Joe Goldberg

IDE 712
Project #1

FEA Tool Final Product

Overview and Background

Though narrative film found its way into the high school English classroom over one hundred
years ago (Costanzo, 2004) and is now ubiquitous (Hobbs, 2006; Donaghy, 2015) the literature
reveals that it is often poorly used, relegated to a time-filler, babysitter, or non-instructional
reward (Teasley & Wilder, 1997; Vetrie, 2004). However, the literature also documents film’s
unique learning potentials, when properly leveraged (Costanzo, 2004; Donaghy, 2015). Indeed,
film is also codified in the English Language Arts standards (Krueger & Christel, 2001). In this
way, there is commonly a gap between current and desired learning outcomes when using film as
an instructional tool. Because there has continued to be “little scholarly inquiry concerning the
instructional methods [emphasis in the original] of using video in secondary classrooms, or about
teachers’ perceptions of the appropriateness or inappropriateness of various methods or
approaches” (Hobbs, 2006, p. 38), few, if any FEA tools exist to address this performance gap.
Therefore, I endeavor to design such a tool so as to identify possible performance gaps and
diagnose potential causes for those gaps.

Best Practice

Despite the scant attention teaching with film in the high school English classroom has garnered,
educational and media scholars have documented strategies to use in increasing its efficacy for
learning. All stand in agreement that film should be used for pre-determined, specific learning
purposes that aim to achieve ELA learning goals, rather than used as a time-filler, babysitter,
stand in for a sub, instructional break, chance to catch up on grading, or mere reward (Golden,
2001; Hobbs, 2006, Goble, 2010). Additionally, to ensure active engagement of film, teachers
should facilitate discussion, written responses, and analysis of it. To do this, Hobbs (2006)
recommends the use of the pause and rewind buttons, which enable stoppages for teachers to ask
questions and for students to closely examine the frame. Rewinding film allows second viewings
of scenes in the same way that second readings of passages in books are possible and desirable in
the English classroom. Krueger & Christel (2001) document effective instructional practice with
film to supplement the reading of plays and for thematic connections to novels to illustrate
shared themes. Donaghy (2015) favors approaches which closely examine the methods by which
film communicates, via camera angles, shots, and movements, lighting, sound, and other
cinematic techniques. This may be accomplished by close readings and analysis of the scenes
and shots in the film.

The Tool

For this project, I endeavor to design a Front End Analysis tool regarding instruction that
incorporates narrative film in the high school English classroom. In order to seek out the cause of
the performance problem for any given individual teacher or potentially all of the teachers in one
school’s English department, I plan to develop a questionnaire for teachers to answer aimed at
identifying the possible causes that contribute to the malpractice of using film in the classroom.
In this way, the tool is to be taken by teachers, but may be considered to be for the teachers
themselves in evaluating their own practice, as well as for administrators interested in finding
ways to improve their teachers’ instruction for any who are identified (previously or through this
questionnaire) as performing below the desired standards of best practice (as established by the
literature and outline above).

Possible Assumptions

This FEA tool does assume that there are best-practice teaching strategies with film. Indeed,
while the use of film in the English classroom is inscribed in the state and national ELA
standards, none detail how instruction with film should be done. Consequently, this FEA tool
and its assumptions are shaped by the experts in the fields of education and media pedagogy, as
reflected by the articles in the reference section. Furthermore, the questionnaire indeed makes the
assumption that teaching with narrative film in the high school English classroom can be
beneficial to student learning. However, that conjecture is entirely dependent upon the way it is
used and is rooted in the scholarship on the topic, as outlined above. It also assumes that
administrators recognize the potential value of teaching with film, when taught with best practice
standards. Finally, it assumes that the teachers who respond to the questions are answering
honestly, and even accurately about their own practices.

