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Eines Junior High School Misfit

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Eines Junior High School Misfit UNTERRICHT Die Leiden eines junior high school misfit Vorschläge für den Einsatz des Spielfilms Welcome to the Dollhouse 'l Vorbemerkung Cinenut. N{it diesem etwas unscharfen l2l Be- Günter Burger griff rvird jenes amerikanische Kino bezeich- Dr., Kreisvolks- Waihrend der Film aufgrund seines Themas net, das versucht, weitgehend unabhängig von hochschule Viersen bei Schülerinnen und Schtilern auf über- der Holllrr,ood-lndustrie zu bleiben, und das dr.rrchschnittliches Interesse stolien drirfie, claher ar-rch 'll-remen aufgreifen kann, denen könnte seir-re drastisch-realistische N{achart bei Hollrt,ood eher aus dem Wege geht (2. B. Pa- manchen Unterricl-rtenden Missfallen erregen : dophilie in Happiness). Repräsentanten des Die Dialoge greifen näm1ich mit fast doku- hfiie Cinema -bekannte Namen sind u. a. lim mentarischer Genauigkeit die Vulgärsprache Jarmusch, John Sayles oder die Brüder Joel und amerikanischer fugendlicher auf, und es rvim- Ethan Coen - unterlaufen in ihren Arbeiten melt clerlentsLrrechend nur so von/brrr-letter oft bewusst die Gestaltungs- und Erzählkon- rr orr i-s r.r ncl rrnderen Tabua usdrticker-r. Solor-rdz, ventionen des typischer-r H ollyw ood- e ntertai n - del clen Film cleshalb r-rrsprr"inglicl.r aucl.r /ildnr,' so verz-icl-rtet Solondz etwa in \leLcome lm Mittelpunkt dieses Beitrags Frrggot-i and Retards nennen wollte, rechtf-er- to tlrc Dolllnu-sa auf das dort übliche versöhn- steht der Spielfilm Welcome to the tigt die Derbheit der Dialoge damit, dass dies liche Happ,vend. nun einmal die Sprache sei, die Kinder und Die Auseinandersetzung mit ernerrrr Indie-Fllm Dollhouse (USA 1995) von Todd Heranu,achsende benutzen,,,both to threaten im Englischunterricht bietet einerseits die Solondz (Drehbuch und Regie). each other and relate to each other. They may Möglichkeit, die Lernender.r auf einen rvichti- not fi,rllv understand what such words mean, gen Bereich der amerikanischen Filn-rkultur Welcome to the DollhouJe schildert but they knorv they're powerful, forbidden, aufmerksam z-u machen, der ihnen und viel- - mit schwarzem Humor die arrd therefbre irresistible" (Andrew 1997 19). leicht auch mancher Lehrkraft! - bislang un- Bei einern Einsatz des Films sollte auf jeden bekannt war. Außerden-r ist es sinnvoll, die An- Probleme, die ein zwölfjähriges geeigneten Stelle dies des im Fall an einer - wie auch dersartigkeit Indie Cinema Unterricht /1/ Mädchen mit ihren der nachfolgende Unterrichtsentw,urf vorsieht filmanalytisch zu nutzen; im vorliegenden Un- - die vulgäre Sprache der Hauptfiguren the- terrichtsentwurf geschieht dies durch eine Klassenkameradinnen matisiert werden. kreativ-produktir.e Aufgabenstellung (Ent- und -kameraden, aber auch wurf eines neuen Filmschlusses nach Holly- wood-Manier). mit ihrer Familie hat. 2 Der Film und sein Regisseur 2.2 Welcome to the Dollhouse 2.1 Todd Solondz Eine erste Drehbuchversion von Welcome to \{elcottrc to the Dollhou.se ist der zweite Spiel- the Dollhouse entstand bereits 1989; Solondz film des 1 960 geborenen Regisseurs, der in einer überarbeitete das Skript dann immer