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The Social Studies Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/vtss20 Using Historical Films to Promote Gender Equity in the History Curriculum Cicely Scheiner-Fisher a & William B. Russell III a a College of Education, University of Central Florida, Orlando, Florida, USA Version of record first published: 10 Sep 2012.

To cite this article: Cicely Scheiner-Fisher & William B. Russell III (2012): Using Historical Films to Promote Gender Equity in the History Curriculum, The Social Studies, 103:6, 221-225 To link to this article: http://dx.doi.org/10.1080/00377996.2011.616239

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CICELY SCHEINER-FISHER and WILLIAM B. RUSSELL III College of Education, University of Central Florida, Orlando, Florida, USA

Teaching with film is viewed as a pedagogical best practice, especially when teaching historical or social studies content. Many of the most popular films used to teach history topics leave women’s voices out of the narrative. Women’s history is generally left out of traditionally male-dominated history curriculum; when it is included, it is usually in the margins or in sidebars. This article promotes the use of historical films that have a female presence. How women are portrayed in film and how to choose films that meet the criteria of the Bechdel Test for women in film are also examined. Keywords: Bechdel Test for women, female perspective, historical films, teaching with film

In today’s classroom, the female perspective is often left their materials to make a more balanced and accurate cur- out of the historical narrative students are learning. This is riculum. due in part to the fact that there are not many mandates Students exposed to the many roles women have played for such inclusion. The National Council for the Social throughout history can come to understand that while Studies (NCSS) includes only one standard that mentions women maintained their traditional roles, they were also gender: “Assist learners to describe how family, religion, pursuing greater freedom and forging new lifestyles (Groves gender, ethnicity, nationality, socio-economic status and 1994). They learn to value the diversity of perspective and other group and cultural influences contribute to sense of appreciate that there is not just one narrative, not one per- self.” Individual state standards are similar in nature; for spective, not one history. Unfortunately, most teachers do example, the Florida standards include the study of women not take a women’s history course in their teacher prepa- in U.S. history since 1880, as if there were no women con- ration and therefore find themselves uninformed on the is- tributing to society before that date. The standard itself fo- sues; thus, they perpetuate the omission of women’s history cuses on “the contributions of women ...who have worked in their own classrooms. Gender disparities in the social to achieve equality and improve individual lives”; thus, studies curriculum are often not even recognized by teach- women are only worthy of inclusion if they contributed to ers because the male experience is still seen as the standard Downloaded by [Mr William Russell] at 18:09 13 September 2012 their own fight for political equality (Cruz and Groendal- experience (Marcus and Monaghan 2009). To supplement Cobb 1998). the male experience, teachers can use historical films to Even though classroom teachers are the often arbiters promote gender equity and female perspective. of what does get included in their curriculum, “they may The purpose of this article is to encourage educators to not feel comfortable with the subject matter” (Cruz and use historical films to promote gender equity in history Groendal-Cobb 1998). Moreover, there are other influenc- curriculum. In addition, this article also provides educa- ing factors that relegate women’s history or women’s per- tors with a filmography of gender equitable historical films spective on history to the margins: “school administrators that are considered appropriate and effective for teaching that do not support curriculum reform, instructional ma- a gender equitable history curriculum. terials that omit or segregate women’s contributions and curriculum developers who give little thought to women at all in their courses of study” (Cruz and Groendal-Cobb 1998). It falls then to the classroom teachers to supplement Underrepresentation of Women in Historical Films

Many of the most popular films used to teach history leave Address correspondence to Cicely Scheiner-Fisher. E-mail: women’s voices out of the narrative. The Patriot, Glory, and cicely.scheiner-fi[email protected] Forrest Gump have females in the cast, but the women do 222 Scheiner-Fisher and Russell