Purpose

The purpose of this FEA tool is to address both the existing performance problem with
pedagogic practice that involves narrative film, as well as the changes in technological
innovation related to film that enables unique learning potential with film. The tool is intended to
evaluate instructors’ use of film so as to diagnose what issues underpin any possible misuses, as
defined by media scholar Renee Hobbs in her article Non‐optimal uses of video in the classroom
(2006). Best practice uses of film are informed by Developing a mindful practice around moving
images in the K-12 Classroom (Goble, 2010), and Reading in the dark: Using film as a tool in
the English classroom (2001). Ultimately, this tool could be used to help school administrators,
English department chairpersons, or individual instructors evaluate how high school English
teachers are instructing with narrative film, where they might be gaps in the data, instruments,
incentives, knowledge, capacity, motives of teachers, so as to address them with congruent and
cost effective solutions.

In addition to the ubiquity of narrative film in the high school English classroom, as well as the
documented common misuse of it by teachers, this tool aimed at identifying instances and causes
of performance gaps in teaching with film may be especially useful for several reasons. First,
addressing performance gaps in teaching with film can help maximize very limited and therefore
precious instructional time by eliminating feature-length film screenings of roughly two hours
for no discernable pedagogic benefit. Also, the literature reveals that when used effectively, film
can be leveraged to benefit literacy and many other ELA related skills. Furthermore, the
literature shows an ever-increasing need for students to learn how to ‘read the screen’ since the
society they inhabit is increasingly saturated by visual information, which leads them to be
potentially vulnerable to manipulation absent such skills, and even poorly equipped as citizens
and poorly trained as potential workers in todays’ society (Donaghy, 2015).

Advantages

There are several advantages of this FEA tool. First, it is grounded in both the literature and my
own original, recent field research regarding instructional practice with film. In this way, it
reflects many of the issues that current high school English teachers have spoken to in regards to
teaching with narrative film. Second, the questionnaire is also informed by the behavioral
conditions of Gilbert’s Behavioral Engineering Model. These conditions include data (i.e.
whether or not instructors know what is expected of them as defined by a school policy or the
ELA standards), instruments (e.g. available technology, school guidelines regarding film use),
incentives (i.e. some form of reward for performing well, such as an increase in student
engagement and learning), knowledge (e.g. of how to teach with film based on the literature and
possibly taught through pre- and in-service, self-training, etc.) , capacity (e.g. are they capable of
and ready to perform the job as required), and motives (i.e. are they driven to do the job).
Furthermore, most of the data can be quantified once given to a population of teachers. In this
way, trends may more easily be seen if there is a deficiency in a specific area, such as a lack of
(or perception of a lack of) technology (instruments), motivation, or knowledge (e.g. of ELA
standards that explicitly call for using film, or training, etc). While the scope of the questions is
aimed to identify causes of the performance gap by eliciting data across this wide range of
possible factors, it attempts to do so with a tool that is not overly cumbersome, timing consuming
for respondents, or overwhelming to process the data from an entire English department full of
teachers who might take it.

Disadvantages

There are indeed some drawbacks and limitations to this FEA tool. Though it is well informed by
the literature and my own field research, its questionnaire format does not allow for follow-up or
clarifying questions in the way that semi-structure interviewing would. Further, it assumes that
those answering the questions are doing so honestly, and are not influenced by social desirability
bias to answer in ways that they feel would make themselves appear better to others in their
teaching practice. Furthermore, it assumes that respondents are able to answer accurately about
their own practices and thinking, even if they are attempting to be as candid as possible.
Participant observation of their teaching practices would ideally be employed to search for
confirming and disconfirming information by triangulating the data. Lastly, while the questions
are relatively expansive, and space is provided for respondents to provide information and
answers in the “other (please describe)” spaces, it could not be argued that the questions cover all
possible uses of film, touch upon all topics at issue with teaching with film, or frames questions
in ways that comport with how teachers make sense of and instruct with film.
 FEA Tool

Narrative Film in the High School English Classroom Questionnaire

Directions: Please answer all questions as honestly as possible. When appropriate, please use the
space provided to elaborate on your answers or provide information which is not adequately
reflected by the questions. The questions below will be in reference to using feature-length (60
minutes or longer), theatrical (the type of film that is traditionally released in movie theaters),
narrative film (a movie that tells a story, as opposed to documentaries, videos produced for
educational purposes, TED Talks, etc).

