Using Film in History Using Film in History ClassroomsClassrooms

Matt GarrisonMatt GarrisonSchool of Education,School of Education,Trinity College DublinTrinity College Dublin

garrisom@tcd.iegarrisom@tcd.ie

We learn…We learn…

10% what we read;10% what we read; 20% what we hear;20% what we hear; 30% what we see;30% what we see; 50% what we see and hear;50% what we see and hear; 70% of what is discussed with others;70% of what is discussed with others; 80% of what we experience personally; 80% of what we experience personally; 90% of what we teach someone else.90% of what we teach someone else.

Why film?Why film? The impact of personal technology: media at The impact of personal technology: media at

pupils’ finger tips (Ipods, cell phones, internet…)pupils’ finger tips (Ipods, cell phones, internet…) Seixas (1994:281) believes that using popular Seixas (1994:281) believes that using popular

film in history pedagogy “would productively film in history pedagogy “would productively harness the juxtaposition of interpretations harness the juxtaposition of interpretations crossing revisionist historical divide.” crossing revisionist historical divide.” (see also (see also Seixas, 1993)Seixas, 1993)

Pupils would better understand how available Pupils would better understand how available historical source contribute to contemporary historical source contribute to contemporary interpretations (Wineburg, 1991). interpretations (Wineburg, 1991).

Vidal (1992) suggests that in Vidal (1992) suggests that in contemporary culture people’s contemporary culture people’s perceptions of history are shaped by perceptions of history are shaped by film.film.

An Irish Context…An Irish Context…

National Centre for Technology in Education National Centre for Technology in Education (NCTE). (NCTE).

In Ireland: shift from a singular narrative In Ireland: shift from a singular narrative approach to an analytical approach to teaching approach to an analytical approach to teaching history at the second level.history at the second level. Pupils developing their own interpretations of history Pupils developing their own interpretations of history

through available sources (Primary and Secondary)through available sources (Primary and Secondary) ““Paintings, cartoons, photographs and other Paintings, cartoons, photographs and other

visual sources play a major role in shaping our visual sources play a major role in shaping our image of the people and events of the past” image of the people and events of the past” (NCCA, 2003).(NCCA, 2003).

An Irish Context…An Irish Context…

Recent research into pupils connection with Recent research into pupils connection with movies and TV programs about history:movies and TV programs about history: 70% of pupils watched movies/TV programs in the 70% of pupils watched movies/TV programs in the

last 12 months.last 12 months. In rank order of responses to the question ‘In rank order of responses to the question ‘How How

connected to the past do you feel?connected to the past do you feel?’, watching ’, watching Movies/TV programs ranked 4Movies/TV programs ranked 4thth..

In rank order of responses to the question ‘How In rank order of responses to the question ‘How interested in history are you when do the following interested in history are you when do the following activities in the classroom?’ watching movies about activities in the classroom?’ watching movies about history ranked 1history ranked 1stst. .

Garrison (forthcoming)Garrison (forthcoming)

Why film?Why film?

Film, in all its forms (DVD, cinemas, TV, Film, in all its forms (DVD, cinemas, TV, the internet) is a dominant contemporary the internet) is a dominant contemporary cultural form. cultural form.

Film and TV are the primary means Film and TV are the primary means through which pupils learn about new and through which pupils learn about new and current events. current events.

Film is a natural medium for narrative, a Film is a natural medium for narrative, a means for telling stories of the past. means for telling stories of the past.

Types of Film Relating to HistoryTypes of Film Relating to History

Observational documentariesObservational documentaries Fly-on-the-wall approach, no commentary except the Fly-on-the-wall approach, no commentary except the

words of the participants and no manipulation of words of the participants and no manipulation of camera shots. camera shots.

Contemporary documentariesContemporary documentaries Structured with a narrative, scripted commentary, Structured with a narrative, scripted commentary,

shot selection and editing.shot selection and editing. Post-the-eventPost-the-event

Uses film shot at the time of the event, captures real Uses film shot at the time of the event, captures real people, imposed structure, scripted commentary, people, imposed structure, scripted commentary, editing, music, recollections from other people. editing, music, recollections from other people.

Types of Film Relating to HistoryTypes of Film Relating to History

Dramatised documentaries.Dramatised documentaries. Based on sources close to the event but uses actors. Based on sources close to the event but uses actors.

Uses a mix of archive footage and re-enactment Uses a mix of archive footage and re-enactment filming. “Docudrama” filming. “Docudrama”

Fictional film historiesFictional film histories Reconstructions of historical events using actors, Reconstructions of historical events using actors,

reconstructed settings, music, scripts. reconstructed settings, music, scripts. Historical film dramasHistorical film dramas

Told within an authentic historical background and Told within an authentic historical background and within the context of authentic historical events, but within the context of authentic historical events, but story focuses on historical characters. story focuses on historical characters.

