Introduction

A couple of years ago, while teaching a lesson on research methodology, I told my students that I did not expect them to learn anything from my lecture; that I was only introducing the concept and that the learning would come through application of what I was presenting. I explained that I was emphasizing that I did not expect them to learn anything from the lecture because I did not want them to be afraid to ask questions later. As I finished my remarks, a student exclaimed, “I wish more professors thought like that.”

We know that students do not learn material when it is only presented once. Instead, students require repetition; repetition that preferably uses a variety of formats, approaches, and techniques. Therefore, material covered from one topic or chapter should be integrated throughout the course. As such, no one lesson can adequately cover the material.

Given this limitation, I believe that “World War II Propaganda Films” shows that I can create a unified topic that is part of an overall strategy.

Individual Course Syllabus

A syllabus is available on-line.

Teaching Lesson

For my documentation of teaching, I selected a lecture I gave on “World War II Propaganda Films” which was an expanded version of a presentation I gave to a meeting of the Metro Detroit Historians Collegium in November 2011. By definition, this lecture is not a unit because it does not cover everything in the course on a topic or chapter. However, it is an example of how I attempt to integrate concepts throughout the semester.

The following competencies are addressed in this lecture.

• Explain the historical development of film.
  • The lecture sets propaganda films in an historic context from several vantage points such as:
    • An explanation of progressive politics as it relates to the educational nature of films during the 20^th century as well the historical roots of progressivism as seen in 19^th century sentimental literature such as Uncle Tom’s Cabin and early American novels such as Hannah Webster Foster’s The Coquette.
    • Investigating the debate as to whether or not films are education beginning with Damaged Goods and continuing through the Nye investigation, and concluding with the value of films such as the Private Snafu series designed to educate American soldiers and Hollywood films that educated Americans concerning the “European threat.”
    • Viewing a series of trailers, film clips, and short films that show how films have progressed over the years.
• Explore the elements of specific film genres

• For this lecture, I deliberately select a variety of films that show different aspects of film: comedy, exploitation, drama, propaganda, cartoons, and so forth.
• Validate the potency of film as an aid in discovering, transforming, and instilling values in individuals and a culture.

• By investigating the stereotypes in both German and American propaganda films, students were able to see how cultural influences shape how films are created and then how those films can reinforce those stereotypes. Of particular interest to students is the excerpt from The Eternal Jew in which Jews are compared to rats.
• Prior to giving this lecture during winter 2012, the class had seen a variety of films such as The Three Caballeros which, during the lecture, we were able to consider in terms of propaganda.
• Because we had discussed 300 and The 300 Spartans in class, I had previously argued that films tell us more about the culture which produced them than the historical information contained in them. Watching the propaganda films I had chosen helped reinforce this concept.

• Identify the techniques of film in picture, movement, sound and editing.
• Differentiate the basic characteristics and terms of films.
  • In part, these two competencies are accomplished by using Louis Gianetti’s Understanding Movieswhich focuses on ten characteristics of film. As part of this lesson, I highlight some of those characteristics.
    • Excerpt from The Greatest Dictator covers movement, acting, and ideology.
    • Excerpt from Triumph des Willens and a discussion of Leni Riefenstahl which includes references to Olympiad covers movement, photography, editing, and ideology.
    • In Der Obamahrer’s Face and Der Fuehrer’s Face covers sound.

• Evaluate the aesthetics of film by analyzing the combination of film elements.
  • During a discussion of the films shown as part of this lesson, we discuss the elements that make them effective.
• Illustrate how film and society have influenced each other.
  • A lesson on World War II Propaganda films lends itself easily to a discussion of how film and society influence each other. One example from the last time I taught this material centered around the student’s reaction to The Eternal Jew. How, they wondered, could anyone believe such misinformation? As part of the discussion, we considered how a world view presented in film can indoctrinate us; especially when that world view is consistent with other societal factors. In addition, I asked students if De Fuehrer’s Face gave an accurate view of Nazi Germany and whether individuals who saw it in the 1940s would have believed the portrayal was accurate.

  Additional characteristics and terms of films that are cited in this lesson include

  • Understanding film audience; especially for Spies, The Eternal Jew, and the exploitation films
  • Montage; especially for Triumph des Willens, mention of Olympiad, and in In Der Obamahrer’s Face

Teaching Lesson Materials, Organization/Notes/Outline of Lesson

An outline of the lesson is found in the PowerPoint Presentation I prepared.

Technology/Strategies Used in the Teaching Lesson

The primary strategy for presenting the material in this lesson was lecture combined with discussion and screening of films. However, while giving the presentation, I was cognizant of material previously covered in class as well as knowing what would be covered in future classes.

