Jaén & Basanta’s (2009) Model of Conversational Components€¦ · Your group is expected to work together, and group members are expected to share equally the work. You will receive

Stacey Weber-Fève ([email protected]), Iowa State University AATK Annual Conference 2014 – Thursday, June 19th, 2014 “Connection-Making: Using Film for Language Development and Language Awareness”

Page 1 of 19

Jaén & Basanta’s (2009) Model of Conversational Components1

§ A useful model or framework for thinking through how to engage students with Language Awareness and Foreign Language Literacy through film and/or video.

§ An important guide for helping instructors structure film/video projects aiming to get students to reflect about language as well as for assessing students’ language awareness.

1 Jaén, M., & Basanta, P. (2009). Developing Conversational Competence through Language Awareness and Multimodality: The Use of DVDs. ReCALL, 21, 291.


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French 103.01 Final Oral Exam Guidelines2

In small groups, you will remake a 2-3 minute scene from the film Liaisons. You will select your own group for this project. The number of group members depends on the scene – and the number of actors in the scene – that you select. You may also add additional characters such as extras. Your group is expected to work together, and group members are expected to share the work equally. You will receive an individual and a group grade for this project. You will have the opportunity to win les César du meilleur acteur, de la meilleure actrice, du meilleur second rôle masculine/ féminin, des meilleurs costumes, du meilleur maquillage, du meilleur scénarior, de la meilleure réalisation, and du meilleur remake. All work is to be completed in FRENCH unless otherwise specified. General Structure & Specific Requirements:

§ Select a scene to remake. You may also create a completely new scene but the scene must be inspired by the film Liaisons and/or have characters from Liaisons. You may add additional characters not in the original film such as extras. The finished scene should be 2-3 minutes long.

§ Form your group (or “société de production cinématographique”). By the end of WEEK 7,

each group must notify your instructor with: (1) the name of your group (“société”), (2) the names of the members of the group (“les acteurs”), and (3) a brief description of the scene.

§ Obtain audiovisual equipment. If you do not have your own video camera, you may

borrow audiovisual equipment from Room 25 Central Classrooms through the office of OIT, Office of Information and Technology. (http://ocio.osu.edu/) NOTE: Many film classes in different OSU departments also engage in these kinds of film remake projects. Make your equipment reservations early! If you do not want to film your scene, you may also act it out live in class as a scène de théâtre.

§ Elect a “réalisateur/ réalisatrice.” This person will be in charge of the filming and/or

directing of your group scene. The “réalisateur/ réalisatrice” will appear at the beginning of the film/live performance to introduce the scene (which scene, explain the preceding events, set-up the scene being remade, etc.) and introduce the actors involved and the parts they are playing.

o Should the “réalisateur/ réalisatrice” spend additional “technological” time individually editing, organizing, or technologically preparing the film in some way, s/he will receive extra credit with the number of points depending on the degree of additional time spent on the scene production. (See instructor if this applies when the time comes.)

§ Write a “scénario”. All group members are to be involved in the writing of le scénario (“the

script”). Students are to rewrite the dialogue from the original scene in their own French! Pay attention to cultural authenticity when composing language such as differences between France and Quebec (e.g., week-end vs fin de semaine, madame vs mademoiselle, C’est le fun vs C’est genial, etc.). You may want to review some of the Un

2 Wong, W. (2011). Handout for French 103 Elementary French III. (Available from the Department of French & Italian, The Ohio State University 200 Hagerty Hall, Columbus, OH 43210-1340)


Page 3 of 19

mot sur la langue boxes in the textbook. The language should also be appropriate for each character (e.g., tu vs vous, use a polite register [i.e., condition] or not?, etc.). Make sure each group member has relatively the same amount of speaking lines. Production notes (i.e., stage directions) and the distribution of roles must also be included in le scénario. The production notes may be in English and should be enclosed in brackets.

§ Engage in and make note of the preliminary stages. All group members are to be equally

involved in the preliminary planning stages of the scene, i.e. discussing: distribution of roles, costuming, make-up (if desired), dialogue, filming location, sound, special effects, etc.

§ Memorize on-screen dialogue. No scripts (or actors who appear to be extensively reading

off of hidden or off-screen cue cards) are to appear in your final project! (Failure to comply will result in lost points.)

§ Use your imagination and creativity. You may make a faithful adaptation (with rewritten,

level-appropriate dialogue) of your scene, or you may reinvent it by changing its genre, tone, cinematic styling, etc. Remember you may also create a new scene and/or add characters who are not in the original film if you wish.

§ Do your part in the project. Remember that this is both an individual and a group-graded

project. Don’t let your team down!

