Using Film in the College-level KFL Classroom: Applying Theories and Developing Activities
Young-mee Yu Cho⋅Hee Chung Chun⋅Ji-Young Jung (Rutgers University⋅Rutgers University⋅University of Pennsylvania)
유영미⋅전희정⋅정지영. 2014. 영어권 학습자를 위한 교육용 영화 선정 과 활용방안. 한국어 교육 25-4: 249-275. 본 연구는 미국 대학의 한국어 교육과정에서 활용하기 위한 교육용 한국 영화를 선정하고 그 활용 방안 을 보이는데 그 목적이 있다. 한국어 교육용 영화 선정 기준과 활용 방안 에 대해 논의한 기존의 연구들은 학습자 및 수업의 성격과 규모의 차이 등을 이유로 미국 대학에 직접적으로 적용하기에 무리가 있을 것으로 보 인다. 이에 본고는 미국의 한국어 교육 환경을 고려하여 언어 교육에서 영화의 활용이 갖는 장점과 의의, 교육용 영화 선정 기준 및 그 활용 방 안을 이론과 실제 교실에의 적용을 중심으로 논의하고자 한다. 특히 본 고는 13개 미국 대학의 한국어 프로그램에서 실제 사용되는 한국어 교육 용 한국 영화의 사용 현황을 조사하고, 그에 대한 교사 및 학습자의 실제 반응을 논의한다. 또한, 현재 미국의 두 대학의 한국어 교육과정에서 활 용하고 있는 한국 영화와 그 활용 방안을 문화간 의사소통 능력 신장을 위한 활동을 중심으로 살펴본다는 데 그 의의가 있다.
주제어: 미국 내 한국어 교육(Korean language education in America), 교육용 한국 영화(Korean films for educational purpose), 영화 선정 원리(Criteria for educational film), 문화간 의사소통 능 력 (Intercultural competence), 영화 활용 활동(Activities using film)
1. Introduction
In the second decade of the 21st century, no one questions the view that 250 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung the use of multimedia has great potential to enhance learning and that its effective use is one of the most motivational tools available for language teachers. Based on a survey of thirteen representative Korean language programs in the U.S., we conclude that, despite the consensus surrounding the effectiveness of using films in language education, Korean films have not been properly integrated into the first three levels of KFL classrooms. What’s more, the selection of films and the designing of instructional activities have been ad-hoc at best since there has been no serious discussion about what criteria should be applied in selecting appropriate films for language instruction and about how to identify and develop the types of meaningful activities that correlate with learner proficiency. Insofar as films provide an enhanced learning experience and a dynamic supplement to traditional formats, we aim to seek and share a new approach to using film in the KFL curriculum. The issues that need immediate attention are (1) What criteria should be applied in the selection process to avoid often-encountered pitfalls such as excessive nationalism, vulgar language, excessive sex/violence, gender stereotypes, and political incorrectness? (2) What is the most effective way to incorporate films into the KFL curriculum? (3) How can instructors exploit films to help develop not only students’ linguistic and functional skills but also their critical thinking and cross-cultural understanding? and (4) How do we incorporate history/culture as far as they are relevant to KFL according to the 5Cs of the ACTFL's National Standard s1)? These concerns are addressed in the present study in the following ways. First, we examine the previous studies on using films in foreign language
1) Please refer to Appendix 1 for detailed description on 5Cs. Using Film in the College-level KFL Classroom 251 education and the ways in which films are found beneficial. Then, based on the survey results of thirteen Korean language programs in the U.S. and the findings of previous research, we suggest eight criteria for selecting films for effective and meaningful language learning. The last section of the study discusses more specific ways to utilize films in the language classroom, focusing on the development of intercultural competence. In so doing, four successful examples of the use of films are presented to show how films can be a powerful tool for fostering cultural awareness, critical thinking, production of extended discourse, and intercultural understanding.
