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Nathan C. Phillips and Alan B. Teasley Reading Reel Nonfiction: Documentary Films for Young Adults ocumentary films? Is this The ALAN Review? young adult and to explain why it’s worth categorizing Yes. And yes. And please keep reading. Just as them this way. For teachers, watching documentaries Dothers have argued effectively that teens enjoy means thinking about how they might work as texts reading nonfiction (see Ed Sullivan’s “Some Teens for viewing in our classrooms. And, over the years, Prefer the Real Thing: The Case for Young Adult Non- as we’ve kept our eyes open for documentaries we fiction” [2001]), they also enjoy viewing nonfiction. could use in our teaching, we have realized that there We have seen students enthralled in a documentary are some documentaries that share characteristics film, begging to keep watching when the class period with the young adult literature that we love. As with ends (and even asking to see more documentaries). YA literature, there are documentaries with young But that’s not the only reason to share documentary protagonists and with thematic connections to teens’ films with your students. Many state standards call lives. To be sure, there are differences between what for English teachers to provide students with multiple we might term “YA films” and YA literature. One texts—fiction and nonfiction, written, spoken, and significant difference is that documentaries are almost viewed. Documentaries can enhance instruction in never marketed specifically to teens. And this is why nearly any content area. They offer many teachers and teenagers may a powerful, visceral, and visual not realize that they exist. complement to classroom instruc- We decided that compil- We decided that compiling tion and reading. Add to that the a list of quality YA documentary recent box office success of theatri- ing a list of quality YA films would be a worthwhile proj- cally released documentaries and documentary films would ect because they offer some things the ease of acquiring films through that teens can’t get elsewhere: com- online venues—which means there be a worthwhile project pelling stories of real adolescents are more films available and easily complete with all the complexi- accessible than perhaps ever be- because they offer some ties of life. We hope that putting fore—and there couldn’t be a better together this list of documentaries things that teens can’t get time to introduce your students to will enable teachers and adoles- documentary films. elsewhere: compelling cents to find films they’ll enjoy and But our purpose here is not learn from. And while YA docu- only to argue that documentary stories of real adolescents mentaries will certainly appeal to films are worthwhile texts for the teens, using them in the classroom classroom, but also to point to complete with all the also allows teachers to integrate the some films that we have come complexities of life. films’ content into topics of study. to view as implicitly or explicitly Additionally, using YA documen- 51 HE EVIEW T ALAN R Summer 2010 h51-59-TAR-Summer2010.indd 51 5/23/10 2:41 PM taries allows teachers and students to practice some works of art constructed by filmmakers to tell a story important media literacy skills. or present a particular point of view. Learning to read One thing we’re not trying to do in this article documentaries like this helps students to ask and an- is detail the best methods for teaching documentary swer the following questions: What is the filmmaker’s films in the English classroom (although we’ll share point? How is it being made? Am I convinced? Am I an idea or two). For a com- being manipulated fairly? prehensive presentation To help students understand that documenta- What is the filmmaker’s of teaching strategies, you ries are constructed, Nathan points to the 2003 PBS point? How is it being should read John Golden’s documentary The Murder of Emmett Till (Nelson, essential Reading in the 2003, NR, 60 min.), directed by Stanley Nelson. The made? Am I convinced? Reel World: Teaching concluding scene in the film is breathtaking and Documentaries and Other powerful, but viewers should recognize they are being Am I being manipulated Nonfiction Texts (2006). manipulated. Stanley Nelson has a point to make, and In fact, this article is not he makes it by skillfully editing historical footage and fairly? solely about documentaries contemporary interviews together with music. One we recommend for class- part of the scene is worth talking about in detail. Stu- room use. As with other works of literature, some of dents who watch the film will understand, by the time the documentaries we discuss would work well when they reach this scene at the end of the