§ Distribution-of-Work Sheet: On this sheet, you will describe the work each member of your group did on this project. You may do this part in English. Make sure each student signs it showing that you are all in agreement about each person’s contribution. Remember the work should be shared equally. If not, explain how the work was not shared equally and points may be deducted from some members’ individual contribution grade if they did not do their fair share of the work.

§ Make a DVD (or make a file that can be played on a computer using VLC media player) to

be shown in class or be ready to perform your scene live.

Grading rubric on next page


Page 4 of 19

French 103.01 Final Oral Exam

Nom: __________________________________________ Société de production: _____________________________ CONCOURS LIAISONS GRADING CRITERIA

Group Grade

Individual Grade

Scénario (38 pts total) • Distribution of roles listed (Who is playing what role?)

(1pt) • Name of société de production cinématographique

(production company) is present (1 pt) • Technical notes [included in brackets in English] (3 pts) • Ideas/content/creativity (15 pts) • Language:

o original, level appropriate, and accurate (12 pts) o evidence of language awareness (e.g., cultural

authenticity [e.g., France vs Quebec], language is appropriate for each character [e.g., tu vs vous, madame vs mademoiselle] culturally appropriate expressions [e.g., week-end in France but fin de semaine in Quebec, etc.) (6 pts)

/1

/1

/3 /15

/12 /6

X X X X X X

Individual contribution to preparation/script (10 pts)

X

/10

Interprétation (Performance) (50 pts total) • Costumes/props/sound (10 pts) • Acting (10 pts) • Language

o Pronunciation/comprehensibility (10 pts) o Fluency (10 pts) o Accuracy (10 pts)

/10 X X X X

X

/10

/10 /10 /10

Time limit respected (2-3 minutes) (1 pt) Distribution-of-Work Sheet included (1 pt)

/1 /1

X X

TOTAL GRADE

/100

COMMENTS:


Page 5 of 19

French 201.01 Final Group Movie Project Guidelines3

You will write the script and produce a short segment to a movie that is currently in production, Liaisons, by Professor Wong and her co-authors. You are expected to apply the techniques of cinema/ textual analysis covered in this course in the production of your movie segment. The segment should be about 2-5 minutes long. While you have a rough script to work from, remember that each producer will realize the movie in his/her own unique way. No two people will read a script and interpret it the same way. (Think about different remakes of films you have seen). In this project, you need to remain faithful to the overall plot and spirit of the movie but you may also alter dialogue, settings, and even some events (or endings) to suit the kind of movie you wish to make. You can also change the genre of the film if you wish. There should be four people in each group. Your group is expected to work together, and group members are expected to share equally the work. You will receive 2 grades for this project: one grade for your individual contribution (15 pts) (the work each student did on the project) and one group grade for the quality of the final product (85 pts). These are the 4 required components of your project to be turned in: All work is in French unless otherwise specified. (1) The complete scénario/script (30 points) to the segment you have chosen to produce. Follow the model given to you from Les invasions barbares and Les Diaboliques. Make sure you include dialog and didascalies. Include production notes in brackets (Les Diaboliques has examples of camera techniques in production notes).

Make sure your scenario includes the distribution of roles (Personnages et interprètes par ordre d’apparition à l’écran, see p. 9 of Invasions barbares). Make sure you include a Fiche artistique (see p. 13 of Invasions, but not all categories may apply). This will show who contributed to what in your film. All students are to contribute to writing the scenario.

(2) Explication de techniques cinématographiques (12 pts): On this page, you need to identify at least 5 film techniques studied in class (e.g., les plans, les angles de prises de vue, le cadrage, le mouvement de la caméra, l’éclairage, le son, etc.) and explain why you purposely chose these techniques. What effect does the choice of these techniques have on your film? (3) Le film (40 pts): This is the finished product of your film. (4) Distribution of Work (3 pts): On this sheet, you will describe the work each member of your group did on this project. You may do this part in English. Make sure each student signs it showing that you are all in agreement about each person’s contribution.

3 Wong, W. (2011). Handout for French 201 Intermediate French. (Available from the Department of French & Italian, The Ohio State University 200 Hagerty Hall, Columbus, OH 43210-1340)


Page 6 of 19

General Steps/ Procedures to project: (1) Form your group: 4 students in each group. (2) Select a scene (or part of a scene). Your finished film product should be at least 2 minutes and no more than 5 minutes. (3) Obtain audiovisual equipment. If you do not have your own video camera, you may borrow audiovisual equipment from the University at Lord Hall through the office of OIT, Office of Information and Technology. ([email protected]) NOTE: Many film classes in different OSU departments also engage in these kinds of film remake projects. Make your equipment reservations early! (4) Elect a “réalisateur/ réalisatrice.” This person will be in charge of (or lead the group in) the filming of your scene.