2. Literature Review
For decades teachers in the field of foreign language (FL) and second language (SL) have used visual materials in class with varying degrees of sophistication and success, with the aim of facilitating students’ learning through authentic and natural representations. Visual materials such as films, dramas, documentaries, television news and commercial films constitute invaluable teaching materials as they provide students with rare opportunities to experience unedited language input (Dodds, 1997; Lee, 1999; Rifkin, 2000; Du et al., 2001; Etienne & Sax, 2006; Sturm, 2012). For instance, Dodds (1997) implemented visual elements into an intermediate-level German class and encouraged students to use the vocabulary they heard in small-group discussions and writing assignments. Quite remarkably, after watching segments of about 15 minutes twice in the same week, students improved target language reception from an intermediate-low or intermediate-mid level to an advanced level. In addition, by the end of the semester, most students were able to successfully narrate their versions of the film plot, using 252 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung appropriate grammar patterns. Under the task-based learning approach (TBL), Rifkin (2000) also reported encouraging results after using four films for one semester in his advanced Russian class and concluded that film was useful for students because the visual and aural components helped them to perform such linguistic functions as “speech narration, description, argument, and hypothesis.” (p.66) Throughout the semester, he also observed the unfolding of a developmental sequence, starting from a string of sentences, growing to a description and a short narration, then to a comparative discussion, all the way to building an argument. Films are also shown to provide students with an opportunity to learn language use in context. As Lee (1999) assumed in her research, a film is a form of colloquial text, reproducing an authentic discourse. Therefore, a film in the a second language (L2) class will provide a specific situation for a communication (Du et al., 2001) and works as “situational parameters or extra-linguistic cues” (p.938) that will guide the student to determine the appropriateness of language in a given situation (Etienne & Sax, 2006). Furthermore, past research has shown that students enjoyed working with films more than with other texts, thus bringing about a refreshing change from a traditional classroom setting (Dodds, 1997). Films are particularly attractive to young adults since they, as digital natives, are quite used to taking advantage of multimedia for the purposes of learning (Sturm, 2012). Choi and Yi (2012) utilized in their advanced Korean courses a variety of media types (e.g. television dramas, television shows, films, music videos, internet blogs) and concluded that using pop culture, including films, in the classroom is highly motivational. Within a communicative language teaching (CLT) approach, Sturm (2012) focused on how to implement a film-based pedagogy in L2 (Second Language) Using Film in the College-level KFL Classroom 253 courses and argued that a film could be an efficient tool for language teaching because it “evokes a variety of emotional and intellectual responses.” (p.255) It also enables students to interpret cultural meanings properly, rehearse them in class, and meaningfully apply them their own lives. (Tognozzi, 2010). The advocates believe that films function as a bridge between contexts inside and outside of the classroom (Choi & Yi, 2012) and can be utilized not only for their classroom activities as writing, discussion, or presentation (Dodds, 1997) but also as a means of communication in a realistic context (Sturm, 2012). Finally, visual materials, especially films, are a user-friendly tool for FL and SL teachers as well. They lend themselves to a variety of options (1) in its format-online streaming, video-tape, and DVD, (2) in available contents and topics, and (3) for applicable tasks in pedagogical situations (Han, 2005). Also they are relatively short compared to a series of television dramas or television shows, and thus less subject to time constraints.
3. Survey of Film Use in the Korean Classroom
In May 2014, we conducted an online survey to understand the current practices in the use of Korean films in Korean language courses in U.S. universities. An online survey tool, Qualtrics was used to gather information because of its convenience in creating question items and analyzing results. Thirteen universities were selected based on the consideration of several factors such as the characteristics of the university (large state institutions, private universities, liberal art colleges, etc.), the size of the programs, and the regional balance. Respondents were people who are either in charge of the program or knowledgeable enough about the entire programs to answer the questionnaire. 254 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung
Survey questions were developed on the basis of a thorough review of previous literature and they focused particularly on selection criteria and the range of practical applications of Korean films in the classroom. Survey questions included but were not limited to the following:
(1) Sample Survey Questions 1. Have you ever used films in your Korean language course(s)? 2. List movie titles you have used and indicate which courses they were used for. 3. Which movies are you satisfied with for classroom use? Explain. 4. Are there any movies that you have not used yet but would like to use in the near future? Explain. 5. Were there any movies that you would never use again? Explain. 6. Were there movies where the students’ responses were very different from your expectations? Explain. 7. What did you intend to teach with each film? 8. What classroom activities and/or homework assignments did you use? Indicate which courses. 9. What classroom activities and/or homework assignments worked best for each movie? Explain. 10. Were you able to measure any learning outcomes? If yes, what assessment tools did you use? 11. What were the benefits of using films in your course(s)? 12. What criteria did you use in selecting the movies you showed in class? Specify the movie titles along with the criteria applied.
The data, then, were qualitatively analyzed without a statistical handling due to the small sample size. Out of thirteen universities, twelve respondents indicated that they used Korean films in class either to expose students to authentic language usage or to provide them with necessary cultural input. The respondents also Using Film in the College-level KFL Classroom 255 mentioned that the use of Korean films yields level-specific benefits; providing linguistic inputs and raising students' interest in Korean language. Those responses were cited as the most important benefits for lower-level courses, while exposing students to sociocultural inputs was the primary goal for upper-level courses. As a result, level specific concerns also manifested themselves in selecting films. Although the content of a film was the primary consideration and was most frequently mentioned as the reason for choosing or not choosing a film, the respondents mentioned that linguistic issues such as proficiency level and linguistic information contained in the movie were carefully considered for lower-level courses. On the other hand, films with rich social, cultural and/or historical contexts were favored for upper-level courses as they provide excellent teaching opportunities by way of discussion topics, essay themes and presentation tasks. In addition to these criteria, the respondents indicated that they exclude films they deem boring, widely watched, or too controversial. (2) below summarizes some of the failures mentioned in the survey.
