著者

國友 万裕

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.20, pp.137, 2015 (Released:2020-03-25)

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Gay characters in films are more and more prominent these days. The biases against gay people are gradually decreasing. So it is time to think about films from homosexual points of view. It has been said that American films are potentially homosexual, although they hide their homosexuality under the veils of heterosexism. As closeted homosexuality is an essential part of most American films, the one way to see American films is to assume man-to-man relationship to be a kind of homosexuality. The Shawshank Redemption can easily be said to be a beautiful love story between the two male prisoners Andy and Red. The Shawshank Redemption is, like other prison films, filled with homosexual connotations such as sexual violence and male rape. Under the harsh circumstances the two male prisoners create a loving relationship. But their skin colors and their social classes are so different that we tend to overlook their homoerotic desire. In this thesis, their homosexuality would be examined.

著者

松中 完二

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.20, pp.95, 2015 (Released:2020-03-25)

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This paper analyzes the meaning of proper names in terms of “Reference Point” through the lines in English movies. According to the traditional linguistic definition, proper names would naturally be a name that can only be used in the speaking of one individual and refer only to the thing itself that is named. On the other hand, as Jesperson (1955:64-71) had pointed out, it is utterly impossible to draw a sharp line of demarcation between proper names and common names. In fact, the meaning of proper names varies in certain degrees depending on the context and the situation in which it is used. By employing such cognitive notion as “Reference Point”, the expansion of meaning of proper names can be explained effectively. The prime importance here is the way in which names are actually employed by speakers and understood by listeners. As Jesperson remarked, if proper names as actually understood did not connote many attributes, we would be at a loss to understand or explain the everyday phenomenon of a proper name becoming a common name. We share a kind of social reputation or knowledge of it and employ the system of “Reference Point” unconsciously in order to understand the expansive meaning of proper names.

著者

多賀 亜紀

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

no.7, pp.17-38, 2002-09-25

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The purpose of this paper is to explore the possibility of using English audio version of a Japanese movie in the Japanese EFL classes. The English audio version has two advantages: one is that the learners can concentrate on watching the scene without reading the English caption or subtitle; the other is that the intuition as the Japanese leads students to grasp properly the context such as subtle feeling reflected in the lines. It is very helpful in teaching the learners the differences of customs, values and ways of thinking between the Japanese and the English-speaking people. This paper reports the classroom practice using the movie "KiKi's Delivery Service" directed by Hayao Miyazaki. The results based on the students' worksheet and comments support the usefulness of the English audio version of Japanese movie in encouraging the heuristic learning of the cultural differences. However, more precise analysis concerning how the awareness of the difference related to vocabulary and on/off lines is affected by the students' English composition ability and English listening ability is needed.

著者

杉浦 綾子

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.20, pp.81, 2015 (Released:2020-03-25)

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Some literature claims that the use of a third person pronoun: he or she, is rude to the addressee in communication in English in case the person is within earshot of the speaker. The paper investigated the reason for the claim by analyzing conversation in an American drama series from the viewpoint of what impression or influence the use would have on the addressees. The analysis was made by employing indices used in pragmatics and sociolinguistics to identify these inherently vague elements objectively. The results showed that in case the use of the third person pronouns was inevitable, approx. 80% of it gave unpleasant impression or influence such as accusation, alienation and insult, and they often accompanied offensive gestures or strong tones. What was commonly observed was its effect of psychologically distancing the addresses. Further, it was also common that in the aforementioned cases, the positive politeness strategies used to build a good relationship between the addressors and addressees were not employed, therefore, it was likely that the unpleasant impression or influence was conveyed directly to the addressees. The paper concluded that these common elements were one reason why the use of the third person pronouns was considered offensive to the addressees.

著者

鈴木 政浩

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.4, pp.47-57, 1998

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In this paper, I explain the educational value of movies as teaching material especially for writing activities done after viewing impressive movies which include social messages. Fluency of production skills in language learning are promoted as well as the motivation of the students. Furthermore, I propose that using this method works well in the areas of developing fluency, self-esteem, cooperation and interaction oriented courses. Using this supposition, I gave an intensive course for two weeks. I took up four movies entitled "Ghost", "Stella", "Sarafina" and "Dead Man Walking". After each movie the students had discussions, first in English, then in Japanese in different groups according to my questions about the message the movie had. After that, each student wrote their own opinions in English. Before this two week course, each student had written an essay. I compared that with the end composition and examined how the last one had improved. According to my analysis, the compositions were much improved in many aspects. The writing improved in the aspect of the number of words and vocabulary used, as well as in the aspect of the complexity of the sentence structures.