wieder, Kleinstadt in Nerv |ersey - nicht weit entfernt wobei a1le früheren Fassungen offenbar,,darker vom Drehort des Films - aufivuchs. War die andmore depressing" (Solondz 1996: 1 ) waren als Resonanz der Kritik arf Welcome to tlrc Doll- die schließlich gedrehte Version /3/. Nach ei- ftorr,.e schon überiviegend sehr positiv, so gilt genem Bekunder.r (von Busack i996) schrieb dies r-roch rnehl für Solondz' jüngste Arbeit: Solondz das Skript teilweise auch als eine Art Happirtess t,urde von vielen Kritikern als der Gegenentrvurf nt der äußerst populären, sen- beste amerikanische Filn-r des lahres 1998 ein- timental-nostalgischen Fernseh-soap opera gestuft und erhielt u. a. Hauptpreise bei den TheWonderYears,in der der Lebensweg eines Filmfestspielen in Cannes und Toronto. fungen von dessen Eintritt in die iunior high Weder 1l/e/corrrc to the Dollhouse noch Happi- scftool bis zu seiner Graduierung am Ende der ,e-ss sind Bestandteil des mainstream-Kinos senior high scftool dargestellt wird /4/. hollpvoodscher Prägr"rng; vieln-rehr zähler.r bei- Nach Solondz' Auffassung gibt es im gängi- de Filme zum so genannten US Independent gen Hollywood-Kir.ro kaum Filme, die Kind- 212001 F REM o ] snnAcHEN uNTERRTcFT 107 UNTERRICHT heit und Pubertät realistisch beschreiben: Darvn do1led '& "Kids tend to be portraved either as Disne,v-fied up for Steve at cute or as demon monsters" (Andrerv 1997: her parents' 18). Seine Protagonistin Dawn Wiener, die anniversary nicht gerade htlbsch ist und deshalb von ihren party Mitschülern nur mit dem beleidigenden /5/ Spitznamen Wiener-dog angesprochen und ständig gehänselt wird, hat der Regisseur dem- 1 , Miss,v and l{rs \\tiener at dinre gegenüber als ambivalente (Hollstein 1997 : 41) ? Figur gezeichnet: I Einerseits akzeptiert sie ihre I ----_-__- Opferrolle, weil sie gerne bei allen beliebt wäre; I I andererseits wehrt sie sich gegen die ihr zuge- I fügten Demütigungen ,,mit einer Mischung : t aus Protest, Verweigerung, unvermuteter Stär- I ke und Frechireit" (ebd.: 40), verhält sich mit- ! unter dabei aber selbst gemein gegenüber t I Schwächeren. Dazt sagt der Regisseur: "I I Steve girlfriend wanted to show that what comes into your life L_ and his must go somewhere; either you internalise the halten, zunächst im Skript gelesen werden (fast Die Rezeptionsgespräche zielen vornehmlich pain and develop some sort of tumour, or it immer als Hausaufgabe) und erst nach dieser auf das subjektive Filmerleben der Lernenden comes out in the form of cruelty you're not Vorentlastung auf dem Bildschirm betrachtet ab; der kognitiv-analytischen Auseinanderset- necessarily even conscious of. That's why I de- werden. Filmteile, die vermutlich ohne große zung mit dem filmischen Text wird dagegen termined not to sentimentalise Dawn" (An- Schwierigkeiten zu verstehen sind, werden im Unterrichtsentwurf weniger Platz einge- drew 1997:19). Dass die Handlung,,nicht zu dagegen sofort, also ol-rne Zuhilfenahme des räumt. Für eine genuine, umfassende Filmana- Tiänendrüsen-Kitsch verkommt" (Hollstein Drehbuchs, a1s Seh-/Hörtexte gesichtet. lyse - gleichgtlltig ob sie eher strukturfunk- 1997:41), ist außerdem der unterschwelligen Übrigens könnte demnächst - sobald sich in tional, tiefenhermeneutisch, textanalytisch, Komik zu