(2) Reasons For Failures in the Classroom a. No interest to students: My Beautiful Girl, Mari (2001, <<마리 이야 기>>, The Guest in Room Guest and Mother (1978, <<사랑방 손님과 어머니>>) b. Confusion due to lack of cultural understanding: The Face Reader (2013, <<관상>>), Classic (2002, <<클래식>>) c. Sensationalism and Violence : Spring, Summer, Fall, Winter... and Spring (2003, <<봄 여름 가을 겨울 그리고 봄>>), Chihwaseon (2002, <<취화선>>), Memories of Murder (2003, <<살인의 추억>>), Old Boy (2003, <<올드보이>>), Silenced (2011, <<도가니>>), The Wife is the Gang Leader (2001, <<조폭 마누라>>) d. Too Controversial (due to gender bias and homosexuality): Couples 256 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung
(2011, <<커플즈>>), Bungee Jumping of Their Own (2001, <<번지점 프를 하다>>) e. Emphasis on Specific Religions: MANSHIN: Ten Thousand Spirits (2013, <<만신>>), Hi, Dhalma (2001, <<달마야 놀자>>) f. Excessive Nationalism: Take Off (2009, <<국가대표>>), Forever the Moment (2007, <<우리 생애 최고의 순간>>), Barefoot Dream (2010, <<맨발의 꿈>>) g. Biased History and Images: Welcome to Dongmakgol (2005, <<웰컴 투 동막골>>), Take Off (2009, <<국가대표>>), 200 Pounds Beauty (2006, <<미녀는 괴로워>>) h. Well-known Blockbusters: My Sassy Girl (2001, <<엽기적인 그녀>>)
Most participants expected their lower level students to gain vocabulary, grammar, listening skills and cultural knowledge through the use of films while very few answered that they expected the students in lower level class to improve their writing skills. On the other hand, students in advanced level courses were expected to improve their discussion/presentation skills as well as gain overall content and topic knowledge. Most participants responded that, in order to achieve the stated objectives, they designed comprehension questions and vocabulary recognition activities for lower level students, while a few answered that in addition they used plot summary activities, group discussions, and role playing. One respondent answered that she developed activities to predict the next scenes after watching a segment of a film in the lower level classroom. These efforts made by Korean teachers in the survey embody a sequential model of video viewing by “an exercise sequence for video use that proceeds from visual to verbal systems appropriate for beginning language instruction” (Swaffar and Vlatten, 1997; 180) For upper level classes, along with comprehension questions, plot summaries, presentations, article summaries, and culture identification activities, group discussions including Using Film in the College-level KFL Classroom 257 online discussions and response papers were reported to be primarily used.
4. Criteria
To date, there are only a handful of studies that deal with the selection criteria for a Korean language classroom. Lee (1999) employs an exclusion strategy for screening out inappropriate films for the language classroom, on the basis of the following eight negative factors.
(3) Exclusion factors in the film selection for language classroom a. Movies with two many dialectal and slang words: Sopyonje (1993, <<서편제>>, Two Cops (1993, <<투캅스>>) b. Movies that contain speech that is too fast: A Hot Roof (1993, <<개 같은 날의 오후>>), Hallelujah (1997, <<할렐루야>>) c. Movies that contain contents too technical for language learners: Father vs. Son (1997, <<박대박>>), Aje Aje Bara Aje (1989, <<아제 아제바라아제>>) d. Movies that portray extremely limited situations: Three-Oh-One, Three-Oh-Two (1995, <<301/302>>), The Road to Race Track (1991, <<경마장 가는 길>>) e. Movies that are not set in modern times: Eternal Empire (1994, <<영원한 제국>>, Surrogate Mother (1986, <<씨받이>>) f. Animations as they target specifically children2) g. Movies that are too violent and too sensational: Green Fish (1997, <<초록물고기>>, Scent of a Man (1998, <<남자의 향기>>) h. Movies that can portray excessive nationalism: The General’s Son (1990, <<장군의 아들>>, Mugooghwa-Korean National Flower (1995, <<무궁화 꽃이 피었습니다>>)
2) We do not agree with this categorical exclusion of animations as we have successfully used several episodes of Yeongsimi (1990, <<영심이>>, KBS) and the entire Green Days (2011, <<소중한 날의 꿈>>) in beginning and intermediate courses. 258 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung
Lee (1999) recommends such films as The 101st Proposition (1993, <<101 번째 프로포즈>>), The Contact (1997, <<접속>>), The Letter (1997, <<편 지>>), The Hole (1997, <<올가미>>), The Adventure of Mrs. Park (1996, <<박 봉곤 가출사건>>), Go Alone Like Musso’s Horn (1995, <<무소의 뿔처럼 혼자 서 가라>>), Festival (1996, <<축제>>), Art Museum by the Zoo (1998, <<미술 관 옆 동물원>>) as successful teaching materials for enhancing multi-skill integration and as appropriate for cultural education as well. We feel that Lee's (1999) criteria above are too restrictive and dogmatic, and in Section 4 we will propose a set of flexible criteria that take the teacher's autonomy and the student's learning into account. Section 5 will demonstrate that some of the films that would be excluded by her criteria can be used successfully in promoting cultural awareness as long as the classroom activities are carefully planned and carried out. More recently, Kim (2009) proposes four criteria by shifting the focus to the learner: (1) Student Interest, (2) Ease of Understanding, (3) Common Cultural Experience, and (4) Authenticity. The following two sets of films, all of which were released since 1990, were recommended as they have been cited as effective tools in facilitating language acquisition and promoting cultural awareness.