film, why it shown to an entire class, while others would be more works so well as an example of the constructed nature appropriate for group study or independent viewing. of documentaries, but because we haven’t watched Some would be worth showing in their entirety, while the rest of the film together, here is some historical others might work best for excerpted scenes. We trust background. teachers to make these kinds of decisions. We have In 1955, Emmett Till, a 14-year-old black boy simply compiled a list of films that can be categorized from Chicago, was murdered while visiting his as YA. However, we’re teachers, we’ve seen each film cousins in Mississippi. Two white men kidnapped in its entirety, and we think they could work well in Emmett and, after brutally beating and killing him, classrooms. (When there are concerns about content, dumped his body in the Tallahatchie River. They did we have noted that.) this because Emmett had supposedly whistled at one of their wives a few days earlier. The men, who later Strategies for Exploring Documentary confessed to the crime, were acquitted at a trial that Films in the Classroom received international media attention. During the trial, two black men, Mose Wright and Willie Reed, How do you get started teaching with documentaries? risked their own lives to testify against the killers Before showing a documentary film in his class for the (both Wright and Reed fled Mississippi immediately first time, Nathan always puts up on the overhead a after the trial). In the conclusion to The Murder of provocative quote from Time magazine’s film critic, Emmett Till, Nelson focuses briefly on the heroism of Richard Schickel: “A documentary is an arrangement these two men and on the idea that Emmett’s death (or, if it includes historical footage, a rearrangement) sparked the civil rights movement. of nonfictional film, structured to support the pre- With that background in mind, here’s how one existing ideas of the filmmaker. Only the terminally moving moment in that final scene plays out. We see stupid or the childishly innocent imagine that any- Mamie Till Mobley, Emmett’s mother, speaking in a one making a documentary film aspires to objective contemporary interview. She says, “When people saw truth” (Schickel, 2003). Of course, no one wants to be what had happened to my son, men stood up who thought of as terminally stupid or childishly innocent, had never stood up before.” As she says this, Nelson but that’s often how documentary films are used in cuts to black-and-white historical footage of Mose classrooms—in blockheaded or naïve ways. Rather Wright standing up in a cotton field. Mamie contin- than teaching documentaries as “the truth,” teachers ues, “People became vocal who had never vocalized should help students to recognize that these films are before.” As she says this, Nelson intercuts more black- 52 HE EVIEW T ALAN R Summer 2010 h51-59-TAR-Summer2010.indd 52 5/23/10 2:41 PM and-white historical footage—a close up of Willie on the visual track, the audio track, and the text track Reed, who is initially looking to his left. Then Willie one at a time. He uses a handout adapted from Gold- turns and looks directly into the camera. In these few en’s book (see Fig. 1) to discuss part of a nonfiction seconds, Nelson powerfully makes a point: these two film, and he has students practice with a compelling men embody the kind of heroism that Mamie Till clip from either The Heart of the Game (Serrill, 2005, says drove the civil rights movement. And Nelson PG-13, 97 min.; see annotation below), the opening makes that point by carefully combining historical and sections of Tupac: Resurrection (Lazin, 2003, R, 112 contemporary footage with mood-setting music. In min.), or the school lunch scene from Super Size Me other words, he manipulates the footage, editing it in (Spurlock, 2004, PG-13, 100 min.). You can have all a certain way to make a lasting impression. students look for what’s going on in all three tracks, Alan has successfully used John Golden’s strate- or you can divide the class into three groups and have gies in Reading in the Reel World with a variety of each group look at one of the tracks. Students get the high school students. He especially likes Golden’s idea pretty quickly—after all, they’ve been watch- three-part viewing framework—having students focus ing movies their whole lives! At this point, you just Three “Tracks” of a Sample Clip Nonfiction Film Title: Visual Track: All pictures seen onscreen • Primary footage (“A-roll”) like interviews, reenactments, action as it occurs • Cut-away (“B-roll”) to another scene being referred to in the A-roll, such as cutting to a quick scene of something being described in an interview • Archival or found footage shot by someone else.