Should the “réalisateur/ réalisatrice” spend additional “technological” time individually editing, organizing, or technologically preparing the film in some way, s/he will receive extra credit with the number of points depending on the degree of additional time spent on the scene production. (See instructor if this applies when the time comes.)

(5) Casting: Decide if the members of your group will be actors in the film or if you want to cast other people outside your group (or outside the class) as actors. You may also cast extras as needed. (6) Engage in and make note of the preliminary stages. All group members are to be equally involved in the preliminary planning stages of the scene, i.e. discussing: distribution of roles, costuming, make-up (if desired), dialogue, filming location, camera movement, angles, shots, etc. (7) Memorize on-screen dialogue. No scripts (or actors who appear to be extensively reading off of hidden or off-screen cue cards) are to appear in your final project! (8) Use your imagination and creativity. What has been provided for you to read in class is a rough script with didascalies in English to help our production company map out a budget (your script will be entirely in French). It is up to you to make your segment come to life! Remember you may alter dialog and genre as you see fit as long as the general premise of the movie is kept intact. (9) Do your part in the project. Remember that this is for the most part a group-graded project and your final exam. Don’t let your team down! (10) Include a variety of technical components: appropriate location/setting, costuming, editing, and a variety of shots and angles.

§ Include some of the following angles: le champ-contrechamp, l’angle de prise de vue plongée, l’angle de prise de vue contreplongée, & le panoramique.

§ Include some of the following shots as appropriate: le plan general, le plan d’ensemble, le plan de demi-ensemble, le play moyen, le plan américain, le plan rapproché, le gros plan, le très gros plan.

§ These techniques should be indicated in brackets in your scénario. § Remember that you need to explicitly explain the effects of at least 5 techniques in your

Explication de techniques cinématographiques.


Page 7 of 19

(11) Edit your film and make a VHS or DVD. (12) Type up your Distribution of Work sheet and have each person in your group sign it. GRADING CRITERIA

Group Grade Individual Grade Scénario (30 pts)

• Evidence of dialog and didascalies • Technical notes included in brackets • Distribution of roles present • Fiche artistique present • Content • Language

/2 /3 /2 /2 /11 /10

X

Explication de techniques cinématographiques (12 pts)

/12

X

Le Film (40 pts) • Ideas/creativity • Evidence of different

shots/angles/camera movements/lighting

• Use of sound/music • Acting • Costumes/accessories • Editing • Established tone/film style/coherence • Overall quality of film

/5 /5

/5 /5 /5 /5 /5 /5

X

Distribution of Work Sheet (3 pts):

/3

X

Individual Effort/Contribution (15 pts)

X

/15

TOTAL GRADE

/100


Page 8 of 19

French 326 Final Exam Video Project4

In pairs or a small group, students will complete a two-part group creative writing/ oral final exam that will take the shape of a food video project. You may select your own partners or small group of three. In the spirit of a “YouTube fan video,” an “extended commercial,” or other genre, you will make a (approximately) 3-minute video on a topic of your choosing related to course content. Primarily a video-editing project, you will be expected to use clips from one or more films from the course (as well as other videos of your choosing) and mix-in language and audio in an effort to communicate your intended message about your topic. You and your partner(s) are expected to work together, and you are expected to share the work equally. You will have the opportunity to win les Lions Grand Prix (meilleure video publicitaire: montage), Lions Or (meilleure communication: message), Lions Argent (meilleurs médias: mélange), Lions Bronze (meilleure créativité: originalité) and Lions Mention spéciale (meilleurs effets spéciaux). All work is to be completed in FRENCH unless otherwise specified. Getting started…

§ Select a video genre. What kind of video do you want to create? You are not limited to a specific type of video, but you must work within an established genre of video-making. Some possibilities include: extended commercials, YouTube fan videos, music (film soundtrack) videos, public service announcements, educational videos, mini-documentaries, and so on.

§ Compose a message. Regardless of the video genre you selected, every video project

must have an explicit or implicit message it is communicating to its audience. What is your message? Do you want it to appear explicitly in your video or implicitly?

§ Form your group (or “société de production cinématographique”). By the end of WEEK 13,

each group or pair must notify your instructor with: (1) the name of your “production company” (“société”), (2) the names of the members of the group, and (3) a brief description of your 3-minute video project. Make sure to mention which course film(s) and any other “texts” you anticipate using.

General Structure & Specific Requirements:

§ Write a ‘traitement.’ Every student is to be involved in the writing of le traitement (a formal summary of the video, “blow-by-blow”-like account with production notes such as the different techniques to be employed in the creation of this video project. Provide a short explanation behind each creative, narrative, and technical decision you’ve made. In other words, explain why you are doing what you are doing, in a sentence or two, for each significant component of your video.