(6) a. Film Recommendations for Korean language education The 101st Proposition (1993, <<101번째 프로포즈>>), Christmas in August (1998, <<8월의 크리스마스>>), Ditto (2000, <<동감>>), Go Alone Like Musso’s Horn (1995, <<무소의 뿔처럼 혼자서 가라>>), Art Museum by the Zoo (1998, <<미술관 옆 동물원>>), Our Twisted Hero (1992, <<우리들의 일그러진 영웅>>), Action Boys (2008, <<우린 액션 배 우다>>), The Contact (1997, <<접속>>), First Love (1993, <<첫사랑>>), Chil-su and Man-su (1988, <<칠수와 만수>>), Taegukgi (2004, <<태극 Using Film in the College-level KFL Classroom 259
기 휘날리며>>), The Letter (1997, <<편지>>), Barking Dogs Never Bite (2000, <<플란다스의 개>>), White Badge (1992, <<하얀 전쟁>>), If the Sun Rises in the West (1998, <<해가 서쪽에서 뜬다면>>, Chunhyang (2000, <<춘향>>) b. Film Recommendations for Korean culture education Chunhyang (2000, <<춘향>>), Sopyonje (1993, <<서편제>>, Swiri (1999, <<쉬리>>), A Single Spark (1995, <<아름다운 청년 전태일>>, Our Twisted Hero (1992, <<우리들의 일그러진 영웅>>), Chil-su and Man-su (1988, <<칠수와 만수>>), Taegukgi (2004, <<태극기 휘날리 며>>), White Badge (1992, <<하얀 전쟁>>), North Korean Partisan in South Korea (1990, <<남부군>>), Joint Security Area (2000, <<공동경 비구역 JSA>>)3)
It is highly likely that many teachers in the U.S. do not agree with the film lists recommended above, nor accepting the rationale for selecting these particular films. We believe it is due to a rather one-dimensional approach to the selection. Based on the results of our survey as well as our classroom experiences, we propose the following criteria in fully taking into account both the instructor’s and the learner’s perspectives. After all, the instructor has to have a enthusiasm and the belief that the film in question serves intended purposes in the language classroom. In addition, the students should respond
3) Joint Security Area (2000, <<공동경비구역 JSA>>) is a film that can be used successfully both in a language course and in a Korean cinema/culture course, as long as its complicated flash-back plot is understood by students. It provides an appropriate context to inform students of North-South unification and socialist economy vs. capitalist economy. The flashback scenes before the investigation by Major Jean are effective in showing common brotherhood and humanity and the limits of reconciliation and friendship. This film is featured prominently in Korean pedagogy (e.g. Cheon, forthcoming. Language and Culture of Korea through Film) as well as in courses of Korean history and East Asia (e.g. Global East Asia, Rutgers University Signature Course) 260 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung positively to the viewing experience to make the viewing worthwhile.
(7) Eight Criteria for Film Selection for the Language Classroom4) a. The instructor’s judgment: the teacher has to determine (quite subjectively) that the film in question is suitable for specific educational purposes. b. Content of interest: the content of the film should attract the students’ attention5). c. Thematic appropriateness: the teacher may exclude films that they deem excessively violent, sensational and controversial. d. Degree of exposure to students: By selecting a film that most students are not familiar with and avoiding blockbusters, students come with no preconceptions. e. Authenticity: the film is judged to portray Korean history, culture and society with an authentic/realistic perspective. f. Accessibility: the plot, themes and the content of the film should be comprehensible to students, and there should be some consideration of film length. g. Linguistic appropriateness: the film contains natural speech but a tolerable level of dialectal and slang words. h. Consideration of the times and contextual relevance: not all films should be set in a contemporary society but the historical context of a film should be easily accessible.
