Building essay writing skill

Chapter 7 of our book Teaching A-Level Modern Languages is about how to help students become effective essay writers on a film they have studied. One of the aspects we emphasise is the need to carefully scaffold the process of essay writing, turning knowledge of themes, character and film techniques into appropriately formed sentences, paragraphs and full essays. To satisfy the grading criteria (AO3 and AO4) essays need to be written in complex, accurate language, and to demonstrate close knowledge and critical analysis of the film. Few students can do this without close guidance and feedback.

In the following section of the book we show, for three popular films, how this process can be modelled and practised.

Analytical/Complex sentences

As students work through the film, they are introduced to lexical and grammatical constructions, creating complex sentences which demonstrate critical analysis. If a colleague is teaching other parts of the course at the same time, it is possible to reinforce language work they are doing.

As each scene is studied, complex sentences can be created, orally and in writing, which summarise the content in sentences about 30 words long. This achieves the aims below.

·         Quality of language appropriate for AO3 is produced.

·         Students demonstrate the level of content knowledge and critical analysis for AO4.

·       They realise that 3 x 30-word sentences produce a paragraph, and that around four paragraphs can make up an effective exam essay of 300-400 words.

Below is a sample list for each language to which you can add your own preferred constructions. This approach teaches the important skill of summarising which can be transferred into other contexts, such as taking notes for the IRP and for boards with summary exercises such as AQA. Taking this approach a little further, you can dictate different versions of complex sentences to test written accuracy. Interchanging structures based on the same information helps get students thinking on their feet and to be versatile in their oral and written production.

Below are examples of lexical or grammatical constructions relevant to specific themes in three films. Each is placed in a complex, analytical sentence of around 30 words, with the associated theme in brackets and capital letters. Thse are followed by examples showing how to incorporate suitable key vocabulary, including verbs.

La Haine

En + participe présent

En écrivant le film après la mort d’un jeune Africain en garde à vue, Kassovitz a voulu mettre en cause le comportement de la police avec les jeunes de banlieue. (MAIN MESSAGE OF FILM)

Ce qui – pour introduire une phrase qui nécessite une explication

Kassovitz a décidé d’élaborer un scénario qui ne cherchait pas à diaboliser un secteur particulier de la population, ce qui explique son choix de trois amis de trois ethnies différentes. (MAIN CHARACTERS)

Vouloir que + subjonctif

Le fait que le film présente des policiers d’ethnies différentes dans la distribution démontre qu’il ne veut pas suggérer que la situation raciale soit facile à cerner. (ISSUE OF ETHNIC ORIGIN)  

 

Das Leben der Anderen

Obwohl   Um + zu

Obwohl Christa Hempf abstoßend findet, fühlt sie sich gezwungen, seinen sexuellen Forderungen nachzugeben, um ihre Stellung im Theater zu sichern. (ABUSE OF POWER)

Um + zu,  Ob

Wiesler lässt die Aufzeichnung des Verhörs von Häftling 227 abspielen, um den Studenten zu demonstrieren, wie sie erkennen können, ob jemand die Wahrheit sagt oder lügt. (REPRESSIVE SOCIETY)

Indirekte Rede mit Konjunktiv

Nach dem Verhör fragt Grubitz Wiesler, ob er noch auf der "richtigen" Seite stehe. Wiesler antwortet mit „Ja“, doch verschweigt, dass er insgeheim glaubt, die andere Seite sei die richtige...  (CHARACTER  -WIESLER)

 

El laberinto del fauno

Al + infinitive

Al rejuvenecer al fauno cada vez que lo vemos, el narrador pretende hacernos entender que en el mundo espiritual paralelo de la película, Ofelia retrocede en el tiempo hasta su renacimiento.  (IMPORTANCE OF TIME)

Lo que/que

Lo que nos demuestra desde el principio de la película que estamos ante una historia con dos mundos paralelos es la aparición del misterioso insecto que llevará a Ofelia al laberinto. (MAGICAL REALISM)

El hecho de que + subj

El hecho de que haya tantos motivos que simbolizan la vagina y las trompas de Falopio nos hace reflexionar sobre el papel fundamental del nacimiento en la película. (FILM TECHNIQUES)

A pesar de que

A pesar de que la mandrágora le ha salvado la vida, Carmen la lanza al fuego, lo que provoca su parto de emergencia y, eventualmente, su muerte. (MAGICAL REALISM)

 

Developing key vocabulary in context

Examiners regularly note that key verbs and nouns are not known by candidates. Therefore, it is important to keep an essential vocabulary list along with examples of use. This should ensure that words stick and that grammar is reinforced in context. As in the previous section, examples of key vocabulary are given, using associated verbs and nouns, placed in a sentence and with the thematic context in brackets.

 

La Haine

Trafiquer

En trafiquant des drogues, les jeunes risquent d’avoir un casier judiciaire qui pourrait nuire à leur avenir.

À cause du trafic des stupéfiants, les jeunes finissent par mettre leur avenir à risque. (DRUG TRAFFICKING)

S’affronter

Le fait que les jeunes s’affrontent violemment avec le policier, entraîne l’hospitalisation d’Abdel.

C’est après un affrontement entre police et jeunes que Vinz trouve le Smith et Wesson qui devient un motif important du film. (RELATIONSHIPS WITH POLICE)

 

Das Leben der Anderen

Verhören/das Verhör

Das von ihm gezeigte Verhör dauerte so lange, bis der unglückliche Gefangene zusammenbrach.
Obwohl Wiesler Christa allein verhörte, wurde er von Grubitz durch ein Einwegfenster beobachtet. (REPRESSIVE STATE)

Die Sucht/Süchtig nach

Christas Sucht nach verschreibungspflichtigen Medikamenten macht sie anfällig für die Einflüsse der Macht.
Christa ist süchtig nach verschreibungspflichtigen Medikamenten geworden, weil sie sich für ihre Affäre mit Hempf schämt, den sie verabscheut. (REPRESSIVE STATE)

El laberinto del fauno

Arriesgar

El doctor Ferreiro arriesga su vida al ayudar a tratar a los rebeldes heridos y es asesinado por Vidal.
Si Mercedes no hubiera arriesgado su vida trabajando para Vidal, los rebeldes no habrían tenido la comida y las medicinas que necesitaban. (CHARACTER - DOCTOR FERREIRO) 

Desobedecer

Ofelia desobedece deliberadamente a Vidal porque no lo reconoce como su padre.
Al desobedecer al fauno y demostrar su independencia, Ofelia corre el riesgo de no poder regresar a su hogar espiritual. (CHARACTER - OFELIA)

To conclude this post, it is worth reiterating the importance of modelling the skill of creating complex, analytical sentences based on the film. This is something that needs to be taught. The most skilled linguists may produce appropriate language with relatively little guidance, but most students need to learn how to put together ideas and language in a concise, impressive way.