Potential Issues and Disadvantages

1.2.1. Timing issues

With the many advantages films add to the learning process, this tool also comes with some disadvantages and potential problems. One of the major disadvantages of using a film instead of a novel is the time frame. Constanzo (1992) described the difference between the two media as:

One difference between film courses and other subjects is that the films are often screened in class, whereas novels, plays, and other texts are usually read outside of

7 class. Fitting a two-hour feature film into standard fifty-minute periods can be a challenge. Screening a film in two consecutive classes disrupts its continuity and takes away from valuable discussion time.

(Constanzo, 1992, p.77) Due to this reason, teachers often avoid screening films in class simply because of the length of films. With the vast majority of films being over one and a half hour long, a full-length film would take more than two 45-minute lessons to finish, which takes too long. Teachers could instead opt for singular episodes of TV shows which showcase the topics they are trying to teach, or they could only show an excerpt from the film that would be an appropriate example of the discussed issue. Russell (2009) adds that

“[s]howing the entire film is appropriate when necessary, as is showing small segments or clips. Research has been shown to support both types of film use” (ibid., p. 4).

Despite his claim, it is important for teachers to choose the correct clips and not waste precious time by watching excerpts that have nothing to do with the issue in question.

1.2.2. Obtaining issues

A potential issue is also the acquisition of the film. Fisher and Petro (2012) write that

“[a]lmost every other author speaks about the endless and frustrating difficulties of attaining adequate, viewable prints for classroom use of the films or television programs they wish to show, even with the proliferation of new technologies, Internet databases, and access to media online” (ibid., p. 14-15). In the European Union, the usage of films for education purposes falls under exception in copyright law, however, schools should obtain the rights for a film (European commission, 2015, p.59). The problem of physically obtaining the film still stands – the teachers wanting to screen a film during the lesson could buy the DVD or find it in the school or local library, alternatively if online streaming is available – which is again a problem in itself – teachers would either require a subscription to online streaming services or risk the possibility of the streaming site to be of illegal pirated origin.

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1.2.3. Content issues

Kuzma and Haney (2009) list some of the drawbacks related to the use of films. It is to be noted that the following disadvantages are not limited to films and can be applied to novels and other media as well. The first point Kuzma and Haney make is that film directors take a lot of artistic freedom when composing scenes. They often create

“fictional moves” to exaggerate the ideas behind the scenes, they can manipulate the viewers using dramatic effects and can create fictional historical scenes to fit the script.

“Films do not use history very well: they leave details and events out, make too much of other things, and often take license” (Gregg, 1998, as cited in Kuzma & Haney, 2009, p. 37). The same point is made by Boyer et al. (2002), stating that the instructions need to be extremely careful when choosing a film since scripts in historical films often deviate from actual historical records. Viewers, especially students learning about events or characters in history, need to be aware of whether the film is an accurate representation of the time, and how much artistic freedom the producers took while making the film (Boyer et al., 2002, p.93).

An issue also arises with the “Western-centric bias”. Hollywood films are primarily created for North American and European audiences, often relying on the similar mindset of these first-world countries. As an example, if Hollywood films portray a specific “non-Western” society without any input of people living in said culture, lacking the proper inside understanding of society, the film is relying on stereotypes – positive or negative – which then present the culture in an inaccurate light. “An instructor may use this tendency to his or her advantage […] by pointing out examples of stereotypes, enemy images, or other perceptual variables often inherent within American culture as depicted in the movies” (Kuzma and Haney, 2009, p. 37). Teachers must be aware of the possibility of inaccurate representation and inform their students to view the film with critical thinking and not only rely on information the film is presenting but research and contemplate whether the film is biased towards other cultures.

Engaging emotions is one of the advantages of using films, however, it can also hinder the learning experience. “[E]motional extremes reduce students' attention and inhibit the learning process” (Kuzma & Haney, 2009, p. 37). If the film triggers emotions that

9 are too extreme, the students stop paying attention and focus on their own feelings instead. This can, of course, help the learning process by signifying the importance of the scene, however, we have to be careful to not harm the students or trigger a negative emotional response from them. Students might come from negative backgrounds, so powerful and triggering movie scenes should be warned about. Since it is impossible to know the history of every student, teachers need to be aware of triggering topics and warn students of possible scenes that might cause discomfort (ibid., p. 37). Many students deal with family, social or personal issues, and being forced to watch a film where these issues are emphasized can negatively impact their mental health, as well as create a negative reference to the entire lesson. “So, instructors should always give a brief description of what the movie is about, warn students about tough scenes that might await them, and assure students that it is OK if they need to leave” (Allen, 1998, as referenced in Kuzma & Haney, 2009, p. 37-38).

More often than not, the topics that might be triggering are not problematic to students, but instead to their parents and school administration. “In most cases, the complaints came from parents, and to a lesser extent from school staff, who cited violence, sexual references, offensive language, and unacceptable ideas as their chief objections”

(Burress, 1979, as cited in Constanzo, 1992, p. 83-84). Many parents believe that their children should be protected from topics of violence, sexuality and profanity, and demand that some parts of the films and even novels should be censored (ibid., p.84).

This is extremely counterproductive because students need to be aware of the world outside of their parents’ protective bubble; overprotection and censorship develop into ignorance and unwillingness to further learn about social issues. Constanzo argues that teachers should always defend their film choices by “supporting your educational objectives with clear, convincing reasons, you strengthen your case for including any film that helps your students realize those objectives” (ibid., p. 85).

Censorship, triggering topics and lack of knowledge of how to confront controversial topics are the larger reasons teachers avoid discussions about social issues. Byford et al (as referenced in Russell, 2009) report that 75% of surveyed secondary school teachers agreed that controversial topics should be taught, however, 65% are uncomfortable teaching said topics. “This is because many teachers do not know how

10 to effectively teach controversial social issues and they do not have the appropriate resources available to effectively teach controversial material, such as social issues films” (ibid., p.12-13).

For teachers to be able to justify the usage of films in the classroom, especially films that deal with triggering and controversial topics, they need to have the appropriate background. Russell (2009) states that “[u]sing film as an instructional teaching method is a common practice. However, film education is not common. Teachers are not prepared to effectively use film as an instructional tool and students are not prepared to effectively view films and make informed decisions with regards to the content of the film” (ibid., p.17). Educating teachers and students on how to interpret the films and correctly assess the meanings, as well as defend their usage in school, requires film literacy. Education in film theory and literacy is equally important to understand film as literary theory is vital to properly understand written literature.