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Watch and Learn: Rhetorical Devices in Classroom Teaching Films After 1940 UvA-DARE (Digital Academic Repository) Watch and learn: rhetorical devices in classroom teaching films after 1940 Masson, E. Publication date 2012 Document Version Final published version Link to publication Citation for published version (APA): Masson, E. (2012). Watch and learn: rhetorical devices in classroom teaching films after 1940. (Framing film). Amsterdam University Press. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:06 Oct 2021 WATCH AND LEARN FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices, in line with the existing archive of EYE Film Institute. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. Please see www.aup.nl for more information. EEF MASSON WATCH AND LEARN Rhetorical Devices in Classroom Films after 1940 AMSTERDAM UNIVERSITY PRESS Cover illustration: still from the film Een wens verhoord binnen !" uur: De post (Stichting Nederlandse Onderwijs Film, !"#$) Cover design and lay-out: Magenta Ontwerpers, Bussum ISBN "%& "' &"() $!* ) e-ISBN "%& "' )&#! )!! $ NUR (%' © E. Masson / Amsterdam University Press, Amsterdam *'!* All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. TABLE OF CONTENTS Acknowledgements % | # Introduction !! PART ONE ! Film for Education: Debates, Idea(l)s and Practices *% Introduction *% !.! Film as an Educational Tool *" !.!.! Possibilities $' !.!.* Limitations ## !.* The Classroom Film: Institutionalisation (( !.*.! NOF: Organisation and Procedures (" !.*.* NOF: Rules and Regulations %% Conclusions "( * Classroom Film Use and the Pedagogical Dispositif "" Introduction "" *.! The Reception and Use of Classroom Films !'' *.!.! Scepticism and Resistance !'! *.!.* Some Hypotheses on Film Usage !'" *.* Classroom Films and the Pedagogical Dispositif !!% Conclusions !*) PART TWO $ Rhetoric: Text & Frame !*% Introduction !*% $.! Rhetoric: Conceptual Exploration !*" $.* Framing Rhetoric !$$ $.$ Textual Rhetoric !$& Conclusions !)$ ) Textual Rhetoric I: Motivational Devices !)# Introduction !)# ).! Textual Motivation: Foci and Strategies !)& ).!.! Matter Made Appealing !)" ).!.* Viewing Made Appealing !%) ( | ).* Strategies of Motivation: Blurred Boundaries !"# ).$ Textual Motivation Reconsidered: Didactic Matter and Periphrasis !"" Conclusions *'# # Textual Rhetoric II: Referencing the Pedagogical Dispositif *'" Introduction *'" #.! References to the Dispositif: Discursive Variety *!! #.* A Historical Perspective **( #.$ Referencing the Dispositif and Issues of Authority *$' Conclusions *$& Conclusions: Towards a Conception of the Dispositif Notion as a Comparative Tool *)! Notes *## List of Illustrations $*! NOF Films Online $*$ Filmography $*# Bibliography $$# Index $## WATCH AND LEARN ACKNOWLEDGEMENTS I would like to express my gratitude to a number of people, without whom the | % writing of this book would have been much harder, but also less instructive, and above all less gratifying. First of all, I would like to thank Frank Kessler and Nanna Verhoeff at Utrecht University, who supervised the project in its early stages. Also, Roger Odin (University of Paris III), Joost Raessens (Utrecht University) and William Uricchio (Massachusetts Institute of Technology), for their valuable remarks during my PhD defense. Other members and former members of the Utrecht staff who I am indebted to for suggestions and support are Sjaak Braster (now Erasmus University Rotterdam), Ann Rigney, Martina Roepke (VU University Amsterdam), Simone Veld and various attendees of the Media Research and Media and Performance Seminars. At the Netherlands Institute for Sound and Vision, I would like to thank present and past employees Bas Agterberg, Hans van den Berg, Bert Hogen- kamp, Peter Klinkenberg, Jan Pet, Tom de Smet, Richard Soeter and Karin Westerink as well as the late Henk Verheul (Smalfilmmuseum/Netherlands Institute for Sound and Vision). At Nationaal Onderwijsmuseum, Lenja Crins, Jacques Dane, Tijs van Ruiten, and above all, Ed van Berkel, faithful guardian of NOF’s papers and memorabilia. At Eye Film Institute Netherlands, Rommy Albers, Giovanna Fossati, Rixt