How to Choose the Correct Film

Selecting teaching materials is usually not the easiest job teachers encounter. The materials have to fit the lesson plan, the age of students, availability and appropriateness in general. The same goes for choosing the correct film to show in class. With the plethora of films dealing with racial issues, not all of them are appropriate to show in class when discussing racial injustice. Russel (2009) states:

When evaluating social issues films, teachers should view the film and determine its educational value. The educational value needs to fit the curriculum and the needs of the students. The more relevant the film and instruction, the more meaningful and powerful the lesson will be (ibid., p. 19).

The very first step teachers need to pay attention to, are film ratings and classifications.

British Board of Film Classification states that “Classification is the process of giving age ratings and content advice to films and other audio-visual content to help children and families choose what’s right for them and avoid what’s not” (BBFC, n.d.).

BBFC classifies films into 5 main categories, each one stating the age restriction and why such restrictions are implemented. Motion Picture Association film rating system is used in the United States, which has similar categories, only differing in slight age differences, but generally implements similar restrictions.

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1 A “Universal” rated film is suitable for all audiences, has a positive framework, and is unlikely to include any dangerous, explicit and threatening images (ibid.).

“Parental Guidance” films are suitable for ages eight and up, they may include scenes of discrimination, drugs or minor bad language, but in no way condone these behaviors (ibid.).

“12A and 12” films are not suitable for children under the age of 12. Such films cannot promote dangerous behavior, discrimination, drugs, nudity and sexual scenes, and bad language, but can be briefly and discreetly shown with contextual justification (ibid.).

“R15” films are meant for anyone older than 15 years old. Dangerous behaviors, discrimination and drugs can be portrayed but not endorsed and shown details that can be copied. Strong language is permitted, as well as nudity and sexual scenes in moderation without strong detail. Violence can be strongly referenced, but not dwelled upon in detail (ibid.).

Films rated 18 are only suitable for adults, due to explicit scenes of sexual, derogatory, violent and dangerous behaviors, with little to no limitation of the detailed portrayal of acts. This rating does not include R18 films, which are of a purely sexual nature and are legally only permitted for ages 18 and up (ibid.).

As it comes to using films in school, it is only appropriate to be aware of film ratings and consider the students’ age when selecting the film. Slovene students normally start their secondary school education when they are 14 or 15, very rarely lower than that.

With this in mind, rating 15 should be appropriate for most first years and up. Films may show nudity in moderation, but not explicit sexual scenes. The usage of drugs may be shown, but not in a way students can replicate and abuse the substance.

Violent scenes may be present, but explicit gory visuals should be avoided. When it

1 The provided images illustrating the classification ratings are sourced from the BBFC.

26 comes to discrimination and racism, they can be shown in a classroom, however, films should not encourage these beliefs and mentality, but may illustrate historic events, actions of individuals and institutions, the consequences, the fight for basic human rights in relation to discrimination, as well as the mentality of people who discriminate and people being discriminated against.

An important aspect of choosing a film is also the language. As the film would be viewed in the English class, spoken English should be understandable for students, even with the help of English subtitles. With the many varieties of accents in the English language, teachers need to be careful not to show a clip where students would struggle to understand the dialogue, both in difficulty and accent. Regional accents, however, can be both a negative and a positive aspect of showing a film. While it may sometimes be difficult to comprehend, it offers new insight into the culture and society, as well as the language, dialogue and vocabulary. Teaching culture is an important aspect of an EFL class, but we cannot forget about the learning of the language itself. Tognozzi (2010) states that:

In choosing a film clip to use for pedagogical purposes, the vocabulary, accent, and manner of discourse may vary according to genre or region, and students will therefore be introduced to many forms and aspects of language that they may not find in the classroom. This non-homogenous language helps further develop advanced listening comprehension, models conversational vocabulary, and allows students to look at language as cumulative as opposed to linear (ibid., p. 72).

Language spoken in films, despite it being scripted to fit the story-line, is still a better and a more realistic variety of spoken language than what students hear in their classes, which in turn aids them to develop their communicative and speaking abilities, but also comprehension and listening skills.

Film clips shown in class should also invoke a reaction from students. The purpose of viewing a film in an EFL class is not for the fun of watching films, but to support the learning material and the curriculum. Segments should be relevant to students’ lives and their education, in a way to develop and improve their behaviors, mentality and treatment of others (ibid., p. 73). Taking racial injustice education into account, there is virtually no doubt students will come into contact with other cultures and people of

27 color in their lives, especially with the international travels, social media, and work.

Evoking emotions while watching films is an important step to learning and accepting others through the medium of the film.