§ Keep a video production log. All students are to be equally involved in the various stages

of this project: preliminary planning, film-clip making, production design, traitement writing, and editing. Keep minutes of every meeting or work session and complete the “Distribution-of-Work Sheet.” You may do this part in English. Make sure each student signs it showing that you are all in agreement about each person’s contribution. If not,

4 Weber-Fève, S. (2011). Handout for French 326 Studies in French and Francophone Film. (Available from the Department of World Languages & Cultures, Iowa State University 302 Pearson Hall, Ames, IA 50011)


Page 9 of 19

explain how the work was not shared equally and points may be deducted from some members’ individual grade if they did not do their fair share of the work.

§ Include the following required components: Video projects must include video clips, audio

(music, dialogue, or voiceover), editing techniques (transitions or special effects), and printed text.

o Include at least three (3) film clips (can be from same course film or different course/other films or video).

o Include at least three (3) different transitions (le fondu au noir, le fondu enchaîné, le volet, l’iris, etc.).

o Include at least two (2) different inserts extra-diégétiques. o Include at least one (1) video image effect treatment (brightness, grain, color, age, etc.). o Include at least three (3) different uses of titles and/or captions in correct (!) FRENCH. o Include at least one (1) French-language song. o Include at least one (1) special effect (voiceover narration, photos, audio effects, speed

alteration, advanced editing transitions, etc.)

§ Make a QuickTime video. There are different ways and several media that you will be able to use to edit your video. At the end, make sure to convert your final video project into a QuickTime video for in-class showing at the final exam session.

§ Description. You are also required to compose a (125-150) formal summary description/

brief explanation to accompany your video project. This description should explain any background information relevant to your film project, your rationale, your goals or purpose(s), overall statement(s), and so on. Imagine that you were entering your video project in a competition. How would you describe your entry in the program?

Grading Criteria on next page


Page 10 of 19

Grade La vidéo (60 pts)

§ Ideas/creativity § Evidence of different editing techniques § Audio track § Visual track § Printed text § Conventional genre respected § Established tone/style/coherence/continuity § Overall quality of video

/10 /10 /10 /10 /5 /5 /5 /5

Le traitement (25 pts)

/25

La description (10 pts)

/10

Gestion du projet (5 pts)

§ Preliminary brief/ report § Distribution-of-Work Sheet

/2 /3

Adjustment to individual student’s score? Name (+/- pts):

TOTAL GRADE

/100


Page 11 of 19

French 101 Oral Demonstration Guidelines “Video Dubbing Project”

As was indicated in the course syllabus, all French 101 students are asked to demonstrate formally their oral performance abilities in French through an oral presentation, oral project, or oral exam of some sort this semester. In this section of French 101, you will engage in a 1-2 minute oral video project. The project will take the form of a VIDEO FRENCH LANGUAGE DUBBING task. You may work individually, in pairs, or in a small group. You will select your own groups or pairs (depending on the number of characters in your scene) or you may choose a monologue, narrated, or voice-over scene (i.e., only one “voice”) if you choose to work alone. You will receive an individual and a group grade (as needed) for this project. You will have the opportunity to win the following awards: le Prix Louis Delluc (meilleur dialogue – best writing), le Prix Jean Vigo (meilleure créativité – best creativity/originality), le Prix Suzanne Bianchetti (meilleure interprétation vocale – best vocal performance), le Prix René Clair (meilleur montage – best editing/technology use), et la Palme d’or (meilleure vidéo – best video). All work is to be completed in FRENCH unless otherwise specified. Goals: You will dub into French 101-level-appropriate French the dialogue of your selected 1-2 minute video scene. You are NOT to translate the original text into French*, but you may use the original text as inspiration if you so desire. Essentially, you want to adapt the context and visual content of your selected scene to your own French language level and abilities as well as imagination and personalities. You will also digitally record your voice performances and learn how to edit (together) audio and visual tracks into a single video project. General Structure & Specific Requirements: § Select a scene to dub. You may choose any kind of video (film, commercial, TV, YouTube

video, etc.) that features extensive language use. For example, a conversation scene, news broadcast, or voice-over narration would work well. Videos can be of any nationality or original language.

§ Form your group (or “société de doublage” – dubbing agency). By the end of WEEK 13, each

pair, small group, or individual must notify the instructor via a “Preliminary Report” with: (1) the name of your group (“société de doublage”), (2) the names of the members of the group (“les comédiens” – voice talents), and (3) a brief description (in English) of the original video scene and each character or participant appearing in the scene (i.e., personality, behavior, motivation, etc.).

