film in history education a review of the literature

Historical Films in History Classrooms: Documentaries or Fiction Films? Teachers’ Views and Practices

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• Maria Repoussi 4 &
• Maria Mavrommati 4  

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Visual culture evolves as the dominant platform for our encounter with the past. Moreover‚ the impact of movies on shaping our historical culture is considered powerful. History Education in theory recognizes the outstanding position of movies as chief carriers of historical messages. But what are the practices employed in history classrooms? What are teachers’ conceptions‚ attitudes and instructional practices towards films? Have they inherited traditional positivist skepticism about movies’ historical veracity and accuracy? If they use films in their history classrooms‚ what kind of movies do they prefer‚ fiction or nonfiction‚ and why? These are the leading questions of the research presented in this chapter. We used a mixed methods approach to collect data from a large number of teachers in Greece. Results show that the general disciplinary conceptions and ideas on history as well as on history education have a considerable impact on instructional practices toward movies. Teachers who prefer historical documentaries for objectivity and validity reasons‚ considering these reasons central for history teaching and learning‚ use documentaries as an objective medium to support the textbooks ‘one truth’ content. On the contrary‚ teachers who criticize the content-based history teaching and the alleged objective representation of the past use historical documentaries as any other historical sources and narratives taking into consideration their subjective nature. In this second case, not only the content of history textbooks is questioned‚ but also the idea of a sole historical truth and objectivity in historical interpretation. Research data are rich and meaningful‚ connecting closely teachers’ epistemological beliefs with instructional practices of digital media‚ which movies are included in.

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Repoussi, M., Mavrommati, M. (2022). Historical Films in History Classrooms: Documentaries or Fiction Films? Teachers’ Views and Practices. In: Carretero, M., Cantabrana, M., Parellada, C. (eds) History Education in the Digital Age. Springer, Cham. https://doi.org/10.1007/978-3-031-10743-6_11

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TEACH HISTORY WITH FILM: A LITERATURE REVIEW AND A HISTORICAL FILM ANALYSIS

Teaching students about historical events and being critical about them is still a challenging task for some teachers. Teaching history with films offer a different challenge for teachers and students to learn history, however if films are used merely as entertainment in a history classroom, it will lead to uncritical and inaccurate view of the past and reinforce students’ historical misconceptions. Therefore, the purpose of this study is to review the benefits and best practice of teaching with historical film. This study provides a historical film analysis Mongol as reference for teacher’s best practice of teaching history with film.

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How Films Can Teach History

By viewing movies like The Manchurian Candidate , students can see one version of history that they can then use to dig deeper, explore more.

After the recent death of Angela Lansbury, many people may be revisiting some of her big roles, perhaps landing on The Manchurian Candidate , a 1962 political thriller in which she co-starred. The film was a slice of its time, explains film historian B. Ruby Rich, “ with its mix of paranoia, Cold War hysteria, mind-control obsession, and xenophobia in a thoroughly destabilized and morally insecure society .” In its time, the film told a story of where and what the country was, as well as providing entertainment. But how can films such as The Manchurian Candidate , those reflecting their times, be useful beyond entertainment in our time? Well, maybe like a textbook? As historian Paul B. Weinstein notes, “ We should acknowledge film and television as the great history educators of our time .”

Pop culture has long reflected the era it was made, but how does it teach the present about the past? Benjamin J. J. Leff, writing in The History Teacher , uses movies and films “ to elucidate the ideological contours of American culture in various historical periods ,” for example. But it’s not quite as simple as hitting play on a movie or song. Imagine a future society, smugly confident that they knew everything there was to know about our time by watching a few episodes of Real Housewives or Game of Thrones. They’d have some idea about what some small portion of society was thinking about but never quite the full picture, Leff notes, since “popular culture representations of American society are ‘written’ from a particular perspective and created for a particular purpose.”

Pop culture as a text also has the tendency to give modern viewers a skewed image of the past. To break from that, Leff argues, we need to look at the “webs of significance,” or the meanings we attribute to things and actions. This could be something simple like a hug meaning “affection” or the wearing of a tie meaning “heading to a more formal or professional setting.” But these “webs of significance” can also foster stereotypes, leading us to believe that actions or clothing reflect the “right” way to be. Unpacking popular culture and using it as a teaching tool can help break down those meanings, because “it is produced for and consumed by a mass audience, popular culture often expresses cultural understandings that were widespread in a given time period.”

