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Isabelle Vanderschelden , MMU and FILTA

Understanding the Other ? Using film to promote intercultural competence in Higher Education in the UK. Isabelle Vanderschelden , MMU and FILTA. Examples of units currently taught in the UK universities. MMU : Images and Identities in France Bangor : Race and immigration in France

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Isabelle Vanderschelden , MMU and FILTA

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  1. Understanding the Other ? Using film to promote intercultural competence in Higher Education in the UK Isabelle Vanderschelden, MMU and FILTA

  2. Examples of units currently taught in the UK universities • MMU : Images and Identities in France • Bangor: Race and immigration in France • Manchester : Ethnicity in French and francophone culture • Exeter : Diasporic cinemas, Introduction to postcolonial Francophone cinema • Southampton: Fragmented France: Cultures and identities in transition • Leeds : Francophone culture module (including film)

  3. Examples of relevant films • La Haine(Mathieu Kassovitz 1995) • Ressourceshumaines/Human Resources (L. Cantet 1999) • Samia (Philippe Faucon 2001) • L’Aubergeespagnole(Cedric Klapisch 2002) • La Fille de Keltoum/Keltoum’s daughter (MedhiCharef 2002) • Le Grand voyage (Ismail Ferroukhi, 2004) • Exils/Exiles(Tony Gatlif, 2004) • Entre les murs/The Class (Laurent Cantet, 2008) • Française(Souad El Bouhati, 2008) • Welcome (Philippe Lioret, 2009) • Mr Lazhar(Philippe Falardeau2011 ) • Le Fils de l’autre (Lorraine Levy, 2012) • Néquelque part/Homeland (Mohammed Hamidi 2013)

  4. Three possible approaches 1 How best to explore the assets of a multimodal approach to engage students in understanding the Other, as represented in “accented” films.

  5. sh/] /] Films a multimodal texts Redesigned by decafnomilk.com based on the diagram from Cope and Kalantzis (2000) [Source: http://www.readingonline.org/newliteracies/rush/] Redesigned by decafnomilk.com based on the diagram from Cope and Kalantzis (2000) [Source: http://www.readingonline.org/newliteracies/rush/] Redesigned by decafnomilk.com based on the diagram from Cope and Kalantzis (2000) [Source: http://www.readingonline.org/newliteracies/rush/] Redesigned

  6. 2 Organise teaching tasks around intercultural competence, as opposed to teaching cultural differences and knowledge of the culture of the language studied.

  7. 3 Generate real debate in seminars and (student-led) intercultural dialogue around themes which can be viewed as sensitive, especially within heterogeneous classes.

  8. Three learning contexts • Undergraduate language classes • Professional / more specialised language modules • Culture content modules

  9. Common Europeanframework • When people are talking to each other their social identitiesare unavoidably part of the social interaction between them. In language teaching, the concept of 'communicative competence' takes this into account by emphasising that language learners need to acquire not just grammatical competence but also the knowledge of what is 'appropriate' language. (Byram, Gribkova and Starkey in the European Framework 2002: 5)

  10. Naficy • Naficy, H. ed. (1999) Home, Exile, Homeland: Film, nmedia, and the politics of place London: Routledge. • Naficy, H. (2001) An Accented Cinema: Exilic and diasporic filmmaking Princeton: Princeton University Press.

  11. Interculturel • Collès, L. (2007) Interculturel :Des questions vives pour le temps présentFernelmont, Bel. EME • Fontenay, H., D. Groult et G. Leidelinger (2011) Classe de langues et culture(s) : vers l’interculturalité Paris : L’Harmattan. • Verbunt, G. (2011) Penser et vivre l’interculturel Lyon : Chronique sociale.

  12. Examples of scholarlywork • Tarr, C. (2005) Reframing Difference: Beur and banlieue Filmmaking in FranceManchester University press. • Loshitzsky, Yosefa (2010) Screening Strangers: Immigration and diaspora in contemporary European cinemaBloomington and Indianapolis: Indiana University Press. • Higbee, Will (2013) Post-Beur cinema: North African Emigré and Maghrebi-French filmmaking in France since 2000Edinburgh: Edinburgh University Press.

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