An important underlying current behind the above criteria is the
4) Following our criteria, we complied our recommendations: for lower-level, Cast away on the Moon (2009, <<김씨표류기>>), Please Teach Me English (2004, <<영어완전정 복>>), South of the Border (2006, <<국경의 남쪽>>), Radio Star (2006, <<라디오 스 타>>), and Speed Scandal (2009, <<과속스캔들>>), and for advanced-level, Punch (2011, <<완득이>>), Joint Security Area (2000, <<공동경비구역 JSA>>), The President’'s Barber (2004, <<효자동 이발사>>), and My Heart (1999, <<정>>) 5) Please see Appendix 2 for the result of a student survey conducted at Rutgers university in Aprin 2014. Using Film in the College-level KFL Classroom 261 consideration of the ACTFL (American Council for the Teaching of Foreign Languages) Standards. The second C of the 5Cs in the ACTFL Standards is Culture that comes after Communication. It is well-received by now that language cannot be acquired in a vacuum. Learning a language necessarily means gaining an understanding of the culture(s) where the language is spoken. Appropriate use of films in the language classroom provides rich cultural contexts so that “Students demonstrate an understanding of the relationship between the practices and perspectives of Korean Culture” (the National Standards for Korean Language, 2012: 522)
5. Activities for Development of Intercultural Competence
The films included in Korean cinema courses chosen on the basis of the goals set up for specific courses, but, despite some overlaps, our concerns as language pedagogues are somewhat different from those of content course instructors. As the use of film with the specific aim of expanding vocabulary, grammar patterns, and listening skills is well documented in previous research, it is not pertinent to our discussion here. Next to the primary goal of Communication, researchers in the field of foreign language education have come to realize that Culture is an integral part of language and should be incorporated into any language curriculum. In our study, the beneficial use of film is particularly prominent in integrating culture into language learning. As mentioned in the previous sections, films offer rich and holistic contexts in which the target culture is presented, practiced and reinforced In this section, we suggest four pedagogical activities related to Standard 2.1, “Students demonstrate an understanding of the relationship between the practices and perspectives of 262 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung
Korean culture,” among the 5Cs (p. 522). For students who have not yet developed advanced proficiency, we suggest that the teacher focuses on raising students’ cultural awareness rather than initiating in-depth discussions, the latter being more appropriate for advanced learners capable of sustaining organized discourse in the target language. By simply presenting culture-conditioned images and having students describe what they see, the students’ cultural competence will be enhanced to a considerable extent with the instructor’s careful planning. At Rutgers University, for example, eighteen students in the intermediate heritage course watched South of the Border (2006, <<국경의 남쪽>>), as an introduction to the national division, and answered the following questions in isolated sentences.
(8) Questions for developing cultural awareness Q7. 북한을 배경으로 한 영화를 본 적이 있습니까? Q8. 영화에는 북한과 남한이 어떻게 나타나 있습니까 Q9. 북한과 남한 언어의 차이를 들을 수 있었습니까?
After watching the movie, students were able to recognize a number of cultural practices of two Koreas pertaining to the political systems, as well as more tangible, cultural products such as nayngmyen, ‘cold buckwheat noodles,’ a symbol of the North Korean cuisine. Most of them learned about North Korean defectors for the first time, and got to experience in an almost authentic way cultural and linguistic differences between North and South Korea, which could not be done effectively in a course solely relying on written material (especially in a language textbook). (9) below comes from two students’ reactions to the movie. Using Film in the College-level KFL Classroom 263
(9) Student reactions for South of the Border (2006, <<국경의 남쪽>>) “내가 본 한국 영화 중에 국경의남쪽이 제일 새로웠다. 내가 이 영화를 보면 서, 굉장이[굉장히] 웃었다; 하지만, 선호 씨랑 선호 씨의 가족이 북한을 탈 출하는 장면을 볼 때 제일 떨렸다.”
“국경의 남쪽에 북한말을 들었을 때, 되게 헷갈렸다. 뭐르는[모르는] 단어들 도 있었고 그리고 아무리 북한마리라도[북한말이라도], 한국사람들이알아드 를[알아들을] 수 있으려나를[있으려나] 생각을 했었다.” (Rutgers University: Korean 203, Spring 2014)
As the student reactions show, films provide students with rare opportunities in an intermediate class to produce meaningful utterances and to experiment with language while experiencing an unfamiliar culture. What is particularly worth noting is that one student professed to gain a new and increased interest in learning about Korean culture. See (10) below.
(10) Evidence of cultural awareness and increased motivation “[영화를 통해서] 내가 [나는] 한국문화에 대해서 배웠다. 특히, 한국문화를 배우면, 더 배우고게[배우게] 되고 싶어한다[싶게 된다]. 나는 아직 한국문화 에 대해서 많이 모르지만, 더 배우고 싶다라는 생각이 든다.”
