Belgesel Drama Filmlerin Eğitsel Amaçlarla Kullanımı

Year 2019, Volume: 9 Issue: 2, 391 - 403, 31.07.2019

Şermin Kalafatoğlu

Abstract

Considering
that mass media is an important part of the environment where today's students
learn to speak, write, read, listen and make sense of their lives. It is
important to evaluate the features and functions of the mass media’s content.
Films of the docudrama genre are among the productions of this content and have
been a genre that attracted the attention of both the producers and the
audience since the beginning of the history of cinema. The interest in this
production approach, which is based on the revitalization of the real events,
has attracted the attention of researchers working in the field. In these
productions, the balance between reality and fiction varies according to the
creator's interpretation. In documentary productions, there is a creative
approach to reality by the filmmaker. In documentary drama productions, fiction
narrative, revival of events and people are used in the evaluation of reality.
In these re-animations, the ethical responsibility of the documentary drama
producer towards the audience and the subject he is dealing with is important.

 

Use
of documentary productions, sub-genres including docudramas, fiction films and
visual media as additional resources in the classes; it can help to inform, to
gain new perspectives, to develop different discussions and to visualize
abstractly discussed topics. It is seen that docudramas which are important in
terms of informing, drawing attention to different social problems, conveying
different perspectives on historical events and individuals can be used by
educational disciplines for different purposes.

 

While
the advantages of docudrama productions in the use of education are important,
it is seen that they are subject to various criticisms due to their fictional
elements. These criticisms stem from the problematic relationship between
docudrama and reality. While docudrama films deal with their subjects, unlike
documentary productions or feature films, they convey the real ones to the
audience with fictional elements. The researchers draw attention to the fact
that various ethical problems may arise in this transference.

 

In
the study which focuses on the use of documentary drama productions by teachers
in different fields, it is seen that these productions have great importance in
terms of fulfilling the educational objectives. Within this framework, it is
necessary to increase the number of resources that teachers can access to such
productions free of charge. In addition, the necessity of investing in schools
which are lack of technological infrastructure is obvious. Docudrama
productions, which can contribute to both the learning process, the students'
interest in the subjects and the handling of the subjects in a much more
concrete and creative way in the classroom, are of great importance in making
use of the advantages that they have more widely. When questions were asked to
teachers to elaborate on what these advantages were, they emphasized the impact
they had on communicating with their students and understanding the issues they
discussed in their lessons. It is stated that it is easier for students to
understand abstract and complex subjects, the interest in the lesson is
revitalized, learning can be more permanent, arousing curiosity about the
topics discussed in the students and encouraging them to do more research and
contributing to the discussion environment in the classroom by positively
contributing to teacher-student communication.

Keywords

Anahtar kelimeler: Belgesel drama, eğitim, film ve eğitim

References

• Bennett, B. (2010). Framing terror: Cinema, docudrama and the ‘War on Terror’, Studies in Documentary Film, 4:3, 209-225.
• Bernard, H. (1988). Research Methods in Cultural Anthropology. Newbury Park, CA: Sage Publications.
• Bogdan, R. C.; Biklen, S. K. (1998). Qualitative Research for Education, Boston: Allyn and Bacon.
• Booth, W.. (2004). Reality is only an illusion, writers say. Hollywood scribes want a cut of not-so-unscripted series. Washington Post, http://www.washingtonpost.com/wpdyn/articles/A53032-2004Aug9.html
• Burton, C. Emory. (1988). Sociology and the Feature Film.Teaching Sociology, 16, 263‐271.
• Carveth, Rod. (1993). The Evolution of the Docudrama, Journal of Popular Film & Television. Fall 93, Vol. 21 Issue 3, p121. 7p.
• Champoux,Joseph E. (1999). Film as a Teaching Resource. Journal of Management Inquiry, 8(2), 240‐251. (Updated online, September 2007)
• Daniels, Jessie. Teaching and Learning with Documentaries in the Digital Era, https://justpublics365.commons.gc.cuny.edu/02/2014/teaching-and-learning-documentaries/, erişim tarihi: 23.02.2017.
• Edelman,Murray.(1995). From Art to Politics: How Artistic Creations Shape Political Conceptions. Chicago: UC Press.
• Feldman, Martha J. (1995). Totalitarianism without Pain: Teaching Communism and Fascism with Film. The History Teacher, 29, 1.
• Hoffer, Tom W.; Nelson, Richard Alan (1978). Docudrama on American Television, Journal of the University Film Association, Perspectives On Televisıon Studies (Spring), Vol. 30, No. 2, pp. 21-27.
• Jordan, D. L.; Sanchez.P.M. (1994). Traditional versus Technology Aided Instruction:The Effects of Visual Stimulus in the Classroom.PS: Political Science and Politics, 27, 1,64‐67.
• K’Nash, K. (2011). Documentary-for-the-Other: Relationships, Ethics and (Observational) Documentary, Journal of Mass Media Ethics: Exploring Questions of Media Morality, 26:3, 224-239.
• Kiasatpour, S. M. (1999). The Internet and Film: Teaching Middle East Politics Interactively. PS: Political Science and Politics, 32, 1, 83‐89.
• Lipkin, S. N. (2002) Real Emotional Logic. Film and Television Docudrama as Persuasive Practice. Carbonale: South Illinois University Press.
• _______, (2011). Docudrama Performs the Past, edited by Steven N. Lipkin, Cambridge Scholars Publishing, 2011.
• Mayer, R. E. (2003). “The promise of multimedia learning: using the same instructional design methods across different media”, Learning and Instruction, Volume 13, Issue 2, April, Pages 125–139
• Paget, D. (2002). Acting Apart: Performing Docudrama, Media International Australia Incorporating Cultureand Policy, No: 104, August, 30-41.
• Pryluck, C.. (1988). Ultimately we are all outsiders: The ethics of documentary filming. In A. Rosenthal (Ed.), New challenges for documentary (pp. 255–268). Berkeley: University of California Press.
• Rhodes, G. D.; Springer, J.P. eds. 2006. Docufictions: Essay on the Intersection of Documentary and Fictional Filmmaking. Jefferson: McFarland.
• Sanders, W. (2010). Documentary Filmmaking and Ethics: Concepts, 2010. Responsibilities, and the Need for Empirical Research, Mass Communication and Society, 13:5, 1998, 528-553. Tobias C.A: M.W Production Studio.
• Sanders, D. (2010). Belgesel, Çev. Ali Nejat Kanıyaş, İstanbul: Ayrıntı Yayınları. Sealey, Kelvin Shawn (ed). (2008). Film, Politics, and Education: Cinematic Pedagogy Across the Disciplines. NY: Peter Lang.
• Tağ, Ş. (2003). Belgesel Sinema Ve Türleri, Anadolu Üniversitesi Sosyal Bilimler Enstitüsü, Sinema-TV Anabilim Dalı, Yayınlanmamış Yüksek Lisans Tezi.
• Tağ Kalafatoğlu, Ş.; Öz, Ö. (2015). Belgesel Sinemada Etik Tartışmaları, Gazi Üniversitesi Sanat ve Tasarım Fakültesi 2. Uluslararası Sanat Sempozyumu, 5-7 Kasım, Ankara, 479-489.
• Tipton, D. B. (1993). Using the Feature Film to Facilitate Sociological Thinking. Teaching Sociology, 21, 87‐191.
• Wyatt, E.E. (2009). On ‘The Biggest Loser,’ health can take back seat. New York Times. http://www.nytimes.com/2009/11/25/business/media/25loser.html