not play a significant role nor make a significant contri- determine if a film has a strong female presence, the au- bution to the story. Case in point: in the film Glory they thors used a test created by Alison Bechdel, an American are listed in the credits as “Black Woman” and “White feminist commentator. The test, known in popular culture Woman.” In a discussion on women’s history, Sam Wineb- as “the Bechdel Test,” does not ask if a film is feminist, only urg notes that women’s history is not interwoven through- if there is a “female presence.” The test examines the female out school history texts; rather, women are simply inserted presence in a film by asking if a film meets three criteria: (1) into the traditional canon, usually in the form of represen- there are more than two females (who have names); (2) the tative sidebars and supplemental material (Wineburg 2001). female characters talk to each other; and (3) they talk to The same can be said for films that place a woman into a each other about something other than a man. Most pop- story in the form of the protagonist’s love interest, family ular films do not meet these criteria. Moreover, the choices member, or single compatriot just for the sake of having a teachers make about the historical films they use in class of- female character. The fact is that women seldom speak only ten do not meet these simple measures, and by doing so they to men or encounter only men; they should not continue to are unconsciously marginalizing half their class. Applying be represented in such a manner. It is easy to overlook the the Bechdel Test when selecting films allows educators to lack of interactions of females with other females because circumvent the pervasive, yet low-grade, sexism of popular the male perspective is considered universal. culture. For more information about the Bechdel test visit Often when women are included in a film for the sake www.bechdeltest.com. of simply having a female in the film, she is relegated to a stock character role. For example, the bad girl or outcast who may or may not prove virtuous in the end; the dumb Teaching History with Film blond or bimbo, an attractive but unintelligent character placed in a film for either comic relief or as the idealized Walt Disney said, “Movies can and do have tremendous in- virginal maiden; the Hooker with the Heart of Gold, a sex- fluence in shaping young lives in the realm of entertainment worker who is also wise and compassionate; the Nurse, who toward the ideals and objectives of normal adulthood.” finds herself in unrequited love with the hero (or villain); One of the main goals of teachers is to influence young stu- the Tomboy, the girl who finds that she just relates better dents toward following the ideals of their society. Teaching with the guys than other females, she may also exhibit jeal- with film is viewed as a pedagogical best practice and an ously of more feminine girls, especially if she has romantic effective tool for enhancing curriculum (Russell and Waters feelings for one of the males (McKinely 1997). Negative 2010; Russell 2012a). Film is considered to be an effective portrayals of women may be damaging to younger viewers communicator and has the potential to arouse emotions perceptions because they are not likely to view such por- (Interview with James McPherson in Russell 2008) and trayals as critically as one might like (Lauzen and Dozier stimulate feelings. The visual imagery of history on film 2005). Obviously, in life, no one has such a one-dimensional can (a) help develop students’ historical understanding of personality. In movies, it is less often that male characters the past, (b) help develop students’ awareness of historical have the narrow experience of their female counterparts; prospective, (c) promote historical thinking, and (d) help thus, students will learn the double standard that occurs students develop historical thinking skills (Russell 2012b). when one perspective is privileged over another. Teachers Film allows students to get a glimpse into a portrayal of the can illustrate the depth of women’s experience by highlight- time under study. It allows them to make connections with Downloaded by [Mr William Russell] at 18:09 13 September 2012 ing different points of view in historical films that do not the characters, thereby bringing forth empathetic reactions relegate women to fulfilling stock character roles, but show they might not get out of a history textbook. Using film women struggling to accommodate political, social, and also promotes inquiry skills, as students are encouraged to familial challenges. make informed decisions based on specific content (Russell According to Lauzen and Dozier (2005), the worth of 2009). characters is suggested by their absence or abundance on Five major historical thinking proficiencies that are screen and the quality of their portrayals. Female charac- exceptionally suitable when teaching history with film ters continually occupy a limited range of occupations, held are “content knowledge,” “narrative analysis,” “historical- lower-status positions, and wielded less power than men. cultural positioning of a text,” “historical empathy,” and Thus, when women are persistently placed in stock char- “discernment from presentism.” Insofar as film is useful for acter roles or risk losing their femininity when challenging broadening students’ content knowledge, historical films the status quo, students are learning hidden curriculum of provide a manner for teachers to present more useful his- favoring the male point of view as the paradigm. tory than a simple memorization of facts. A narrative anal- ysis provides an opportunity for students to examine the Determining Gender Equitable Films messages, both implicit and explicit, being conveyed by a film. It is the narrative analysis proficiency that asks stu- To promote gender equity with historical films, teachers dents to examine whose story is being told and whose story should use films that include a strong female presence. To is being left out; historical thinkers will ask why and to what Historical Films and Gender Equity 223