著者

ルッケル瀬本 阿矢

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.21, 2016

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This practical report proposes one effective teaching method with movies to achieve the course goals of intercultural understanding based on the DMIS of Bennett (1986a, 1986b, 1993) and GIDC of Wilkinson (2007). In this study, the movie used was <i>As Good As It Gets</i> (1997), and the precise course goal was to address American social issues. Participants were 103 university students in four classes who watched the movie and wrote a summary while completing three types of worksheets related to the following: 1) racism, 2) the gap between the rich and the poor, or 3) both themes simultaneously. Many students who worked on the third worksheet noticed more than two social problems described in the movie, whereas the others concentrated only on the single point analyzed on their worksheet. The results suggest that educators should not only set a course goal according to where their students measure on the DMIS and GIDC, but should also indicate more than two issues in order to stimulate students' intellectual curiosity towards different cultures.

著者

藤倉 なおこ

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.19, pp.153-163, 2014-03-30 (Released:2017-11-29)

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Some critics say that in most road movies, elderlies represent stability and tradition. However, the lives of two old widowers in "About Schmidt" (2002) and "Everybody's Fine" (2009), tell the viewers to reexamine the patriarchal family structure and to move beyond the sex roles and crossover their roles successfully in our later lives. In the movies, the fathers are the bread winners and the mothers are the homemakers. Traditional sex-roles are observed in both of these families. The mothers act as the mediators between children and their busy fathers. Therefore, when the mothers are gone, the fathers and the children are faced with difficulties in communicating with each other. Being retired, fathers also lose connections with their social lives. As a result, they experience social marginalization which has a devastating impact on their self-esteem. Betty Friedan suggests if people hold on to the conventional sex roles, they would be thrown into crisis in their later years when they experience various changes in their lives. She suggests men and women should move beyond the gender line and make a crossover. By looking at the two road movies the paper examines how crossover helps the widowers reunite with their families and regain their homes.

著者

Yamamoto Goro

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.17, pp.13-20, 2012

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This paper discusses the usage and meaning of the present progressive futurate from the perspective of English grammar teaching and proposes an alternative method of teaching this grammatical concept, which involves the use of films. This paper first analyzes the data and observations presented in related previous studies and verifies the validity of the following three specific constraints on the usage of the present progressive futurate that they proposed: the constraint on action, constraint on verb types, and proximity of time reference. The analyses of each constraint with data-in the form of dialogues-from English films highlight the grammatical features and meaning of the present progressive futurate. Real-life problems that are associated with English grammar teaching and are caused by these constraints are discussed. Subsequently, this paper proposes a method for teaching this futurate. This method involves comparing the usage of two of the more familiar English future expressions-will + infinitive and be going to-in the dialogues of the films such as Ocean's Twelve (2004) and Catch Me If You Can (2002). This comparison enables EFL learners to grasp the pragmatic differences among future expressions and better understand the meaning of the present progressive futurate.

著者

小林 めぐみ

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.21, 2016

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Although movies have been suggested as a useful resource for teaching World Englishes, there have been no studies exploring the issues arising from using movies for this purpose. One cause of concern in using movies to teach World Englishes is the issue of validity. Since movies are works of fiction with actors performing their roles, the language and issues depicted in the movie may not be realistic portrayals of actual situations. This paper, therefore, attempts to assess the validity by analyzing an example case. Questionnaires were administered to the local viewers about the 2003 Korean movie <i>Please Teach Me English</i> which depicts Korean English. Forty-six Korean university students watched the movie and completed the surveys about English education and sociocultural issues presented in the movie. The results demonstrate how eliciting opinions from a relevant audience can help fill the gap between fiction and reality, offering a more balanced view. Thus, this survey method can serve as one way to reinforce the use of movies. Furthermore, it is hoped that sharing this type of survey results and developing a movie database will contribute to the teaching of World Englishes.