For advanced students, we suggest that the teacher use movies that introduce increasingly more complex issues of the target culture, stimulating active discussion in class.6) In other words, the teacher should be able to connect issues raised by the movie to classroom activities in order to promote students’ critical thinking and discussion skills. Equally important, we recommend that the teacher select movies that allow the student to connect cultural issues in
6) In the first two levels of courses, there are equal number of heritage and non-heritage students. The comments cited in this paper from lower levels are not marked for ethnic identity. 264 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung the target culture to their own lives. Creating personal meanings and engaging in critical thinking will make the language learning experience much more relevant than passively receiving information the teacher hands out. The second activity we present in this section utilizes the 2013 movie The Face Reader (2013, <<관상>>). At the University of Pennsylvania, twelve fourth-year Korean students watched the movie and answered each of the four discussion questions with 4-5 sentences. The whole movie was viewed in the classroom over two class sessions during which the weekly topic 'lookism (외 모지상주의)' was discussed. Related to the topic under discussion, one question included a newspaper review of the movie and asked students if they agreed or disagreed with the review. Subsequently, incorporating their responses, students had in-class discussions about physiognomy, and how it can be considered a manifestation of 'lookism' in Korea.
(11) Activity for The Face Reader (2011)
Q3. 다음은 2013년 9월 30일자 경향신문 오피니언에 실린 글을 발췌한 것이 다. 글쓴이와 동의하는가? 왜 그렇게 생각하는가?
“운명적으로 정해진 것은 아무것도 없다. 운명을 만드는 것은 바로 자기 자신 의 마음이니 심상( )이 가장 중요하다 할 수 있다. 따라서 영화 <관상> 의 키워드는 관상을 믿지 않는 내경의 아들이 과거시험 준비를 하면서 가장 어려웠던 것이 무엇이냐는 면접관 질문에 ‘운명에 체념하지 않는 것’이라고 하는 답변이다.”
(12) shows two students’ responses to the question.
(12) Student responses to the newspaper film review “운명을 만드는 것은 자기자신의 마음이 하는 것을[것이라는 것에] 동의한다. Using Film in the College-level KFL Classroom 265
하지만 그것이 영화의 키워드인지는 모르겠다. 자신이 태어난 가족, 가정환 경, 신체조건 등등[등을] 고를 수는 없지만 노력을 통해서 어느정도 바꿀 수 는 있다고 생각한다. 예를 들어서 공부, 운동, 성형 이런 것을 통해서 원 래 주어진 환경과 조건을 벗어날 수 있다[있다고 생각한다].”
“나는 글쓴이와 완전히 동의한다. 영화를 보는 내내 관상에 집착하는 인물들의 모습들이[모습들에] 공감하기 어려웠다. 나는 죽은 왕이 했던 말과 같이 관상과 사주는 재미로 사람들을 기분좋게 해주는 매개체로 해야 된다고[매개체로만 간주되어야 한다고] 생각한다. 과학적인 근거도 없이 사람의 운명을 좌우하는 건[좌우한다고 믿는 것은] 영화에서처럼 굉장히 위험한 발상같다.”
Through this assignment, students practiced, in extended discourse, interpreting and expressing abstract concepts and perspectives prompted by the film. They also had an opportunity to present their opinions and develop their arguments, a requirement for reaching Superior Level of proficiency according to the ACTFL’s guidelines. It was extremely encouraging to note that, as observed by Rifkin’s (2000), a few students manifested a developmental sequence throughout the semester: (1) using strings of sentences, (2) narration, description and comparison, and, finally, (3) argument. In this way we also confirm the common observation that films offer excellent contextualization not only for learning about the target culture but also for developing linguistic proficiency beyond Advanced Level. Our third example demonstrates how Standard 2.1 on Culture and Standard 4.2 on Comparison, “Students demonstrate understanding of the concept of culture through comparisons of Korean culture and their own,” can be addressed at the same time. The same group of fourth-year students at the University of Pennsylvania watched the 2014 documentary movie MANSHIN: Ten Thousand Spirits (2013, <<만신>>) and completed a worksheet consisting of eight discussion questions. (13) presents a student’s response to the first 266 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung question, “영화에 대한 여러분의 반응을 한 단어로 표현한다면?”
(13) Student responses on Ten Thousand Sprits (2014, 만신) “이 영화에 대해서 한 단어로 표현한다면 ‘낯설다’이다. 일단 기독교 집안에 서 자란 나에게 무속신앙이라는 개념 자체가 새로웠다. 나는 신이라고는 하 나님 밖에 믿지 않지만 무속인들은 여러 신과 접촉을 하여 인간들과 중간 역할을 해준다는 것도 신기하였다. 뿐만 아니라, 신내림을 받기까지에 거치 는 현실적으로 불가능한 ‘작두타기’와 같은 일들이 가능해진다는 사실도 낯 설지만 신기하였다.”
Related to religious beliefs and practices, the above student compared her own culture with the Shamanistic beliefs of Korea, and explained how the two practices are different in paragraph-length discourse. Three students answered Question 8 “여러분의 삶과 연관된 부분이 있습니 까?” by comparing their own culture with ceysa (제사, ‘ancestral rites’) and mwutang (무당, ‘shaman’), and demonstrated the development of their own insight into Korean culture, “looking beyond their customary borders” (ACTFL’s Standards for Foreign Language Learning in the 21st Century, p.7).