end such narratives are expressed. The historical cultural fore too long has to leave to fight in the Confederate army positioning proficiency asks students to consider the in the Civil War. The story goes back and forth between relationship the writers, directors and producers have with the happenings of Cold Mountain and Inman’s journey the events depicted in the film; in this way students can back home. Although there is a lot of inappropriate sex- view the film as historiography, viewing the creation of a ual content and violence, this film would be useful in the film as a piece of cultural history in its own right. Histor- classroom, as long as it was edited for content. ical empathy is the proficiency most teachers who use film Elizabeth address in their classrooms, “Teachers seem to be attracted Year: 1998 to the visceral and emotional power of history feature films Rating: R (violence and sexuality) to get students to care about the past” (Metzger 2007, 73). Director: Shekhar Kapur The fifth competency Metzger outlines, “discernment of Producer: Tim Bevan presentism,” asks students not to view the past through the Country/Language: UK/English lens of the present. This is a difficult task, especially be- Runtime: 124 min. cause most historical films exhibit some level of historical Color: color presentism, portraying events as though they are under- Company: Polygram Filmed Entertainment/Universal standable through today’s values. Metzger notes that using Pictures a historical film requires students to engage in critical his- Details: torical thinking to make it a meaningful experience. To this Elizabeth is the biopic of the Queen of England in the six- end, “teachers must guide students to identify important teenth century. Queen Elizabeth ascends the throne dur- information and ideas about the past and then relate this ing the time when being Protestant was being a heretic. knowledge to broader patterns of historical significance” She faced many challenges, among them, her sister ac- (Metzger 2007, 71). cusing her of treason, reformation of the Church of Eng- land, and advisors with ulterior motives. Though this film does portray violence and sexuality, it can be edited Filmography for content and showed to a history class as a visual textbook. Below is a filmography of movies with complex and strong Elizabeth: The Golden Age female characters. Many historically based films are pre- Year: 2007 sented from the perspective of men; these ten films show Rating: PG-13 women who are capable of carrying their own story and do Director: Shekhar Kapur more than satisfy the “chick flick” narrative. To be included Producer: Tim Bevan on this list, a film had to meet all three of the criteria from Country/Language: UK/English the Bechdel Test for a female presence in film: first it had Runtime: 114 min. to have at least two women in it (who have names); second, Color: color they have to talk to each other; and third, their conversation Company: Polygram Filmed Entertainment/Universal has to be about something other than a man. Pictures Though some of these films are R-rated, it is important Details: not to discount the contribution they can make to a his- In the second installment of the Elizabeth movies, Eliza- Downloaded by [Mr William Russell] at 18:09 13 September 2012 tory or social studies classroom. Teachers should preview beth: The Golden Age, the Queen is older and more pow- these films to choose which sections are pertinent to the erful, yet she faces new challenges such as an assassina- curriculum and age-appropriate for their students. tion attempt, the Spanish Armada, war with Spain over her religious beliefs (Spain believes her to be a heretic), Cold Mountain and exploration and colonization in America. This film Year: 2003 has less sexuality and violence than the first film, Eliz- Rating: R (violence and sexuality) abeth, which makes it more suitable for the classroom. Director: Anthony Minghella It can be used to teach a unit on British history and the Producer: Steve E. Andrews reformation of the church. Country/Language: USA/English Tea with Mussolini Runtime: 154 min. Year: 1999 Color: color Rating: PG Company: Miramax Director: Franco Zeffirelli Details: Producer: Marco Chimenz Cold Mountain is the story of a young southern woman, Country/Language: Italy, UK/Italian, English Ada Monroe, who moves from Charleston to Cold Runtime: 117 min. Mountain, North Carolina, with her ailing father. Once Color: color there she falls in love with a young man, Inman, who be- Company: Cattleya 224 Scheiner-Fisher and Russell