§ Familiarize yourselves with the LSRC. The Language Studies Resource Center (3142 Pearson)

will provide all needed audio-visual equipment and editing software programs. However, students are not required to complete their project in the LSRC if they have the necessary equipment and software at their disposal elsewhere. o See accompanying technology handouts (forthcoming) for complete instructions on how

to use the LSRC audio-visual equipment and software programs intended for this project.

* You want to avoid translating the original dialogue because it will inevitably lead you into French language that you have not learned and that your classmates will not understand. Prepare your dubbed dialogue text for this project with French that you know and that your classmates have learned this semester and will understand!


Page 12 of 19

§ Write a “dialogue.” All group members are to be involved in the writing of le dialogue. Students are to write the dialogue in their own French! Make sure each group member has relatively the same amount of speaking lines. Pay attention to the “Context of Situation” (tenor, field, mode) and “Context of Culture” (background information, socio-cultural features) when writing your dialogue. Also consider the following features of language in your dialogue: o Tenor & Field: Relationship between participants (status, role, mood), subject matter, and

purpose. o Mode – Linguistic Modality: Prosodic features (stress, intonation, pitch, pausing, speed,

loudness, tone, volume, clarity, emphasis), conversation rules and structures, conversational strategies, functions and speech acts.

o Mode – Visual Modality: Non-verbal information (color, background/foreground, images, layout, spacing) present in the original visual track of selected scene.

o Mode – Audio Modality: Background noise, music. o Background Information: Content, place, time. o Socio-Cultural Features: Cultural references, implicit and explicit norms. o Register: Language register (formal, neutral, informal, etc.) should be appropriate for each

character as well as for the context or situation presented in the scene. § Engage in and make note of the preliminary stages. All group members are to be equally

involved in the preliminary planning stages of the video dubbing project, i.e. discussing: scene selection, distribution of roles, voice recording equipment reservations (if necessary), etc. Make sure to identify who is dubbing which participants or roles from the original scene in your video dubbing project.

§ Rehearse your dialogue. You will have your script at your disposal from which you may read

when recording your dialogue. However, your voice performance should sound “logical,” “natural,” and “authentic” as according to the context and visual content of the original scene. (Remember those prosodic features!) Practicing your lines beforehand according to the situational and cultural contexts of your scene will help you. o One of the biggest challenges of this project is getting the audio timing (i.e., the delivery or

performance of your lines) to match the visual track. You should practice your timing (rhythm, tempo, speed, etc.) in relation to the visual narrative of your original scene.

o Also note that we should not be able to hear rustling papers in the background of your audio recording! So, be careful if you are working with the script right in front of you!

§ Use your imagination and creativity & Do your part in the project. You may make a faithful

adaptation (with rewritten, level-appropriate dialogue) of your scene, or you may reinvent it by changing its genre, tone, intent, message, etc. Remember that this is both an individual and a group-graded project (when students are not working alone). Don’t let your team down!

§ Create a Distribution-of-Work Sheet. On this sheet (of your design), you will describe (in

English) the work each member of your group did on this project. Make sure each student signs it, showing that you are all in agreement about each person’s contribution. Remember the work should be shared equally. If not, explain how the work was not shared equally and points may be deducted from some members’ individual contribution grade if they did not do their fair share of the work.


Page 13 of 19

French 101 (Section: Weber-Fève) Oral Demonstration Pairs/ Small Group Format

Nom: _____________________________________________________ Société de doublage: _________________________________________ Video Dubbing Project Grading Criteria

Group Grade

Individual Grade

Dialogue (27 pts total) § Name of société de doublage (dubbing company) is present (1pt) § Distribution of roles listed (Who is performing what role?) (1pt) § Character descriptions included (1 pt) § Equal quantity of speaking lines (2 pts) § Ideas/content/creativity (4 pts) § Language:

-‐ original, level-appropriate, accurate (10 pts) -‐ evidence of contextual awareness (situational, cultural) (4 pts) -‐ evidence of language awareness (register, mode) (4 pts)

/1 /1 /1 /2 /4

/10 /4 /4

X X X X X X X X

Individual contribution to preparation/script (10 pts)

X

/10

Interprétation (Performance) (50 pts total) § Voice Talent Performance (inflection, tone, emotion, etc.) (10 pts) § Language

-‐ Pronunciation/comprehensibility (10 pts) -‐ Intonation (10 pts) -‐ Fluency (10 pts) -‐ Accuracy (10 pts)

X X X X X

/10

/10 /10 /10 /10

Project Management (3 pts total) § Time limit respected (1-2 minutes) (1 pt) § Preliminary Report submitted (1 pt) § Distribution-of-Work Sheet included (1 pt)