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When they’re made, movies and other forms of entertainment often reflect some shared views. Using media in conversation with one another, “we can start to draw tentative conclusions about the historical context in which these texts were produced,” Leff writes. The idea of bringing popular culture into the classroom certainly isn’t new, it’s really just reflecting the ways that we learn and take in information, Weinstein argues, pointing to a 2000 survey that found “that over forty percent of the participants cited movies and TV programs among the most cited means of connecting with the past.”  In short, it’s not going anywhere, and as science educator Uchenna Emenaha points out, “ [i]n order to make a lesson relevant to students, it is important to stay up to date on events and individuals that your students follow .”

From films like Malcolm X , Ben Hur , or Rosewood , students can get a version of history that they can then use to go deeper, explore more. “By viewing popular culture in relation to its historical context,” Leff writes, “students are developing analytical skills that allow them to make connections between the media they consume and their own social world.”

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Film and Literature by Lucy Fischer LAST REVIEWED: 28 June 2016 LAST MODIFIED: 28 June 2016 DOI: 10.1093/obo/9780199791286-0204

In general, when scholars have considered the question of literature and film, they have conceived it in a rather narrow fashion as the study of adaptation—from literary to filmic works. In fact, the reader can consult a different entry in this bibliography that focuses on Adaptation and Film . The present entry, however, is not about adaptation. Rather, it attempts to expand the discussion of the study of literature and film by taking a broader approach that examines texts whose central focus is not adaptation but some of the larger (and potentially more interesting) ways in which the two media intersect, for example, stylistic, formal, thematic, or cultural parallels or differences; theoretical links (e.g., similarities or contrasts between word and image); industrial connections (book publishing vs. film distribution); historical ties (the coming of sound in relation to theater); artists who work in both media (e.g., David Mamet, Marguerite Duras, Paul Auster); and the nature of authorship in each form. Of course, in discussing some of these topics, the notion of adaptation will also arise, so there may be crossover between entries in this bibliography and the one previously cited. Because the potential list of books or articles that mention film’s relation to literature in passing is vast and impossible to track, this entry focuses only on those that specifically mention the subject in their title.

Beja 1979 , Corrigan 2011 , Davidson 1997 , and Marcus 1971 are all broad introductions to the study of film and literature, focusing on conceptual issues as well as analyses of various specific cinematic texts. In addition to making general points, Beja 1979 analyzes numerous specific films. Corrigan 2011 is an anthology of works by various authors who concentrate on different subtopics of the film/literature connection. Davidson 1997 focuses on narrative and thematic construction using particular films as case studies.

Beja, Morris. Film and Literature: An Introduction . New York: Longman, 1979.

Designed for undergraduates, this volume explores relationships between the two art forms while preserving the integrity of each. After chapters on narrative literature, narrative film, and film and literature, Beja explores twenty-five canonical films. While some are adaptations, many are not.

Corrigan, Timothy, ed. Film and Literature: An Introduction and Reader . 2d ed. New York: Routledge, 2011.

Divided into three sections. The first takes an historical perspective on the relation between film and literature. The second provides twenty-eight seminal texts on the subject by key theorists. The third provides advice for students charged with writing about film and literature.

Davidson, Phebe, ed. Film and Literature: Points of Intersection . Lewiston, NY: Edwin Mellen, 1997.

Investigates the ties between film and fiction in terms of narrative construction and thematic material. In particular, the book focuses on such issues as the social construction of character, questions of ethics, and feminist approaches. Works discussed include Last Exit to Brooklyn, Angel Heart, Frankenstein, Wise Blood, Rambling Rose, Smooth Talk, Trifles, The Glass Key, Catch 22, Forrest Gump, Silence of the Lambs , and Miller’s Crossing .

Marcus, Fred H., ed. Film and Literature: Contrasts in Media . Scranton, PA: Chandler, 1971.

An early volume in discussions of film and literature, it contains some important essays on the topic by established critics and practitioners like Balazs, Pudovkin, Durgnat, Kael, and Kauffmann. It also excerpts sections of other writings on the question of words versus images by Bluestone, Richardson, and Nicoll.

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What is a Literature Review?

The scholarly conversation.

A literature review provides an overview of previous research on a topic that critically evaluates, classifies, and compares what has already been published on a particular topic. It allows the author to synthesize and place into context the research and scholarly literature relevant to the topic. It helps map the different approaches to a given question and reveals patterns. It forms the foundation for the author’s subsequent research and justifies the significance of the new investigation.

A literature review can be a short introductory section of a research article or a report or policy paper that focuses on recent research. Or, in the case of dissertations, theses, and review articles, it can be an extensive review of all relevant research.