verdanken, die den gesamten Film Schulen und anderen Bildungseinrichtungen diskurstheoretisch oder am Ar satz der cult ur al kennzeichnet, denn dadurch wird eine allzu die Verwendung von DVDs anstelle der her- studies orientiert ist oder mit quantitativen enge Identifikation des Publikums mit der kömmlichen Videokassette durchgesetzt hat - Methoden operiert (um nur einige der heute Protagonistin noch zusätzlich erschwert. eine nohvendige Vorentlastung auch auf an- üblichen Verfahren zu nennen /8/) - sind näm- Für seinen Film, der hierzulande unter dem dere Weise erfolgen: DVDs bieten nämlich sehr Iich sehr komplexeVorgehensweisen nötig, die verfälschende n Tltel \/Villko mnten im Tollhaus haufig die Möglichkeit, den originalsprachli- sich m. E. im Rahmen des Unterrichts weder in die Kinos kam, erhielt Solondz mehrere chen Filmdialog in Forrn von Untertiteln auf von der Sache her noch sprachlich durchfüh- bedeutende Auszeichnungen, Lr. a. den ersten dem Bildschirm sichtbar zu machen, und für ren lassen. Demgegenüber kann das individu- Pleis beim Sundance Film Festival (einem der problematische Passagen könnten dann diese elle Filmerleben von allen Lernenden verbali- wichtigsten amerikanischen Filmwettbewerb e, same-language subtitles eingeblendet werden. siert werden. Um jedoch bei den Lernenden ein der sich ausschließlich dem In die Cinemawid- Positive Erfahrungen mit einem derartigen möglichst,,kritisches Erleben" (Gawert 1999: met) und den Preis des Internationaien Ver- Vorgehen gibt es bereits (siehe z. B. Vander- 2) des Films zu fördern, werden in vielen der bandes der Filmkunsttheater; in Deutschland plank 1999).ln der Tat ist Welcometo theDoll- im Unterrichtsentwurf vorgeschlagenen Re- wurde Welcome to the Dollhouse von der re- house rn Nordamerika auch als DVD mit op- zeptionsgespräche Rezensionen und Auße- nommierten ]ury der Evangelischen Filmarbeit tionalen englischen Untertiteln erhältlich und rungen der Filmemacher (Regisseur, Chefka- zum,Filn-r des Monats' gewählt (siehe Holl- kann über Importfirmen bezogen werden; weil meraman) in die Diskussion einbezogen, oder stein 1997: 40). Nicht verschwiegen werden DVD-Player jedoch z. Z. noch wenig verbrei- es gehen Beobachtungsaufträge voraus, die fil- soll indessen, dass es auch eine Minderheit von tet sind - und weil die Wiedergabe nordame- mische Strukturen betreffen (2. B. den Einsatz Kritikern gibt, die dem Film sehr reserviert rikanischer DVDs auf europäischen Geräten von Musik). gegenübersteht (vor allem Francke 1997, Mes- nur mit einem Eingriff in die Abspieltechnik Die l«'eativ-produktiven Aufgabenstellungen sias 1996, Rafferty 1996, Täylor 1999). möglich ist 17l - wird auf diese neue Verfah- umfassen in erster Linie Arbeitsaufträge, die rensweise hier nicht weiter eingegangen. einen phantasievollen Umgang mit dem fii- mischen Text erfordern. Außerdem wird das 3 Unterrichtsentwurf 3.2 Auswertung des Films Abfasser-r einer I(urzrezension vorgeschlagen, im Unterricht die auf einer passenden Internetseite auch tat- 3.'l Einsatz von Film und Drehbuch sächlich publiziert werden soi1. (Mehrere eng- Neben Seh-/Hörverstehensaufgaben sieht der lischsprachige w eb site s zrm Thema,Film' bie- Es rvird vorgeschlagen,
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