Summary of Lesson

The presentation began with me arguing that the educational nature of films has always been an issue. Beginning with Damaged Goods which was the first film to deal with syphilis, I argued that the educational value of film was embraced by the progressives. Unfortunately, with the advent of the exploitation market, Hollywood began to argue that films did not have an educational value; that they were meant for education. However, when the Nye investigation began, Hollywood began to argue that it was their patriotic duty to educate the public about the European situation. After Pearl Harbor, the Nye investigation was dropped and films were used for education/propaganda.

During the first portion of the lecture, the following films are screened.

• Trailer for Reefer Madness
• Trailer for Bringing Up Baby
• Trailer for I’m No Angel
• Excerpt from Sex Madness
• Excerpt from The Great Dictator

In addition, historical context was given by

• Discussing sentimental novels in the nineteenth century in relation to the progressive movement. Specific novels addressed included Uncle Tom’s Cabin and Ten Nights in a Bar Room and What I Saw There.
• Discussion of early American novels—specifically The Coquette—in relation to sentimentality and progressivism.
• Discussion of The Jungle as an example of progressivism.
• Explanation of the popularity of Reefer Madness because of a National Organization for the Reform of Marijuana Laws fundraiser.
• Recognizing the change in technology which has driven down the costs of films while making them more accessible to the general public.
• Explaining the concept of isolationism in American politics
• Showing how Dr. Seuss was part of the progressive movement
• Discussion of The Three Caballeros, a film previously viewed in class

The second part of the presentation included a screening of several films/excerpts to show aspects of propaganda. These films were selected to represent a variety of film genres and techniques as well as vehicles to discuss propaganda. The following were screened:

• Spies
• Triumph des Willens (Excerpt)
• Eternal Jew (Excerpt)
• Der Fuehrer’s Face
• In Der Obamahrer’s Face

While the films were being discussed, I referred back to previous films we had seen and pointed out elements in the films that would be covered in the textbook and future class presentations.

Handouts and Supplemental Materials for the Teaching Lesson

Only one handout was prepared for this teaching lesson; a handout on which students could take notes. Similar handouts are prepared for most class sessions.

All Student Assessments for the Identified Course

In a student centered class, I do not make the decisions for all course content. Instead, students choose teaching materials throughout the semester. As such, it is impossible to submit all materials for one unit as defined by the Faculty Evaluation Handbook.

Because students take some much responsibility for their own work as well as making key decisions as to how work will be evaluated, until the end of the semester, I can’t “Include all assessment tools that are used in the course in chronological order, including assigned papers, projects, lab assignments, examinations, etc. Anything a student in graded on.” as part of my evaluation packet.

For example, because of the important role of participation, students will be graded on the discussions for each presentation over the ten key chapters in the textbook. Because these presentations are being given by students, I will not know the specific teaching materials and assessment methods that will be used.

Finally, even if I were making all of the decisions for the class, a good teacher is open to modifying his or her plans based on the needs of the students. As Emerson warned, “A foolish consistency is the hobgoblin of little minds.” The idea that one could or should stick to one’s teaching plans is not a sign of quality. Instead, it shows contempt for the needs of students by giving priority to the professor’s ease in teaching the course over the needs of students in a particular section.

Finally, this semester, I am asking students to design their own assessments based on the assessment requirements as defined by the department and which are included in the common syllabus. The syllabus for ENG 200, the class in which I taught “World War II Propaganda Films,” explains this as follows:

Determination of Final Grade:

In a departure from most classes, I am not going to decide how most of your work is assessed. Instead, I am going to provide you with the grading rational from the common syllabus designed by the English department before asking you what types of projects you intend to do throughout the semester to meet these requirements.

Items from Common Syllabus for which you are responsible

–A research project

–Two additional assessments

These three (or more) assessments will be the equivalent of writing a 20 page research paper.

Students in the class will do equivalent work. But they will not be doing identical work. Grading criteria will be individually negotiated with me. The criteria will be available for anyone in the class to view. However, the grades received based on those criteria will not be made public.

You will write a series of film analyses during the course. These analyses will run 500-700 words and will incorporate research. All must be published. You will be given a badge for each acceptable analysis. Unless you earn five badges, you will fail the course.

At the end of semester, you will also submit a final course reflection in which you

–evaluate how well you accomplished the assignments you set up for yourself

–describe your contribution to the class

–analyze how successfully you developed in the four core abilities which have been identified as important to the course:

–communicate effectively

–act responsibly

If the final course reflection is not successfully completed, you will fail the course.

Using this method, students will be given a variety of options to demonstrate their understanding of core concepts. They will also much better align their assessments to both the core competencies and the core abilities.

–Steven L. Berg, PhD