/1 /1 /1

X X X

Overall/final impression (10 pts)

/10

X

TOTAL GRADE

/100

COMMENTS:


Page 14 of 19

French 101 (Section: Weber-Fève) Oral Demonstration Individual Format*

Nom: _____________________________________________________ Société de doublage: _________________________________________ Video Dubbing Project Grading Criteria Grade Dialogue (27 pts total)

§ Name of société de doublage (dubbing company) is present (1pt) § Role listed and described briefly (1pt) § Character description included (1 pt) § Appropriate length (2 pts) § Ideas/content/creativity (4 pts) § Language:

-‐ original, level-appropriate, accurate (10 pts) -‐ evidence of contextual awareness (situational, cultural) (4 pts) -‐ evidence of language awareness (register, mode) (4 pts)

/1 /1 /1 /2 /4

/10 /4 /4

Interprétation (Performance) (50 pts total) § Voice Talent Performance (inflection, tone, emotion, etc.) (10 pts) § Language

-‐ Pronunciation/comprehensibility (10 pts) -‐ Intonation (10 pts) -‐ Fluency (10 pts) -‐ Accuracy (10 pts)

/10

/10 /10 /10 /10

Project Management (3 pts total) § Time limit respected (1-2 minutes) (1 pt) § Preliminary Report submitted (2 pts)

/1 /2

Effort (10 pts)

/10

Overall/final impression (10 pts)

/10

TOTAL GRADE

/100

COMMENTS:

* N.B. Students choosing to work individually will be videotaped (for assessment/instructor review purposes only) during the live performance in class.


Page 15 of 19

Using filmmaking for assessment in the second-language classroom

Film- or video-making projects are extremely rich multimodal student products. Because of their collaborative nature and organizational necessities, they are also rich opportunities for assessment of various skills and abilities. Scoring rubrics for such products should take into account the following general areas and discrete tasks: � Organization. Assess students on their micro-managing and multi-tasking abilities. Assign points

for meeting deadlines; have groups hold required meetings and take minutes of their meetings that they turn in to the instructor; ask students to create and sign an “Assignment Responsibility Statement” or “Project Contract” in which they put into writing who is responsible for each task and when tasks are to be completed, and so forth; have groups keep a log of their progress on the project; at the end, have students compose a “Working History Narrative” in which each group member explains in a paragraph how s/he contributed to the project, all members must read and sign the composite narrative.

� Script. Assess students on their language use and content. Require that students write out a

script; evaluate the quality of the script; ask students to recreate dialogue (grammar and vocabulary) at an appropriate language level; encourage and reward creativity and ability to reference (satirize or parody) their personal lives or popular culture if appropriate to video project.

� Acting. Assess students on their performance in video project. Require students to memorize

their lines; have the “group director” make an introduction at the beginning of the video introducing the actors and providing any background information as needed for comprehension; assess student pronunciation in the video; encourage students to costume role-play and take on the personalities of the characters they are playing.

� Literary Elements. Assess students on the readerly-writerly or media-literate connections in

their projects. Make students responsible for choosing locations, costumes, props and accessories, make-up, and other “mise-en-scène” elements that function within the logic and “world” of their video project and its narrative.

� Technical Elements. Assess students on their use of technology and filmmaking abilities

(camerawork, editing, visual design, music integration, special effects and sound effects, etc.). Suggestions for other kinds of target-language film- or video-making projects:

� Commercial for a language club � Public Service Announcement (i.e., the importance of studying a foreign language) � Music video � Short documentary on an important school or community topic � “Talking Heads” Interview on topic of interest with other students and individuals who speak

the target language


Page 16 of 19

Guidelines for Designing Use of Film/Video in Lesson Activities

The possibilities for using media in the language lesson and in vocabulary, grammar, or culture lesson activities are virtually endless. While the sections above in this packet treated larger, project-based uses of film or video generally occurring outside the typical language lesson, this “checklist” is intended to guide instructors in the integration of film or video within the typical language lesson. 1. Type of activity: * Vocabulary * Grammar * Culture * Reading/Writing/

Discussion 2. Purpose of activity:

* Presentation (Input)

* Establish context * Prompt * Practice (Output)