著者

深津 勇仁

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.22, pp.127, 2017 (Released:2020-03-25)

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This paper will analyze five American Vietnam War movies in the context of Realism and Idealism. The term realism and idealism are mainly used in the field of history. Not only these terms used in diplomatic history but also vice and virtue dualism which are often used in American Foreign policy will be used in this paper. Creating a four quadrant diagram by placing a realism and idealism in horizontal axis and putting a vice and virtue in vertical axis will be the main part of this study. At the same time, in order to check the quality of this diagram, five Vietnam War movies are viewed. This is an experiment of mixing two essential concepts of American Diplomatic History. This study proves that introducing the theory of other discipline is useful to understand the historical background of war movies. In addition, categorizing the protagonist’s role in the movie and its transition will clearly reflect the trend of American society towards the war in America. Not knowing the background of American society will hinder the understanding of the movie, and at the same time, it will make it harder for students in the classroom to comprehend the true message intended in the movie. Utilizing this diagram in CLIL education will also enhance the understanding in the classroom.

著者

山口 美知代

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.21, pp.115, 2016 (Released:2020-03-25)

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Yukihiko Tsutsumi has directed films that portray Japanese speakers of English. The main language of the films is Japanese, while English is used occasionally to add comical effects to the scene. Tsutsumi is a successful director of entertainment films but his films often address social concerns in a humorous fashion. Among more than 40 films Tsutsumi has directed, Eigo ga Nanda (1988), ! [ai-ou] (1991), Ren'ai Shashin (2003) and Ginmakuban Sushioji! New York e Iku (2008) contain especially a notable amount of English. The present paper analyzes the English lines used in these four films and argues that the use of English by the Japanese characters in these films can be seen as one way to indirectly address serious topics concerning the social structure. Cross-linguistic humor produced by the use of English assumes the high status of English in Japanese society and reflects some ambivalent feelings of Japanese speakers toward the global language.

著者

塚田 三千代

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 = Teaching English through movies : ATEM journal (ISSN:13429914)

巻号頁・発行日

no.22, pp.229-242, 2017

著者

カレイラ松崎 順子

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

vol.17, pp.33-42, 2012

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It is said that motivation can be enhanced through satisfaction of the basic psychological needs for autonomy, competence, and relatedness, as proposed by Deci and Ryan (1985, 2002). This study introduced three motivational strategies suggested by Dornyei (2001) to satisfy students' basic psychological needs for autonomy, competence, and relatedness: handing over various teaching roles and functions to learners, providing learners with multiple opportunities for success, and working together to meet a common goal. The participants were 31 second-year university students at a private college. In all, 15 lessons were conducted during three months. The participants, who had been divided into several groups, created a quiz based on the Wizard of Oz. They later gave a lesson using the quiz which they created. The research was conducted by analyzing the students' responses to questionnaires. Results show that creating a quiz based on the Wizard of Oz was enjoyable, challenging, and rewarding for the participating students. Moreover, the English lessons using the Wizard of Oz were enjoyable, challenging, confidence-building, and otherwise rewarding for them. Results of this study revealed that students learned English more positively and were satisfied with lessons using the Wizard of Oz by giving students positions of higher responsibility.

著者

塚本 美恵子

出版者

映画英語教育学会

雑誌

映画英語教育研究 : 紀要 (ISSN:13429914)

巻号頁・発行日

no.8, pp.3-16, 2003-03-31

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The purpose of this paper is to review a film-dubbing project. This film-dubbing project was planned mainly to develop students' English speaking ability through dubbing films in English. This 10-year project (155 groups participated, about 650 students in total) showed that there are two types of groups; one group had the tendency to try to read the scripts literally and the other one was the type of group which concentrated its attention on listening to the original conversations and copying them. Comparing these two types of groups, the latter showed better scores in English fluency than the former. This implies that the assignment of reading scripts aloud, which requires students to change letter media into sound media, requires more effort than repeating spoken conversation which uses only sound media. Students starting with sound media have shown preferable results. In other words, to promote students' speaking ability and fluency, media should be carefully chosen depending on students' level. It also reminds teachers that using sound media effectively would be an important factor to promote students' speaking ability and fluency.