How often do you show feature-length narrative film in your classroom?

1. _____ I don’t show film in my classroom

2. _____ I show film rarely (1-3 times per school year)
3. _____ Less than once per quarter (10 week period ) on average
4. _____ About one film per quarter (10 week period) on average
5. _____ About two films per quarter (10 week period) on average
6. _____ More than two films per quarter (10 week period) on average
_____ Other (please describe): __________________________________________________
_____________________________________________________________________________

If you don’t use film, or use it less than you would prefer to, why so (check all that apply)?

7. _____ There is not enough classroom time for showing it

8. _____ I find other mediums more useful than film for learning purposes
9. _____ I don’t find film an effective medium for instruction
10. _____ Access to technology is a problem (DVDs, VHS player, speakers, projector screen,
etc)
11. _____ I don’t feel competent or trained enough to teach with film effectively
12. _____ Students are not assessed on film on Regents, SAT or ACT exams
13. _____ Film is not a good fit for my students (please explain below)
14. _____ Students don’t have access to a copy, as with a book, so absences are more of an issue
15. _____ Students already spend enough time watching film or similar media at home
16. _____ My school discourages or disallows the use of film in the classroom
17. _____ I just never thought to use film in the classroom
18. _____ Film is a better fit for a class other than English
19. _____ I don’t see how it is connected to/supported by ELA standards
20. _____ I worry about the stigma associated with film that it is merely for non-instructional
purposes being attached to my teaching
_____ Other (please describe): ____________________________________________________
_____________________________________________________________________________

For what purposes do you use film (check all that apply)?

21. _____ I’m not sure

22. _____ To supplement understanding of a novel by showing its film adaptation
23. _____ Compare/Contrast between novel and film adaptation
24. _____ To explore thematically linked novels and film
25. _____ As a reward/break for the students
26. _____ To analyze plot, character, conflict, theme
27. _____ To analyze literary elements and techniques, such as irony, symbolism, imagery,
metaphor, etc.
28. _____ As a way to occupy students so the teacher can conference with students individually,
or complete other duties, such as grading papers, etc.
29. _____ To meet NYS ELA Common Core State Standards (CCSSI)
30. _____ To prepare students for the NYS Common Core Regents exam
31. _____ To teach (and let students see a performance of) a play
32. _____ To provide access to human experiences otherwise unavailable (e.g. what it’s like to
be in
war, etc.)
33. _____ As a means to manage the classroom and avoid student misbehaviors, such as talking
out
of turn, etc.
34. _____ To elicit classroom discussion
35. _____ To motivate my students
36. _____ To draw on my students’ previous knowledge
37. _____ To facilitate writing practice
38. _____ To teach literacy skills
39. _____ Because my students enjoy it
40. _____ Because my students learn when I teach with it
41. _____ To teach how to perform close reading of a text
42. _____ To teach how film communicates its story (i.e. cinematography elements, such as
camera angles, shots, and movement, framing, lighting, sound, etc.)
_____ Other (please describe): ____________________________________________________
_____________________________________________________________________________

When the film is playing in your classroom, what do you have students doing?

43. _____ Just watching and enjoying the film

44. _____ Taking notes
45. _____ Answering guided questions (e.g. via worksheet or packet, etc.)
_____ Other (please describe): ____________________________________________________
_____________________________________________________________________________

When the film is playing in your classroom, what are you doing (check all that apply)?

46. _____ Watching the movie along with the students.

47. _____ Doing other school-related work (e.g. grade papers, check school email, etc)
48. _____ Sitting at my teacher desk
49. _____ Sitting in a student desk with the rest of the class
50. _____ Changing proximity as the film plays
51. _____ Managing the class (e.g. quiet talking students, refocusing students, etc)
52. _____ Commenting to the students about the film
53. _____ Using pause, rewind, slow-motion, or similar features to interrupt the film to discuss
or rewatch portions of the film
_____ Other (please describe): ____________________________________________________
_____________________________________________________________________________

What sort of assessments do you use with film?