• The format is usually a bibliographic essay; sources are briefly cited within the body of the essay, with full bibliographic citations at the end.
• The introduction should define the topic and set the context for the literature review. It will include the author's perspective or point of view on the topic, how they have defined the scope of the topic (including what's not included), and how the review will be organized. It can point out overall trends, conflicts in methodology or conclusions, and gaps in the research.
• In the body of the review, the author should organize the research into major topics and subtopics. These groupings may be by subject, (e.g., globalization of clothing manufacturing), type of research (e.g., case studies), methodology (e.g., qualitative), genre, chronology, or other common characteristics. Within these groups, the author can then discuss the merits of each article and analyze and compare the importance of each article to similar ones.
• The conclusion will summarize the main findings, make clear how this review of the literature supports (or not) the research to follow, and may point the direction for further research.
• The list of references will include full citations for all of the items mentioned in the literature review.

Key Questions for a Literature Review

A literature review should try to answer questions such as

• Who are the key researchers on this topic?
• What has been the focus of the research efforts so far and what is the current status?
• How have certain studies built on prior studies? Where are the connections? Are there new interpretations of the research?
• Have there been any controversies or debate about the research? Is there consensus? Are there any contradictions?
• Which areas have been identified as needing further research? Have any pathways been suggested?
• How will your topic uniquely contribute to this body of knowledge?
• Which methodologies have researchers used and which appear to be the most productive?
• What sources of information or data were identified that might be useful to you?
• How does your particular topic fit into the larger context of what has already been done?
• How has the research that has already been done help frame your current investigation ?

Examples of Literature Reviews

Example of a literature review at the beginning of an article: Forbes, C. C., Blanchard, C. M., Mummery, W. K., & Courneya, K. S. (2015, March). Prevalence and correlates of strength exercise among breast, prostate, and colorectal cancer survivors . Oncology Nursing Forum, 42(2), 118+. Retrieved from http://go.galegroup.com.sonoma.idm.oclc.org/ps/i.do?p=HRCA&sw=w&u=sonomacsu&v=2.1&it=r&id=GALE%7CA422059606&asid=27e45873fddc413ac1bebbc129f7649c Example of a comprehensive review of the literature: Wilson, J. L. (2016). An exploration of bullying behaviours in nursing: a review of the literature.   British Journal Of Nursing ,  25 (6), 303-306. For additional examples, see:

Galvan, J., Galvan, M., & ProQuest. (2017). Writing literature reviews: A guide for students of the social and behavioral sciences (Seventh ed.). [Electronic book]

Pan, M., & Lopez, M. (2008). Preparing literature reviews: Qualitative and quantitative approaches (3rd ed.). Glendale, CA: Pyrczak Pub. [ Q180.55.E9 P36 2008]

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Evidence Matrix for Literature Reviews

The  Evidence Matrix  can help you  organize your research  before writing your lit review.  Use it to  identify patterns  and commonalities in the articles you have found--similar methodologies ?  common  theoretical frameworks ? It helps you make sure that all your major concepts covered. It also helps you see how your research fits into the context  of the overall topic.

• Evidence Matrix Special thanks to Dr. Cindy Stearns, SSU Sociology Dept, for permission to use this Matrix as an example.
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Knowledge Bank - Creative Teaching and Learning

Using film & movies in education knowledge bank, film has been a major feature of popular culture for a hundred years, and the moving image now dominates all aspects of the transmission of information. how can film be integrated into the curriculum.

Using film in education – Sponsored by the National Education Union

Film has been a major feature of popular culture for a hundred years, and the moving image now dominates all aspects of the transmission of information. Schools, however, have been very slow to move away from their dependency on text.  Study after study suggests that children now, particularly boys, need visual stimulates to support their learning and that all children receive a lot of their social and moral learning through film and TV, and forms of social media like YouTube.

Yet where film and moving images are used in education it is considered a pleasant introduction to new concepts, ideas or books, something innovative and a little outside the mainstream of teaching and learning. The research suggests it can and should play a much bigger role; it can be used to support social and moral understanding, to teach values and character, to support the development of information literacy in a visual world. Its techniques can be used to underpin mainstream skills like writing, be it creative narrative or fact-based presentations and perhaps most importantly of all, it can help develop critical reflection and a sceptical knowledge of how to review the way visual meanings are constructed to influence us. The research speaks volumes about the potential of film and the moving image to make learning more relevant and ‘fun’ and how much of that potential is being missed.

In  2011, Film: 21 st Century Literacy, which is backed by the BFI, FILMCLUB, Film Education, First Light and Skillset, conducted an opinion survey of teachers in order to research and report current classroom practices involving film, their benefits to pupils, their impacts on pedagogy and what  the future of the use of film in education might be. 387 people completed the survey; South-east England had the highest amount of teachers already using film, with Wales having the least. English teachers were the most compliant towards film in education with 95 teachers using film techniques in their classrooms; the next closest was MFL teachers at 35. Furthermore, the survey found that further education teachers were 16 percent more likely to use film in their lessons than primary school teachers, which the majority of these also being English teachers. Film making and film watching were the two highest activities done by these teachers.

