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Film-based activities to overcome the 'Gap-fill Syndrome'
Journal article   Open access   Peer reviewed

Film-based activities to overcome the 'Gap-fill Syndrome'

Arizio M Sweeting
English Australia Journal, Vol.25(2), pp.51-57
2009
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Abstract

Curriculum and Pedagogy Language Studies motion pictures in education English language foreign speakers listening
One of the greatest advantages of using films for English language instruction is that films encourage learners to engage with what is happening on the screen on both an intellectual and creative level. As Allan (1985) points out, films are 'realistic slices of life' and, therefore, an excellent vehicle for focusing learners on situational language, where an understanding of both verbal and non-verbal communication tends to be a prerequisite for the negotiation of meaning. In other words, 'by thinking along different dimensions, the learners can understand more meanings' (Eken: 2003) and 'participate actively in an exciting quest rather than respond passively to the surface details' (Boggs 1996). As Eken (2003) suggests, the use of films for language teaching should be viewed as 'a principled approach aiming to improve students' abilities not just in language but also in critical and creative thinking'. This helps to support the point of view that, when planning to use films in the classroom, teachers should make sure that film-related activities are selected, adapted or designed with the objective of developing not only the learners' linguistic competence, but their cross-cultural awareness as well. Currently, it seems that the use of films in English language teaching in many classrooms around the world is suffering from a dominant 'Gapfill Syndrome', a common tendency of teachers to engage their learners in 'relentless' viewing and listening gap-fill activities, which can be more of a hindrance than an aid to the understanding of the language of the film. Gap-fill activities often require excessive written support, and this quite often leads learners to pay more attention to the completion of the task at hand rather than the observation of nuances of language which are embodied in or can be generated from the film.

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