3. Focus: * Reading Comprehension

* Listening Comprehension

* Oral Proficiency

* Writing Proficiency

4. If for input, what is the communicative intent? _____________________________________ 5. If using video, what about subtitles? * Reading Comprehension, L2 subtitles * Listening Comprehension, no subtitles * Culture/Context/Prompt, instructor discretion 6. If for meta-linguistic knowledge, what relation(s) between the foreign language and other cultural

systems to which it refers are demonstrated in film/video? ________________________________ 7. If for output, what is the communicative purpose? _____________________________________ 8. Language Production Task? * Interpretative * Analytical * Creative * Collaborative * Other: ________________________ 9. If as a prompt, what is the intended reaction? * Discussion of topic * Written response to topic * Cross-Cultural Comparisons * Establish a context * Springboard to creative writing * Other: ___________________ 10. Learning outcomes? * Readerly-writerly connections established (audience, voice, purpose, register, etc.) * Development of 21st-Century skills (multimodal messages & intertextuality) * Interpretative skills or ability to negotiate language strengthened * Acquisition of new vocabulary or grammatical structures * Language (oral, reading, writing, listening) proficiency improved * Enhancement of cultural/ world knowledge * Other: _________________________________________________________________________ *No matter the choice of media text, instructors should consider the following: - Preparatory Activities: Prepare students by introducing synopsis, key words and phrases to aid their comprehension of the text. “What do students need to know before we begin this activity?” - Guided Interaction Activities: Elicit student involvement; avoid passive viewing, listening, or reading (give them things to look for, to check off, etc.) “What do I want them to pay attention to?” - Assimilation Activities: Go beyond general comprehension of text. Have students do something with what they viewed, watched, or heard. “Why did we just watch this film?...So that we can…”


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Language Lesson Activity Ideas Using Film/Video5

1. Discourse Scrambling: Instructor prepares individual sentences from the media text script or dialogue and scrambles the order. Have students first re-order the sentences on their own. Then reveal the original text and have students correct their work.

2. Cloze Listening: Instructors prepare an excerpt from the script or dialogue of a media text,

replacing a few key words with a blank (____). Let students hear the script the first time. As it’s replayed, have students fill in the blanks with the language they hear.

3. Modified Dictation: Tell students that in a moment they will watch a scene but that part of that

scene is missing. Instructors select an excerpt from the script or dialogue and prepare the first few lines for students. Instructor reads aloud the script, while students take it down in dictation. Play the scene and ask students to check their work. Show students the original written script (for spelling practice) and ask students to check their work.

4. Dictogloss/Passage Reconstruction: Tell students to watch the scene carefully. Play the scene

twice. After the second time, in pairs or small groups, ask students to reconstruct the scene by writing out what they remember hearing in the dialogue or script. (Prepare the beginning portion of the scene to start students off correctly.) Play the scene a third time and have students check their work against the original text.

5. Impressions: Encourage subjective and spontaneous reactions to media texts by having students

focus on what strikes them most as first sight. To elicit first reactions and impressions, ask students (in pairs or small teams) to note the first words that come to their minds as they watch the video (commercial, scene, segment, etc.) or first read the text (advertisement) without sound or without written text. Using the words the class generated, have students compose a script or printed text that could accompany the images they have seen. Then reveal the original film or print text or either elicit students’ reaction to the sound or original text or guide them through a listening comprehension exercise.

6. Complete-A-Thought: Show students a media text of instructor selection. Focusing on

vocabulary or grammatical structure under study, begin a sentence that students must complete with a target vocabulary or grammatical structure that expresses their impression of what they just encountered in the media text. Follow up by asking the class to share their comments. Discuss who commented on what and what this shows about the student or the class.

7. Rewrite-A-Scene: Have students respond to a text by rewriting it with different characteristics

(e.g., change the gender, age, or the nationality of the characters; change the setting or location; change the historical time frame, etc.) Examine their rewrites and talk about what changed in their rewrites and why they made these changes.

8. Predicting: Working from a closing/opening sequence, news broadcast, or media image, have

students predict they think might happen and their reasons why. The reasons should be grounded specifically in what they said or heard. The point is not that students need to be right about their predictions, but that they make logical predictions grounded in the text.

5 See Using Authentic Video in the Language Classroom by Jane Sherman (Cambridge Univ. Press, 2003) for some of these as well as additional suggestions.


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9. Responding-To-The-Text: Have students keep a log as they read texts or watch film clips in an effort to help them make connections with other texts (i.e., intertextuality) from previous lessons. Keep questions simple: What did you like or not like about the text? What does this text remind you of? When did you feel confused or uninterested? Focus on the skills that it takes to be an involved viewer/reader. Encourage personal response.

10. Question-The-Text: Have students achieve a real connection with or gain ownership of a text by

having them write questions about the text. Frame students’ questions within the “Three Levels of Questions” models: (1) Recall – the answer is in the text, explicit, fact (e.g., How did Cinderella get to the ball?); (2) Analysis/Inference – the answer is derived from logical conclusions based on premises known or assumed to be true, implicit, implied, how-why, reading between the lines, hidden meaning (e.g., Why don’t the step sisters like Cinderella?); (3) Synthesis – the answer goes beyond the text and inquires into the value, importance and application of the information presentation (e.g., What does it mean to live happily ever after?)