Evoking emotions is – like many things – a double-edged sword. While it is important that students are provoked and challenged during the viewing of the films, scenes that are too extreme and too emotionally packed can hinder the learning process (Kuzma and Haney, 2001, p. 37). Extreme emotional reactions can invoke and recall trauma in students, which then reduces their attention. Because teachers should always aim to keep the classroom a safe space (Harbin, 2019, p. 17), they should also be careful to not trigger negative emotions in students. Some students come from difficult backgrounds, however, “it is impossible for instructors to know what emotional histories students bring to class, and powerful themes in some movies can trigger intense emotional responses in a negative way” (Kuzma and Haney, 2001, p. 37). Keeping that in mind, teachers should offer an adequate warning before showing the film.

Providing brief descriptions and discussing difficult topics before watching the film, as well as warning students prior to any triggering scenes can help students to experience the film in a safe way (Brookfield, 2018, p. 245; Kuzma and Haney, 2001, p. 37). It is best to discuss difficult topics a few lessons before viewing the film, to help teachers be aware of any students who would be triggered by these topics. If any of the students exhibit signs of being overtly uncomfortable, it is perhaps best to avoid showing the film at all. If the teacher decides to show the film or a clip, they should warn their students about triggering scenes and reassure students that if they get uncomfortable, it is also okay to stop watching by distracting themselves, to leave the classroom, or potentially stop the film (ibid.).

Films should never interfere with the goal of making our classrooms vibrant, provocative, and safe places for learning to occur.

(Kuzma and Haney, 2001, p. 38) Some films – especially films relating to discrimination, racism and violence – can be emotionally draining to watch, so, if possible, students may be asked to watch the film at home. This, of course, depends on the availability of the film, as it should either be

28 shown on TV or available in local and school libraries. By watching at home, students may re-watch some scenes, pause when needed, and have time to digest the film at their own pace (Brookfield, 2018, p. 245).

Woelders (2007) suggests equipping students with additional information of the film, its characters, storyline, plot, setting, events and other details important to the story, to help to better understand the selected clip and avoid confusion (ibid., p. 148).

Questions to Ask When Choosing a Film

Before showing a film in an EFL class, teachers need to evaluate the appropriateness, potential, value, and relevance of the film (Russell, 2009, p. 19). There are many examples of what to look for in a film when deciding to view it in an EFL classroom.

The following questions are compiled from multiple sources; however, they largely agree on the same or very similar questions when it comes to evaluation and analysis of films. The questions are as follows:

1. Who made this film?

2. Who are the producers?

3. Who benefits from this text and who is it most harmful to?

4. What is the target audience of this film?

5. What cinematic techniques were used?

6. What is this film implying or saying about the issue, event, person, place, etc., that is being portrayed?

7. What visions of education and the world are presented through the text?

8. What specific dilemmas and contradictions are presented about race?

9. How might different viewers understand this message differently?

10. What is missing from this film?

11. What are the inaccuracies?

(Brookfield, 2018, p. 244; Center for Media Literacy, 2008 p. 47; Russell, 2009, p. 20)

29 By following these questions, teachers can determine whether the film is the right choice to use in the class.

By asking who created the film as well as who produced it, benefited from it and contributed it to, teachers make sure that the film is authentic. A film about Black culture should include contributors from said society – cultural experts and historical experts on the topics. As an example, Judas and The Black Messiah credits cultural experts Fred Hampton Jr. and Akua Njeri in the end credits (King, 2021, 2:01:28), - both closely related to the real-life events which the film portrays. This in turn provides teachers with confidence that the film is factual, both culturally, historically and in the portrayal of the characters (Brookfield, 2018, p. 244; Center for Media Literacy, 2008 p. 47;

Russell, 2009, p. 20).

By using these questions, teachers can also figure out how races are presented in the films. Races can be shown in a positive or a negative light, which may disestablish or reinforce stereotypes previously set to specific races and cultures. Films that promote negative stereotypes and encourage racist behaviors and beliefs should not be shown in class (ibid.).

The last two questions inquire about what is excluded from the film and what information is inaccurate. Biographical and historical films cannot feasibly include every single information of real events due to the medium of the film. Storylines cannot allow every minor detail of the story because this information is not vital to the overall plot, and creative liberty is important to filmmaking. Sometimes what’s missing is a literary device to alter the events in favor of the opposite sides, painting the protagonists in a negative light and teachers should be aware of inaccuracies included in the film (ibid.).

It is also important to note whether the film is a biographical film, based on true events, or inspired by true events. A film based on true events takes the story, characters and events and presents them in a similar and mostly factual way, with some artistic freedom. A film that is inspired by true events follows real events, but may have fictional characters and/or a fictional plot. The director was inspired by the real event, but then created their own interpretation and story. Warning students that the film is not purely

30 based on real events is imperative when teaching about real events and real people (Miyamoto, 2021).