Leibniz Universität Hannover

Philosophische Fakultät

Englisches Seminar

Lehrgebiet Didaktik des Englischen

Seminar: HS Teaching Film

WS 2007 / 08

Blade Runner and Film Education:
Didactic Possibilities of Teaching Film Literacy in the TEFL Classroom

Marco Sievers

Table of Contents

1. INTRODUCTION 3
2. MAIN PART 4
2.1. Film Education in the TEFL Classroom 4
2.1.1. Didactic Value of Films as a TEFL Device 4
2.1.2. Film Education and Film Literacy as TEFL Learning Targets 5
2.1.3 Approaches of Film Education 6
2.1.3.1 The Cognitive or Analytic Approach 6
2.1.3.2 The Aesthetic Approach 7
2.1.3.3. The Process- and Product-Oriented Approach 8
2.1.3.4. Conclusion 8
2.1.4. Practical Aspects of Teaching Film ­ Film Selection, Screening Modes and Phases 8
2.1.5. Filmic Adaptations of Literary Texts 9
2.2 The Didactic Value of Ridley Scott′s Blade Runner for TEFL Film Education 10
2.3 Methodological Considerations 12
2.4 Ridley Scott′s Blade Runner 13
2.4.1 A Milestone in Cinematic Science Fiction 13
2.4.2 Summary of Plot (Original Theatrical Version 1982) 15
2.4.3. Topics and Interpretations 18
2.4.3.1. Artificial Life, Racism and Humanity 18
2.4.3.2. Memory, Reality and Identity - A Critique on Cartesian Philosophy 21
2.4.3.3 Los Angeles 2019 ­ Retrofitted Dystopian Megalopolis 22
2.4.3.4 Allusions to the Christian Bible 26
2.5. Philip K. Dick′s Do Androids Dream of Electric Sheep? 28
2.5.1. Summary of Plot 29
2.5.2. Topics and Interpretations 30
2.6. Sample Exercises for Blade Runner 32
2.6.1. Analysis of Film Language in Blade Runner 32
2.6.1.1. Film Poster Analysis 32
2.6.1.2. Macro Analysis ­ Hybrid Genre "Future Noir" 33
2.6.1.3. Macro Analysis ­ Examination of Narrative Elements 36
2.6.1.4 Micro Analysis of Scenes 37
2.6.2. Intertextual Approaches 37
2.6.2.1. Comparison of Different Cut Versions 37
2.6.2.2. Analysis of Motion Picture and Novel 39
2.6.2.3. Film Posters and Book Covers 40
2.6.2.4. Film Scripts and Audio Adaptations 40
2.6.2.5. Other Novels by Philip K. Dick and Their Filmic Adaptations 41
3. CONCLUSION 41
4. BIBLIOGRAPHY 43

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5. APPENDIX 49

5.1. Appendix 1: Film Noir Elements in Blade Runner 49

5.2. Appendix 2: Is Deckard a Replicant Himself? 50

5.3. Appendix 3: Similarities and Differences in Ridley Scott′s Blade Runner and Philip K. Dick′s Do Androids Dream of Electric Sheep? 51

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1. Introduction

Film is not only the central key medium of the 20th and 21st century, it is also a form of art which possesses its own aesthetics, iconography and language. (cf. Krüger 2005: 7; Willig, 2006: 134ff; Roller 2006: 74; Bergala 2006: 41) Furthermore, it is an important cultural and educational asset, and belongs to the first cultural experiences that children have in Western societies. Film also plays a prominent role in socialisation processes of children and juveniles, since popular movies provide orientation in questions of identity, offer role models and act as an initiation to the world of adults. Cult movies furthermore mirror the zeitgeist of a generation and shape its view of the world as well as its attitude towards life. (cf. Willig 2006: 131; Duve & Krüger 2006:8; Roller 2006: 49f, 77f)

Despite these facts film education is still partly neglected in schools or embedded in general educational concepts. Schools are still bastions of the written word and schooling remains primarily based on literary texts. Unfortunately, film is commonly regarded a medium of shallow entertainment and thus seldom dealt with in educational contexts. Exceptions are literary adaptations which complement or contrast written texts, and supplementary film footage. These cases rather focus on content and context without considering film language or the production process of films. Furthermore, movies are often shown as entertaining stopgaps in class, especially before holidays, which is detrimental to the reputation of didactic film use. (cf. Krüger 2005: 7; Willig 2006: 134; Blell & Lütge 2004: 405)