Details: The Diary of Anne Frank Tea with Mussolini is the story of a young boy who is Year: 2009 raised by a group of rich expatriate British women and Rating: PG one outspoken American, played by Cher. The British Director: Jon Jones women have faith in Mussolini protecting them for a Producer: Elinor Day time, but once they are sent to live in barracks, they Country/Language: UK/English begin to lose faith in him as a ruler. The film takes place Runtime: 100 min. on the dawn of World War II in Florence, Italy, which Color: color means that the British and Americans become enemies Company: BBC/PBS of the state. As the movie progresses, the causes of World Details: War II and political problems of the times are illustrated This production of The Diary of Anne Frank premiered effectively. This film provides a study of class, war, and as part of the PBS’s Masterpiece Classic collection. The society and can act as a visual textbook as well as a film is based on the diary written by a young teenage depiction of atmosphere. Jewish girl living in Amsterdam during World War II. Iron Jawed Angels This production illustrates the conditions in which Anne Year: 2004 Frank and her family were living, including sharing a Rating: TV-14 very small attic space with another family and a older Director: Katja von Garnier man who shared Anne’s room. For two years Anne and Producer: Lee Amato her family lived in the attic before the Nazi’s took them Country/Language: USA/English away to the death camps. Runtime: 123 min. This version of The Diary of Anne Frank would be useful Color: color in the classroom during the study of World War II. It Company: Home Box Office (HBO) also deals with issues of religious intolerance, human Details: suffering, and the simplicity of human nature, especially Iron Jawed Angels tells the story of Alice Paul and other in dealing with issues of the heart. American suffragettes in their fight for political equal- Their Eyes Were Watching God ity. The movie shows how these women sacrificed their Year: 2005 health, safety, and overall well-being to fight for their Rating: TV-14 freedom. Although the film is a little watered down by Director: Darnell Martin the fictitious love affair Paul has with Ben Weismann, it Producer: Matthew Carlisle is still the best film out chronicling the fight for Women’s Country/Language: USA/English Suffrage. This film can be used in the classroom when dis- Runtime: 105 min. cussing women’s rights, the Wilson presidency, or abuse Color: color of power and female subjugation. Company: ABC The Young Victoria Details: Year: 2009 In this film, based on the book by Zora Neale Hurston, Rating: PG Halle Berry plays Janie, a women of the 1920s who be- Director: Jean Marc Vallee´ comes one of the founders of Eatonville, Florida, the Downloaded by [Mr William Russell] at 18:09 13 September 2012 Producer: Sarah Ferguson first incorporated township by African Americans. The Country/Language: UK/USA, English movie illustrates what life was like in the early twentieth Runtime: 105 min. century for African Americans, especially women. Janie Color: color goes through three important relationships, and the film Company: GK Films shows how her spirit was not crushed even though so Details: many wanted to see her fall into the role of dutiful house Based on the early life of England’s Queen Victoria, The frau. Young Victoria is both picturesque and thoughtful. As a Their Eyes Were Watching God can be used in the class- princess, Victoria refuses to give her mother and mother’s room to show what life was like in Florida at that time. husband/personal secretary “regency” to co-rule Eng- It illustrates certain aspects of American culture that are land after the death of King William IV, who happened not often shown in movies of the 1920s. Certain parts of to be the successor to King George III, the monarch who the movie showing sensuality can be edited out if needed lost America. The movie does well in its efforts to show depending on the maturity of the class. the strength and stubbornness of the young queen and Persepolis how misguidance caused her to make major mistakes Year: 2007 in her early months of sovereignty. Before too long, she Rating: PG-13 marries Prince Albert, and the rest is history. It is an Directors: Vincent Paronnaud, Marjane Satrapi excellent film to illustrate the early years of the Victorian Producer: Remi´ Burah era and the politics of Britain. Country/Language: France/French, USA Historical Films and Gender Equity 225