(14) Creating comparisons “가끔 한국에 있을 때 큰아빠네 댁으로 제사를 지내러 간다. 제사를 지내는 것도 무속신앙의 일부인 거 같다. 하지만 기독교인으로써[기독교인으로서] 항상 영화에서처럼 진짜 조상님들이 오실거라고는 생각하지 못했다.”
“나랑은 연관된 부분이 별로 없는 것 같다. 가족이 모두 다 기독교인이고 한 국에 살지도 않아서 공감할 수 있는 부분들이 없다. 하지만 예전에는 한국 문화의 중요한 부분이었기 때문에 믿지는 않아도 한국인으로서 어느정도는 무당에 대해서 알아야 한다고 생각한다.”
“개인적으로 기독교 집안에서 자랐지만 우리나라의 문화적인 특성상 가끔 기 독교 신자조차도 샤머니즘적인 요소와 결합해 있음을 본 적이 있었다. 당시 Using Film in the College-level KFL Classroom 267
에는 그런 것들이 신앙에 대한 잘못된 이해에서 비롯된다고 생각하였는데 영화를 보고 나니 우리나라 전통문화에 샤머니즘이 뿌리박혀 있어서 전통적 인 가치관을 가진 사람들의 기독교 해석 방식이라는 것을 깨닫게 되었다.”
Our last example demonstrates tangible outcomes of cultural learning that are explicitly related to Standard 3.1 and 3.2, “Students reinforce and further their knowledge of other disciplines through the Korean language” and “Students acquire information and recognize the distinctive viewpoints that are only available through Korean language and culture,” respectively. More specifically, by watching a movie, students were able to deepen their understanding of Korean history on particular topics. (15) below shows that the movie was useful to engage students in the discussion of historical aspects of Korean culture from a more critical point of view. In this excerpt, the student answered Question 6, “영화를 보기 전에는 몰랐던 한국 사회나 문화가 있습니까?”
(15) Creating connections “나는 미국에 머물렀던 시간에 비해 한국 사회와 문화에 관심이 많으므로 비 교적 그에 대해 많이 알고 있다고 생각했다. 그러나 이 영화를 보고 한국 역 사와 사회에 관해 몰랐던 부분 한 가지를 배웠다. 나는 새마을 운동의 일환 으로 ‘미신타파’ 움직임이 있었는지 몰랐었다. 내가 알던 새마을 운동은 경 제 부흥에 힘쓰고, 농민들이 생산적인 일들을 하던 것이었다. 그러나 미신타 파와 같이 국민들의 오랜 문화를 규제했었다는 사실에 놀랐다.”
(16) shows a student’s answer to Question 7, “어떻게 한국의 근현대사가 영 화에 투영되어 있습니까?” Drawing upon the shaman Kim Kumhwa’s extraordinary life, students took a step further to uncover historical facts that are often inaccurately and subjectively portrayed in blockbuster movies based on historical events. 268 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung
(16) Enhancing historical and cultural knowledge “영화 ‘만신’은 한국의 근현대사를 잘 포용한 영화이다. 무속신앙이 시작했던 고대 역사부터 ‘만신 김금화’ 씨가 유년기를 보냈던 일제강점기 시대때 한국 의 모습을 잘 보여준다. 뿐만 아니라, 한국전쟁때 무속인의 삶이 얼마나 억 압되어있는지도 잘 보여준다. 그러고 현재 김금화 씨를 보여주면서 무속인으 로써의[무속인으로서의] 삶이 얼마나 변했는지, 무속신앙에 대한 우리의 관 점이 얼마나 변화했는지 보여주고 있다.”