Jonkman and Annelies Termeer. At Cineco/ Haghefilm, Ed Frederiks and Juan Vrijs. I am indebted to both the Netherlands Institute for Sound and Vision and Eye Film Institute Netherlands for making a selection of films from the NOF collection dealt with in this book publicly accessible. Sound and Vision preserved and digitised the films; Eye provided the web space and put them online. For help and advice during the editing and publication process, my gratitude goes out to the people at Amsterdam University Press. For bits and bobs of information and advice, thanks also to Catherine Cor- mon (Eye Film Institute Netherlands/Heineken Collections), Leen Engelen (Limburg Catholic University College), Anita Gertiser (University of Zurich), Thierry Lecointe (independent researcher), Sabine Lenk (Cinémathèque de la Ville de Luxembourg), Floris Paalman (University of Amsterdam), Mette Peters (Netherlands Institute for Animation Film), Walter Swagemakers (Eye Film Institute Netherlands), Marjolein de Zwaan (formerly NIAM/TMS) and inter- viewees Harry Jongbloed, Gerrit Lansink, Kees van Langeraad, Ole Schepp and the late Jan Marie Peters. For language advice and editing, kudos to Guy Edmonds (Eye Film Institute Netherlands) and Joanna Poses, and above all, to Claudy Op den Kamp (Plymouth University) – indefatigable! – and Tawnya Mosier (University of Utah). And last but not least, for support and advice (and large quantities of food), my parents, brother and friends. And you Kaat, for love, care and lots of & | stamina throughout the process. WATCH AND LEARN Introduction Tidings of any ‘new’ audio-visual medium entering the domain of public con- | !! sumption invariably seem to cause commentators to speculate on its poten- tial educational use. In recent decades, it was the advent of innovative digital applications that provoked such thought; earlier on, it was the promise of ana- logue media such as still and moving photographic images. Pronouncements on the subject tend to be made in rather grandiloquent terms: authors claim that the particular technologies they advocate might in some way revolution- ise current educational practice. The media they deal with are considered to hold the potential of radically changing didactic methodologies, and by the same token, solve century-old problems, both on the teachers’ part and on the pupils’ or students’. In practice, of course, the objects of such speculation do not always find access very easily in (regular, formal) education. As a rule, compulsory school- ing is financed at least in part out of public funds; therefore, the institutions that provide it can rarely keep abreast of the most up-to-date audio-visual developments. In addition to this, optimistic predictions are often countered with objections, originating among others in the teaching field itself. If any consensus between proponents and adversaries is eventually reached – often at a time when the technology concerned has not been so new for quite a while – one of the conclusions is that while it may indeed have certain didactic benefits, its educational use ultimately depends on the production of media texts that are sufficiently adapted to the specific purposes they should serve in schools. The immediate implication is that such texts necessarily differ from the kinds of material that are already available, and that are used in other, non-educational environments. ‘CLASSROOM FILMS’: WHAT’S IN A NAME? In the early !")'s, entrepreneur A. A. Schoevers produced a memo, addressed to the Dutch government, that contained a number of guidelines for the estab- lishment of a new, official body. The agency he had in mind would take on the task of coordinating the supply of films for use in regular (compulsory) edu- cation. The document was part of a larger corpus of texts which, collectively, make a plea for the conception of such an organisation with money provided by the Dutch government. The first few paragraphs of Schoevers’ text read: If a film deals with a subject in its entirety, and from life – for example a business, a region, the life or fortunes of people, animals, plants etc. – then
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