Runtime: 96 min. using historical films that promote gender equity is just Color: color and black & white, animated one of those methods. Teachers who make efforts to bring Company: 2. 4. 7. Films the women’s perspective out of the margins are doing more Details: than just adding one perspective; they are teaching students Based on the Iranian Revolution of 1979, Persepolis is that the male experience is just one of manyexperiences and the autobiography of a young girl growing up in Iran should be analyzed as one part of the story. The Bechdel during that time leading up to and including the afore- Test is one manner of judging a film’s inclusivity. View- mentioned revolution. Marjane “Marji” Satrapi watches ing a film using the same criteria for people of color and as her country changes drastically over this time; she is a other minorities illustrates that the movie industry is ex- rebellious young girl, who loves punk rock and Michael cluding more authentic voices of a myriad of perspectives. Jackson—she believes she will be a great prophet. As Using film in the classroom is a proven method of engag- Iran comes under the power of the Islamic fundamental- ing students in historical thinking. Teaching with film can ists Marji’s family sends her to Vienna to go to school. strengthen content knowledge and build students historical Persepolis isananimatedfilm,basedonthegraphicauto- empathy and can help students appreciate women’s roles in biographical books by Marjane Satrapi. There are some history in ways other sources might not allow. references to drugs and sexuality, however, not too much to take away from the essence of the film, which can be used in the classroom to teach about the Iranian Revolu- References tion, which provides an important connection to current Cruz, Barbara. C., and Jennifer L. Groendal-Cobb. 1998. “Incorporating events. Women’s Voices into the Middle and Senior High School History The Color Purple Curriculum.” Social Studies 89(6): 271–282. Year: 1985 Groves, Susan. 1994. “What Do You Mean? Women’s Studies in High Rating: PG-13 School?” Social Studies Review 32(2): 42–45. Lauzen, Martha M., and David M. Dozier. 2005. “Maintaining the Dou- Director: Steven Spielberg ble Standard: Portrayals of Age and Gender in Popular Films.” Sex Producer: Peter Gruber Roles 52(7/8): 437–446. Country/Language: USA/English Marcus, Alan S., and Meg Monaghan. 2009. “Tasting the Fluoride: The Runtime: 154 min. PotentialofFeatureFilmtoEnhancetheInstructionoftheWomen’s Color: color Movement.” Social Studies Research and Practice 4(1): 13–30. McKinley, E. Graham. 1997. Beverly Hills 90210: Television, Gender, and Company: Amblin Entertainment Identity.Philadelphia,PA:UniversityofPennsylvaniaPress. Details: Metzger, Scott A. 2007. “Pedagogy and the Historical Feature Film: The Color Purple follows the story of Celie Johnson, Toward Historical Literacy.” Film & History: An Interdisciplinary a young black woman living mostly in rural Georgia. Journal of Film and Television Studies 37(2): 67–75. Celie goes through many extreme trials and tribulations, National Council for the Social Studies. 2010. National Curriculum Stan- dards for Social Studies. http://www.ncss.org. including giving birth to two children sired by her own Russell, William B. 2008. Civil War Films for Teachers and Historians. father, abuse by her husband, and losing contact with Lanham, MD: University Press of America, Inc. her sister. This film illustrates life in the South from the Russell, William B. 2009. Teaching Social Issues with Film. Charlotte, late 1800s to the 1930s dealing with racism, poverty, and NC: Information Age Publishing. extreme sexism. Though The Color Purple is an award- Russell, William B. 2012a. “The Art of Teaching Social Studies with

Downloaded by [Mr William Russell] at 18:09 13 September 2012 Film.” The Clearing House: A Journal of Educational Strategies, winning book and movie, it should be used primarily Issues, and Ideas 85(4): 1–8. with older students. Russell, William B. 2012b. “The Reel World History: Teaching World History with Hollywood Films.” Social Education 76(1), 22–28. Russell, William B., and Stewart Waters. 2010. “Cinematic Citizenship: Conclusion Developing Citizens of Character with Film.” Action in Teacher Education 32(2): 12–23. Wineburg, Samuel. 2001. Historical Thinking and Other Unnatural Acts: There are many opportunities for teachers to en- Charting the Future of Teaching the Past.Philadelphia,PA:Temple hance history curriculum with multiple perspectives, and University Press.