These findings are limited to an analysis of student responses to three activities conducted in two Korean classes. We believe, however, that the above examples provide ample evidence that films yield significant benefits for teaching the target culture and facilitating critical thinking and intercultural insights, in addition to the usual goal of promoting communication skills in a foreign language classroom. Films are also shown to be particularly useful and effective in revealing abstract values and beliefs of the target culture beyond tangible culture products such as food, clothing, and holidays as well as in providing rich contextual and potent audiovisual basis for in-depth discussion. More importantly, using films enables educators to incorporate multiple goals of teaching foreign languages. For example, films can serve to compare and contrast the target culture with the student’s own. They also enable students to expand and deepen their knowledge in other disciplines such as history and politics. What is particularly worth noting is that students in our study were able to move beyond their comfort zones and dare to develop intercultural understanding. As documented above, students showed intellectual curiosity and openness towards unfamiliar cultural practices. Along with culture-specific knowledge, these attitudinal changes are essential in developing intercultural competence to interact with different cultures. Principled and well-structured use of film, therefore, greatly facilitates both Using Film in the College-level KFL Classroom 269 linguistic and intercultural competence, as well as individual enrichment. In addition, we hope that our position on film selection encourages an eclectic approach to the use of film in L2 teaching, by leaving ample room for the instructor’s judgment and needs for cultural education. We touched on topics that are relevant to the students in order for them to connect what they learn from the movie with their own lives. At the same time, however, we selected movies that cause a strong sense of curiosity about a new culture, and reveal important insights about the culture. Contrary to the choice of ‘safe’ films for language learners, we experimented with films such as South of the Border (2006,<<국경의 남쪽>>), Ten Thousand Spirits (2013,<<만신>>), The Attorney (2013,<<변호인>>) and others, despite and because of dialectal differences, religious aspects and potential controversies. We argue that ‘change’ is the key concept in using film. Beyond providing personal enjoyment and linguistic input, we believe that, when skillfully deployed, film can be a powerful tool in introducing unfamiliar sociocultural, historical and ideological notions. Provided with ample intercultural space, our students were able to identify the main themes of the movies, interpret them critically, and engage their emotions, thus developing a quintessential transcultural understanding. Finally, it should be noted that, in our data, the majority of advanced-level learners consists of heritage learners of Korean who already have a strong cultural connection to their heritage language. These students come in with a different motivation from that of non-heritage learners. Identity is usually a significant issue for heritage students, especially when conflicting values and beliefs of the two or more cultures they straddle are at work. Developing intercultural competence in these contexts involves identity negotiations, which, in turn, inherently entails affective and attitudinal changes. Therefore, 270 Yonug-mee Yu Cho Hee Chung Chun Ji-Young Jung we suggest that teaching a heritage language is changing ‘the whole person,’ and, in doing so, film can bring about holistic, multifaceted changes on both of the affective and intellectual levels beyond cultural enrichment.
6. Conclusion and Future Research
The films included in Korean cinema courses are of great value in “content” courses as a tool to examine contemporary society through cinematic representations, often with a thematic emphasis on tradition, colonialism, femininity/masculinity, national division, and military dictatorship.7) However, KFL instructors in our survey identified two sets of distinct goals for using films in a language curriculum--one for lower-level courses and another for upper-level courses. Under the consensus that films provide an enhanced learning experience, we proposed more principled criteria for pedagogical film selection and explored a new approach to incorporating film in the college KFL curriculum. Exemplifying the film use for narrow and fragmented linguistic purposes, although valuable in their own ways, would not be meaningful to include in this paper where our focus lies in enhancing general linguistic and cultural awareness rather than in providing natural input for particular grammatical forms.. Instead, we focused on the use of films for the specific purpose of developing intercultural competence. We hope that the
7) e.g. “The Guest in Room Guest and Mother (1978, <<사랑방 손님과 어머니>>),” “The Aimless Bullet (1961, <<오발탄>>),” “The Housemaid (1960, <<하녀>>),” “Poetry (2010, <<시>>),” “Old Boy (2003, <<올드보이>>),” “Sopyonje (1993, <<서편제>>,” “Joint Security Area (2000, <<공동경비구역 JSA>>),” “A Peppermint Candy (1999, <<박하사탕>>),” “A Petal (1996, <<꽃잎>>),” “Tell Me Something (1999),” “The Host (2006, <<괴물>>),” “Take Care of My Cat (2001, <<고양이를 부탁해>>),” “Secret Sunshine (2007, <<밀양>>)” Using Film in the College-level KFL Classroom 271 examples in Section 5 demonstrate concrete ways in which the films selected by the suggested criteria were actually used as a means for students to articulate their enhanced cultural knowledge. We admit that further research is needed in order to determine whether the selection criteria actually yields measurable results by collecting data on student and teacher experiences.
References
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Student Survey on Korean Film - 40 students at Rutgers University (KOR 102/202/203/302), multiple answers
1. Which genre of films do you like best in general?
2. Which themes in a film do you enjoy the most in general? Young-mee Yu Cho (유영미) Department of Asian Languages and Cultures Rutgers University 43 College Ave New Brunswick, NJ, 08901, USA 전화번호: +1 848-932-5603 전자우편: FAX: +1 732 932 7926
Hee Chung Chun (전희정) Department of Asian Languages and Cultures Rutgers University 43 College Ave New Brunswick, NJ, 08901, USA 전화번호: +1 848-932-6496 전자우편: [email protected] FAX: +1 732-932-7926
Ji-Young Jung (정지영) Department of East Asian Languages & Civilizations University of Pennsylvania 255 S. 36th Street, Room 847 Philadelphia, PA 19104-6305 전화번호: +1 215-898-6049 전자우편: [email protected] FAX: +1 215-573-9617
접수일자: 2014. 09. 30 심사일자: 2014. 10. 24 게재확정: 2014. 11. 19