The survey went on to ask teachers for their opinions on key topics involving film education. The highlight of these were “do you believe that a wide range of films broaden and encourage children’s learning and understanding of the world and culture?” 100 percent of those surveyed agreed that this was the case. The vast majority (99%) also agreed that film is a means of getting young people enthusiastic about their subject.

In perhaps the most interesting section of the survey, teachers were asked about their opinions on the benefits of using film for their students. 83 percent of those surveyed believe that using film would inspire creative thinking in their students. When teachers were asked to rate their most significant three improvements, ‘attitude towards learning/motivation to learn’ was the highest ranked factor.

Teachers were asked if there was one particular demographic group that they noticed undergo a more marked change than others. Many teachers felt that no one group benefitted more than others, but a remarkable amount of teachers commented that using film significantly improved boy’s literacy. For girls, many teachers mentioned improvements in confidence, although this comment was spread quite evenly across ages and genders, as was the comment that motivation improved.

Overall Impacts on Teachers

84 percent of the teachers interviewed agreed that film allowed them to teach a wider range of ability levels, including the more difficult and challenging pupils. The impact of using film is clear. When asked about their personal experiences, 74 percent of teachers believed that there should definitely be more film education opportunities offered to young people at their schools, and that pupils who participated in the film project would want to take part in more film related activities should these be available.

In a separate piece of research conducted independently by the BFI and lead by Mark Reid in order to understand how film is currently used in Europe and how it could be used globally, going forward.  The defined purpose behind film literacy in Europe is: ‘for young people, to provide awareness and knowledge about our film heritage and increasing interest in these films and in recent European films, the ultimate goal being to build a long term audience for European films.

The responses from national representatives indicated a clear set of priorities. The highest priority in the formal curriculum (selected by most countries) was given to the development of film language and filmmaking skills, closely followed by the understanding of film as an art form and critical viewing.

The BFI used the results from their research in order to create recommendations on how to improve film education going forward. The most prominent recommendation was to develop a series of models of film education for Europe, that include appreciation of film as an art form, critical understanding, access to national heritage, world cinema and popular film, and creative filmmaking skills.

The research goes onto look at what strategies are already in place in European countries. The strongest models of provision are those with national strategies jointly devised/ endorsed by both Culture and Education ministries, with strong industry support, and we found few examples of this ‘Only Northern Ireland appears to have a fully integrated national film education strategy. The Scandinavian countries are generally strong. In Finland, although there is no overall film strategy, there are several agencies and non-governmental organisations highly active in the promotion of film education. And in Denmark and Sweden, each respective Film Institute has its own ‘national strategy.’ Finally, the BFI proposed a ‘Translation Fund’ which supports national agencies in adapting strategic approaches from other, similar nations and territories, and supports professional development and exchange of key workers in those agencies in meeting and learning from colleagues in other countries.

There is an ongoing project in Bradford which is increasing writing standards through the use of film. Students are given chances to watch, review and create films. A highlight of this project happened when pupils from Flowery Fields Primary, attended the National Media and Science Museum in Bradford for the film in education screening. The students were then each given a chance to showcase their films and the creative processes behind them on the big stage.

A final piece of research by ‘Scottish Screen’ highlights the impacts of moving image education (MIE). This research found that there are commonly seven generic impacts of MIE, these are:

• Learners’ enjoyment and sense of achievement.
• Disaffected or underachieving learners showing engagement and concentration.
• Increased motivation, confidence, and self-image.
• Increased attainment in literacy.
• Increased skills in collaboration and teamwork.
• Increased knowledge about, and interest in, making moving images.
• Increased interest in watching and talking about moving images.

However, these impacts closely mirror those found in a wide range of research and evaluation on cultural interventions in education. In 2002, a review of the available evidence about the impact of ICT on the learning of literacy associated with moving image texts in English for ages 5-16 was undertaken by Andrew Burn and Jenny Leach. This research portrayed MIE in a positive light and listed the 7 above impacts as the ‘generic impacts.’

References Impacts of Moving Image Education by Cary Bazalgette for Scottish Screen Film Literacy – Raising Writing Standards with Film by Tim Bleazard Screening Literacy: Executive Summary by the British Film Institute (BFI) Teaching Using Film – Statistical Evidence by Film: 21 st Century Literacy

Issues to consider

• In which areas of the curriculum is use of film lacking?
• What resources would we need to use film in a more powerful and active way for learning?
• What are some of the ways in which film has been successfully used in subject teaching at our school?
• What collaborative opportunities are there to use film across the curriculum?
• What information literacy topics can we use film to help address?

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