54. _____ None

55. _____ Whole class discussion
56. _____ Objective quizzes or exams
57. _____ Worksheet questions
58. _____ Writing responses
59. _____ Analysis of cinematography (written analysis of cinematic elements)
_____ Other (please describe): ____________________________________________________
_____________________________________________________________________________

When teaching with film, do you ever…

60. _____ Pause the film when it plays?

61. _____ Rewind the film and replay any scenes?
62. _____ Post clips of the film on an online platform such as Google Classroom for students to
pause, rewind and rewatch, or screen capture images from the film?
63. _____ Have questions, prompts, assignments, discussions prior to watching the film?
64. _____ Have questions, prompts, assignments, discussions in between segments of watch the
film?
65. _____ Have questions, prompts, assignments, discussions after watching the film?

Data Analysis

For any item number above which is checked, circle the X (or Xs) listed on the same numbered
line below. Then, tally the number of X’s for each category to determine the type of performance
gap (e.g. more X’s circled under the D category indicates a more significant data problem as the
cause of the performance gap for the individual who completed this form. Note: The first six
items are not included in the table below as there is no ideal amount of film to be used in the
classroom specified by the standard or the literature, other than to use film. Item number one, if
checked, which would be a performance gap, gets addressed by items number seven through
twenty. Also, several items have no X listed as checking that item’s line in the questionnaire
would indicate the teacher is performing in an optimal way when instructing with film.
 D=Data; Ins=Instruments; Inc= Incentives; K=Knowledge; C=Capacity; M=Motives

Item D Ins Inc K C M Item D Ins Inc K C M Item D Ins Inc K C M

7 X 17 X 27
8 X 18 X 28 X
9 X X X 19 X 29
10 X 20 X 30
11 X 21 X 31
12 X X 22 X 32
13 X 23 33 X
14 X 24 34
15 X X X 25 X 35
16 X 26 36

Item D Ins Inc K C M Item D Ins Inc K C M Item D Ins Inc K C M

37 47 X 57
38 48 X 58
39 49 59
40 50 60
41 51 61
42 52 62
43 X 53 63
44 54 X 64
45 55 65
46 56

Tally the number of Xs circled above under each behavioral condition to determine the source of
potential performance gaps.

Data ________
Instruments ________
Incentives _______
Knowledge________
Capacity ________
Motives ________

Possible Solutions

Depending on which behavioral conditions above accumulated numbers in the tally, they
may be mitigated by the following possible solutions.

Data: Reiteration of school policies and highlighting of ELA standards and objectives which call
for teaching with film; Provide feedback and guidance for teaching practice with film.
Instruments: Informing teachers of unused district resources; Sharing of existing resources;
Purchasing of additional resources (e.g. film library, laptops, DVD players and Smartboards,
software, etc.) as needed.

Incentives: Share the scholarly literature which supports the potential for increase in student
learning as a result of effective instruction with film.

Knowledge: In-service training with experts may be provided; Creating Professional Learning
Communities for teachers to share their optimal instructional strategies; Scholarly literature may
be shared with teachers; Facilitate teacher observations of other teachers.

Capacity: Time must be set aside for teachers to be able to get the requisite training listed above.

Motives: Highlighting teachers’ effective practice in the district newsletter and school
newspaper. Designate teacher leaders for serving as exemplars of instructional practice with film.

Resources

Donaghy, K. (2015). Film in action: Teaching language using moving images. England: Delta
Publishing.

Goble, R. R. (2010). Developing a mindful practice around moving images in the K-12
Classroom. Knowledge Quest, 38(4), 28-33.

Golden, J. (2001). Reading in the dark: Using film as a tool in the English classroom. Urbana IL:
National Council of Teachers of English.

Hobbs, R. (2006). Non‐optimal uses of video in the classroom. Learning, Media &
Technology, 31(1), 35-50. doi:10.1080/17439880500515457

Kreuger, E., & Christel, M. (2001). Seeing & believing: How to teach media literacy in the
English classroom. Portsmouth, NH: Boynton/Cook Publishers, Inc.

Vetrie, M. (2004). Using film to increase literacy skills. The English Journal, 93(3), 39-45.