related to facts / situations / events / organisations |
describe, name, explain … |
CK |
related to characters / their relation- ships / their motives / their struggles |
describe, analyse, explain, assess, interpret |
CK, NA, HE |
to “shadow” one character for in- depth analysis |
Konrad Koch - Der Ganz Große Traum / Sophie Scholl, Interrogator Robert Mohr - Sophie Scholl. Die letzten Tage / Walter Süskind, SS-Hauptsturm- führer Ferdinand aus der Fünten - Süskind / SS-Ober- scharführer Erich Mußfeldt, the Jewish doctor Miklós Nyiszli - The Grey Zone … |
HE/PR |
to express personal opinions about the depiction of events, characters, situations |
The depiction of Adolf Hitler and other leading Nazis (Albert Speer, Joseph Goebbels) in Der Untergang
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NA |
to distinguish between facts and fiction / documented and fictional characters |
discuss the use of fictional storylines / fictional char- acters from a film-maker’s point of view / to what ex- tent were the characters based on historical evidence and to what extent were they fictionalised? |
CK, NA |
to interview a documented or fic- tional character |
Why did you choose the character? Which questions would you ask him / her? |
HE |
about film as a source for historical information including: |
Der Ganz Große Traum: education system, class- system, role of the Prussian military, England and France as enemies, the industrial revolution, the Kai- ser; |
CK, NA, HE |
The Pianist / The Grey Zone / Süskind: the discrim- ination, persecution and extermination of the Jews in World War II, the POV of perpetrators (SS officers), the struggle of Jew helpers; |
about an overall understanding of the event / situation / person(s) / or- ganisations and questions which re- mained unanswered |
Der Untergang: the end of World War II from the perspective of Hitler’s inner circle, military com- manders, Hitler youth members and civilians; Lore: post-war occupied Germany |
about sequences / scenes, which could be interpreted as key se- quences / scenes |
name, describe and explain, discuss, state your rea- sons, interpret … |
NA, HE |
about scenes, which had an emo- tional impact on the viewers |
Why does this film present the past in this special way: from the perspective of these special characters and why does it use these pictures, stories or themes? How do these pictures, stories and themes shape the way the past is presented and the way the viewer is included? |
to discuss the issue of “historical truth” in history films |
compare depicted events / historical characters with other sources (texts, documentaries) and notice the differences / discussion whether fictional characters or storylines will have an influence on the persuasiveness of the film |
CK, NA |
to discuss the problematic of au- thenticity in history films |
pre-viewing speculating about the title or post-viewing interpretation of the title |
Der Ganz Große Traum |
NA |
The Grey Zone |
Der Untergang |
about advantages of and restrictions in film narratives |
ethical questions regarding the depiction of the Holo- caust, graphic depiction of violence and death, sex scenes, sexual violence/rape, the scale of battlefield action |
NA, HE |
to train a multi-perspective point of view by watching films from different countries about the same event |
e.g. Stalingrad 1993, (Germany) and Stalingrad 2013, (Russia) |
NA, HE, CK, HCP |
to analyse critical reviews of a film |
the perception of a film by experts and viewers and its positioning in the “zeitgeist” |
HCP |
about film as a teaching tool |
pros and cons-arguments whether the film is suitable to be shown in L2/L3 German class |
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about scenes, which could / should be included in German as Foreign Languages lessons |
Which scenes are suitable to illustrate certain events |
CK, NA, HCP |
e.g. the Battle of Stalingrad / the Holocaust |
about previous film viewing expe- riences |
Compare, discuss … |
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to train critical thinking by analys- ing controversial decisions made by characters or groups of charac- ters, by debating thought-provok- ing quotes etc. |
the role of the Jewish Councils and the Jewish Police in the ghettos - The Pianist, Schindler’s List / Walter Süskind’s decision to collaborate with and to befriend a SS-officer to carry out his rescue mission of Dutch Jewish children - Süskind / the role of the Jewish vol- unteers for the Sonderkommando in Auschwitz as part of the killing machine - The Grey Zone
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HE/PR |
to relate content to current political / social issues |
Racism / discrimination of minorities / religiously motivated conflicts/ the Israel-Palestine-Conflict with regard to the Holocaust / German-Russian-relation- ships / rape as a weapon in military conflicts / the role of sports for social relations / the manipulation of the youth in totalitarian regimes or for political agendas |
DP, HE |
about technical aspects of films |
camera perspectives in Lore, Son of Saul / set design in The Pianist, The Grey Zone, Der Untergang) / sound editing in The Grey Zone, the sound of the air- ing out of the gas chamber / Holocaust iconography - trains, smoking chimneys, empty spaces, piles of ash, piles of clothes, suitcases … The Pianist, The Grey Zone
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about discussing “cultural issues” |
is the film suitable for the audience, e.g. young Malay adults, Muslims / young Chinese Malaysian adults? |
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additional tasks |
write an alternative ending / write a scene from the Point of View of a certain character / write a film syn- opsis / write a critical review of a film / viewers as filmmakers - what would you have done differently? (debating scenes and endings of films) |
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