Believability Believability

Styles of clothing, hats, jewellery and hairStyles of clothing, hats, jewellery and hair Colours and texturesColours and textures Types of transport and other machineryTypes of transport and other machinery Signage that can be readSignage that can be read Activities taking placeActivities taking place Manners and behaviors of all actors within the Manners and behaviors of all actors within the

frameframe Décor and objectsDécor and objects LocationsLocations Events or lifestyle activities. Events or lifestyle activities.

Believability: Michael Collins (1996)Believability: Michael Collins (1996)

Harry Boland was in America when Michael returned to Ireland with Harry Boland was in America when Michael returned to Ireland with the treaty, not in Dublin as shown in the movie.the treaty, not in Dublin as shown in the movie.

Eamonn De Valera is shown surrendering with the General Post Eamonn De Valera is shown surrendering with the General Post Office garrison after the Easter Rising. However, he was actually Office garrison after the Easter Rising. However, he was actually Commandant of the garrison at Bolland's Mills, which surrendered Commandant of the garrison at Bolland's Mills, which surrendered after the GPO upon receiving orders to stand down. He was never after the GPO upon receiving orders to stand down. He was never at the GPO during the Rising.at the GPO during the Rising.

In the film, it shows Ned Broy (Stephen Rea), a double agent in In the film, it shows Ned Broy (Stephen Rea), a double agent in Dublin Castle being tortured and murdered by the British. While Dublin Castle being tortured and murdered by the British. While Broy survived the Irish Civil War in real life, the Broy in the film is a Broy survived the Irish Civil War in real life, the Broy in the film is a composite of both Broy and Dick McKee. Broy's death in the film composite of both Broy and Dick McKee. Broy's death in the film really happened to McKee.really happened to McKee.

During the Bloody Sunday massacre, the British never rolled an During the Bloody Sunday massacre, the British never rolled an armored car onto the Gaelic football field, as depicted in the film. It armored car onto the Gaelic football field, as depicted in the film. It remained outside the gates. remained outside the gates.

During the Easter Rising scenes, the Volunteers and Citizen Army are shown marching out of the General Post Office to surrender. However, the day before the surrender, they had retreated from the burning GPO to another building down the road, and surrendered from there.

Some questions…Some questions…

Are history teachers qualified to analyse Are history teachers qualified to analyse history through such a medium?history through such a medium?

Is there enough time in classroom lessons Is there enough time in classroom lessons to accommodate using these forms of to accommodate using these forms of media?media?

Is the technology available in schools? Is the technology available in schools? What guidelines should teachers follow?What guidelines should teachers follow?

SourcesSources The National Centre for History Education. (2002) The National Centre for History Education. (2002)

Making History: A Guide for the Teaching and Making History: A Guide for the Teaching and Learning Learning History in Australian Schools.History in Australian Schools. National National History Project, History Project, Commonwealth Department of Commonwealth Department of Education, Science Education, Science and Training. Found at: and Training. Found at: www.hyperhistory.orgwww.hyperhistory.org

National Council for Curriculum and Assessment National Council for Curriculum and Assessment (2003) (2003) Revised Leaving Certificate History SyllabusRevised Leaving Certificate History Syllabus. .

Dublin: Dublin: The Stationary Office. The Stationary Office. Seixas, Peter. (1993) “Popular Film and Young People’s Seixas, Peter. (1993) “Popular Film and Young People’s

Understanding of the History of Native-White Understanding of the History of Native-White Relations.” Relations.” The History TeacherThe History Teacher 26, no. 3, May, 26, no. 3, May, Pp. 351-70.Pp. 351-70.

Seixas, Peter. (1994) “Confronting the Moral Seixas, Peter. (1994) “Confronting the Moral Frames of Popular Frames of Popular Film: Young People Film: Young People Respond to Historical Revisionism.” Respond to Historical Revisionism.” American Journal of EducationAmerican Journal of Education, 102, May, Pp. , 102, May, Pp. 261-282. 261-282.

Vidal, Gore. (1992) Vidal, Gore. (1992) Screening HistoryScreening History. . Cambridge: Cambridge: Harvard University Press.Harvard University Press.

Wineburg, Sam. (1991) “Reading Historical Wineburg, Sam. (1991) “Reading Historical Texts: Notes on the Texts: Notes on the Breach between School Breach between School and Academy.” and Academy.” American EducationalAmerican Educational