Film education is already practiced in some European countries, for instance in England, France and in Scandinavia. (cf. Wharton & Grant 2005: 7; Krüger 2005: 7; Willig 2006: 132ff) German curricula also allow for films, but mostly as part of media education, which is embedded in several subjects and aims at providing students with media competence. This competence should enable them to orient themselves in a world dominated by audio-visual media. It wants to support a conscious and critical handling of media, as well as a creative and self-determined one. By understanding and questioning media contents and aesthetics students should be protected from being controlled by the media. (cf. Surkamp 2004: 2; Willig 2006: 131f, 137; Roller 2006: 73; Holighaus 2005a: 9) Film education in a narrower sense, aiming at film competence or film literacy, still has to be promoted in schools, though. (cf. Krüger 2005: 7)

The intention of the paper at hand is to show possible applications of Ridley Scott′s science-fiction thriller Blade Runner, which foster film literacy within the context of teaching English as a foreign language (TEFL). First, it will explain the didactic value of films as TEFL devices, define film literacy as a learning target, and present an overview on approaches and methods of teaching film. In doing so, a special focus will be set on film adaptations

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 of literary texts. Then, the paper will turn to Scott′s science-fiction masterpiece and provide a summary of its plot as well as a survey on prominent topics and interpretations. Afterwards it will likewise deal with its literary basis, Philip K. Dick′s novel Do Androids Dream of Electric Sheep? As an example how to bridge the gap between theory and practice, the last section will finally present sample exercises for the use of the movie in the TEFL classroom. It will cover an analysis of film language as well as intertextual tasks.

2. Main Part

2.1. Film Education in the TEFL Classroom

2.1.1. Didactic Value of Films as a TEFL Device

The usage of film in the TEFL classroom has many advantages. First of all, films are highly motivating for children and juveniles. (Blell & Lütge 2004: 405; Willig 2006:134; Zerweck 2004: 40f, 44) In addition, watching movies is an integral part of learners′ leisure time activi-ties. This familiarity with the medium creates a supportive atmosphere for a contact with a foreign language and culture. This setting encourages students to participate, while movies provide ample occasions and incentives for oral communication and written tasks, for instance by eliciting emotional reactions and personal statements. Additionally, by virtue of their specific design elements, films afford the opportunity to combine cognitive and analytic approaches with creative, activity-oriented and process-oriented ones. (Surkamp 2004: 3)

The combination of images, speech and sounds furthermore appeals to many senses and involves several cognitive abilities, which makes movies more comprehensible than purely language-based texts. (Surkamp 2004: 3) Film dialogues contain important non-verbal and paralinguistic aspects of communication, e.g. facial expressions, gesture, body language, intonation, speech rate, pauses, etc., which are seldom allowed for in foreign language teaching. Moreover, these aspects help learners to understand dialogues by disburdening them of a sole dependence on verbal comprehension. (cf. Blell & Lütge 2004: 404f; Surkamp 2004: 3)

Aside from supporting the traditional four core competences of language teaching (listening comprehension, reading comprehension, speaking and writing) the use of movies also facilitates a fifth competence which Schwerdtfeger termed "visual comprehension" (Sehverstehen). This competence is not only important for the understanding of speech, but also of crucial relevance for learners′ ability and motivation to speak. (cf. Blell & Lütge 2004: 402; Surkamp 2004: 3)

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Furthermore, films are authentic cultural products, which contextualise the target language and make it more accessible for learners. As cultural products they provide insights into foreign ways of living, values and norms, and represent different views of the world. They express cultural self-concepts of other societies, illustrate their histories and mentalities, as well as mirror central conflicts and disputes which occur in foreign cultures. Due to this, movies can make an important contribution to the development of students′ intercultural competence. (cf. Blell & Lütge 2004: 404f; Surkamp 2004: 3; Bredalla 2004: 28; Zerweck 2004: 40, 44)

In Germany several federal states acknowledged and allowed for these facts by incorporating the use of films in their TEFL curricula. Nonetheless, the main focus is rather set on the development of media competence than on teaching film competence. One example of a federal state that explicitly states the teaching of characteristics and techniques of film language is Lower Saxony. (cf. Niedersächsisches Kultusministerium 2003: 35; Blell & Lütge 2004: 403) Unfortunately, didactic literature and school book publishers sparsely offer concrete suggestions for the use of movies in the TEFL classroom. (cf. Surkamp 2004: 2)

2.1.2. Film Education and Film Literacy as TEFL Learning Targets

Film education intents a visual alphabetisation of learners in film language in order to provide them with film competence. This competence can also be used in language teaching to demonstrate links, parallels and differences to printed texts. (cf. Blell & Lütge 2004: 402; Holighaus 2005a: 9; Willig 2006: 131, 135)

Blell & Lütge coined the term "film literacy" to describe the competences which are targeted at by film education in TEFL. Film literacy denotes the capability to deal appropriately, critically and social-responsibly, but also in a self-determined and creative way with films within a foreign-language and intercultural context. (Blell & Lütge 2004: 404) It comprises four sub-competences which are interdependent and mutually influence each other.