11. Answers: Select a media text in which a series of questions is asked where the answer is not simple

or explicit. For example, if using a talk show segment, have students transcribe the questions posed in the segment. Ask students what kind of short answer each question elicits. Review answers given in the text and decide which short answer comes closest to text answer.

12. Soundtrack: Have students imagine that they are the producer or director of a film, play, or other

performance based on a text you are working on in the course. One of the tasks is to find songs and musical accompaniments that will go along with the text. (Instructor may prepare songs ahead of time or assign students to do so.) As each song is played, ask students: Where would this song fit best in the story? What action would be happening? What would the setting be? If you could select only one of these songs, which one would you choose? Why? Conduct a class debate (which songs were the most effective) as a follow-up.

13. Giving Advice: Select a media text in which someone is clearly in need of advice. If using a soap

opera excerpt, for example, stop viewing at some strategic point and ask students to imagine how they would advise the individual. Discuss the best way to do this and what the reactions of the individual might be. Then, role-play the scene and/or have students prepare a script.

14. Chases: Select a media text featuring a chase in which a pursuer and pursued are easily identified.

Instructor prepares ahead of time lists of the main people in the chase, their actions, the objects involved, and the settings. Distribute or project the lists. Ask students to speculate on possible connections between actions and things. Explain the situation and ask students to guess who does what to whom. Reveal the media text and have students correct their work.

15. Intercultural: Play a passage about a special cultural event. Have students answer a few general

comprehension questions and then a few “inference questions” (in which students are prompted to infer cultural information about the society or people related to the content). Discuss any cross-cultural comparisons or connections between target culture and US culture as well as between target culture and classroom culture or target culture and students’ (individual) personal culture as appropriate.

16. Think-Like-An-Anthropologist: Tell students that they need to think like anthropologists and are

going to look for connections or relationships established in a media text between values, expectations, and behaviors within cultural contexts. When working on the media texts, students are look for “supporting evidence.” For example, students analyzing “American Values,” watch for signs of individualism, independence, hard work, future-orientation, faith in science and progress, initiative and action, heroes to follow, and informality among people (all so-called characteristics of American culture.) Have students compare their observations and then ask follow-up questions like: What do you think the author/director is trying to show the audience? How would someone in your culture handle the situation this person is in? How does this text help you understand American way of life? Now that we’ve worked on this text, how has your impression of American life changed?


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the meeting of La Fédération Internationale des Professeurs de Langues Vivantes, Paris, France.

Charlebois, J. (2008). Developing Critical Consciousness through Film. TESL Canada Journal, 25, 124-32.

Donmall, G.B. (1985). Some implications of language awareness work for teacher training (pre-service and in-service). In G.B. Donmall (Ed.), Language Awareness, National Congress on Language in Education, Papers and Reports 6. London: Center for Information on Language Teaching.

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Gombert, J.E. (1996). Activités métalinguistiques et acquisition d’une langue. AILE, 8, 41-55. Hawkins, E. (1999). Foreign language study and language awareness. Language Awareness, 8, 124-

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Awareness and Multimodality: The Use of DVDs. ReCALL, 21, 283-301. Kern, R. (2000). Literacy and Language Teaching. Oxford: Oxford UP. Lee, J.F., & VanPatten, B. (2003) Making Communicative Language Teaching Happen (2nd ed.). New

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Film [www.cengage.com/community/liaisons] Pegrum, M. (2008). Film, Culture, and Identity: Critical Intercultural Literacies for the Language

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en Suisse romande. Paper presented at the meeting of La Fédération Internationale des Professeurs de Langues Vivantes, Paris, France.

Richelle, M. (1971). L’acquisition du langage (3rd ed.). Bruxelles: Charles Dessart, Éditeur. Sherman, Jane. (2003). Using Authentic Video in the Language Classroom. Cambridge: Cambridge

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Focus on form in classroom second language acquisition (pp. 64-81). Cambridge: Cambridge UP.

Weber-Fève, S. “Introduction to ‘Reading’ Film.” Iowa State University, Web Lectures. Ames, IA. Fall 2010.

Weber-Fève, S., & Wong, W. “Media Literacy: A Platform for 21st-Century Skills.” American Council for the Teaching of Foreign Languages (Conference). Boston. 20 Nov. 2010.

Wong, W., Weber-Fève, S., Ousselin, E., & VanPatten, B. (2013). Liaisons: An Introduction to French. Boston: Heinle-Cengage.

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