the observations of others. In fact, Brookfield (1992) maintains that critical thinking that occurs through discourse is a foremost facet of learning and can be engaged in through inquiry with students in the classroom. By exploring these films with students we can hope to enlighten their minds and expand their hearts towards the vast number of cultures that wait to be discovered and understood. Conclusion Many educators maintain that their students are not capable of appreciating the richness of a foreign film or that they may simply not understand its content. It is my experience that this underestimates students ability to use their imagination and to become involved in the film itself. In fact, I have seen that learning is often facilitated by expanding students perspectives and teaching through their exposure to foreign films. In addition, students opportunity to view foreign films and dialogue about the films allow them the opportunity to notice similarities and differences between cultures. It also

5 prompts students to ask questions about the culture they see depicted within the film. Therefore, when foreign films are used to develop the understanding of other cultures, the educational benefits are numerous. Likewise, the benefits to society are vast because when the understanding of other cultures is fostered, differences are understood, tolerance is encouraged and acceptance is nurtured.

6 References Brookfield, S. D. (1992). The Skillful Teacher: San Francisco, CA: Jossey Bass. Damasio, Antonio (1999). The feeling of what happens: body and emotions in the making of consciousness. NewNY: Harcourt Brace& Company. Elfick, D. (Executive Producer), Thomas, J. (Executive Producer), McLaughlin, K. (Executive Producer), & Noyce, P. (Director) Rabbit-Proof Fence (Motion Picture). Australia: Miramax. Doll, W. E.(1993). A post-modern perspective on curriculum. New York: Teachers College Press. Fairman, P. (Director) Crocodile Dundee (Motion Picture). Australia: Paramount. Greene, Maxine (1995). Releasing the imagination: Essays on education, arts and social change. San Francisco, CA, Jossey-Bass. Hara, M. (Executive Producer), & Nakata, H. (Director) Ringu (Motion Picture). Japan: DreamWorks/Omega Project. Heylen, A. (Executive Producer), Margolis, S. (Executive Producer), & Jones, K. (Director) Waking Ned devine (Motion Picture). UK: 2Oth Century Fox. Lee, R. (Executive Producer), Macari, M. (Executive Producer), Weisler, M. (Executive Producer), & Verbinski, G. (Director) The Ring (Motion Picture). United States: DreamWorks. McEveety, S. (Executive Producer), & Gibson, M. (Director) Braveheart (Motion Picture). United States: Paramount. Monaco, James (2000). How to Read a Film: The World of Movies, Media, and Multimedia: Language, History, Theory. London, England: Oxford Press. Roden, Kathryne (2005). At the movies: Creating an experience for transformational learning. Proceedings for the Sixth International Transformative Learning Conference, Michigan State University, Oct. 6-9, Roden, Kathryne (2006). At the movies: Creating an imaginative atmosphere conducive to meaningful teaching and learning. Proceedings of the International Conference

7 on the Imagination and Education, Simon Fraser University, Vancouver, British Columbia, July 16-17, Silver, J. (Executive Producer), & Donner, R. (Director) Lethal Weapon (Motion Picture). United States: Warner Home Entertainment.