The competence of perception and differentiation (Wahrnehmungs- und Differenzierungskompetenz) corresponds with Schwerdtfeger′s "visual comprehension". It aims at awareness raising concerning processes of intentional visual perception and their importance for speech production and the creation of meaning. In order to support processes of perception and production it also covers the acquisition of a basic knowledge referring to the forms of arranging filmic material. Finally, this competence should provide the basis for a vigilant and critical attitude towards the manipulations of human perception, thinking and actions by films. (Blell & Lütge 2004: 403f)

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A competence of film aesthetics and criticism (filmästhetische und ­kritische Kompetenz) should enable learners to critically analyse and evaluate filmic contents, and sensitise them for the artistic nature of movies and their aesthetics. It comprises filmic means of expression along with their respective functions, as well as a general open-mindedness to the affective aspects of movies. Similar to the first competence, knowledge, skills and attitude should raise a critical awareness concerning manipulating effects of film. (Blell & Lütge 2004: 404)

Intercultural competence aims at understanding foreign cultural phenomena and broadening learners′ cultural horizons. This competency includes knowledge on cultural aspects of foreign societies and an ability to reflect upon one′s own culture. (Blell & Lütge 2004: 404f)

Finally, film literacy also encompasses a communicative and action-oriented competence in the foreign language (fremdsprachliche Handlungs- und Kommunikationskompetenz). This presupposes a visually guided listening comprehension (fremdsprachliches Seh-Hörverstehen), which includes paralinguistic and supra-segmental aspects, and a study of complex communicative structures within movies. Learners should be enabled to emotionally respond to movies and to give personal comments, as well as qualified to become more autonomous in speech production. (Blell & Lütge 2004: 404)

2.1.3 Approaches of Film Education

In film education there are many ways to facilitate film literacy, which can be divided into three categories: a cognitive or analytical approach, an approach based on the perception of film aesthetics, and a process- and product-oriented approach. Is has to be pointed out that these classifications are on an ideal nature, since most didactic proposals contain elements of more than one category.

2.1.3.1 The Cognitive or Analytic Approach

The cognitive approach is based on film analysis and examines the form of movies. It provides the "hard facts" and the terminology, which are necessary for the understanding of movies, as well as for a profound discussion about them. (cf. Roller 2006: 72f, 77f)

This approach can be exemplified by a teaching of film language proposed by Wharton and Grant, who intent to provide students with critical tools to analyse films independently and to prepare them for film production. (Wharton & Grant 2005: 12, 15) Film language

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in their terms comprises all filmic means of expression and ways to create meaning in movies. It also refers to narrative elements like story, characterisation and representation, but is mainly focussed on cinematic aspects, for instance mise en scéne, editing, sound, special effects, as well as on genre considerations and the star system of Hollywood. Their view of film language is that of a constantly evolving system of signs, which can be read by semiotic techniques. They also point out that it is not universal, but specific to the respective cultural sphere a movie is produced in. (Wharton & Grant 2005: 8f)

Wharton and Grant differentiate between two ways of examining film language. A macro analysis focuses on the way film language works within the movie as a whole (narrative) or in a relation to a group of films (genre). It includes considerations about the development of characters or themes, generic features and aspects of representation, as well as about the Hollywood star system. (Wharton & Grant 2005: 10) A micro analysis on the other hand deals with production techniques and how they are used to create meaning in an individual scene. It considers aspects like miser en scéne, sound, special effects and editing. (Wharton & Grant 2005: 10)

Both analytic methods can be applied independently, but since the macro and the micro level of film language are intertwined and interdependent, a combination of both methods will yield the most illuminative insights.

2.1.3.2 The Aesthetic Approach

The second approach is based on the perception of film aesthetics by the audience. While the cognitive method analyses the form of films, this way of approaching film language analyses the effects of movies on the viewer. It argues that the effects and the general impression of movies are created by the recipient who beholds the fictional world in the light of his own conceptions and view of the world. (cf. Bredalla 2004: 31; Roller 2006: 57f) This approach intents a sensitisation of students concerning their role in the perception and evaluation of film. Thus, they should be given the opportunity to express their impressions, to state their fascination or dislike, and be prompted to give reasons for them. Furthermore, learners are supposed to evaluate movies and compare their value judgements in order to become aware of their own value systems. (cf. Bredalla 2004: 30f; Roller 2006: 58, 68,75f; Duve & Krüger 2006: 8)

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