DVD-Rom Insight / lycée

Transcription

Insight
DVD-Rom Insight / lycée
Livret
pédagogique
93367-0728MP3_.indd 1
w Daniel Masson
Lycée Marc Bloch, Bischheim
w Gabriel Amar
Lycée Stanislas, Wissembourg
w John Andrews
Lycée Fabert, Metz
w Marc Blesch
Lycée Georges Pompidou, Dubaï
w Cécile Clauss
Lycée Marc Bloch, Bischheim
28/07/2008 15:34:23
Sommaire
Introduction
3
Games
9
Eco-towns
13
Murderball
17
Copycats
22
Generous JK
26
The Meatrix
29
Daisy girl
34
What do you do?
37
I wouldn’t steal
42
Land of the brave
46
Evolution
51
No such thing
54
Against the odds
57
Indian appeal
61
The border
64
The dictator
68
AWOL!
73
Masked hoodies
77
N’hésitez pas à nous écrire!
Éditions Hatier - Équipe Insight
8, rue d’Assas
75006 Paris
France
© Éditions Hatier, 2008.
Isbn : 978-2-218-93367-7
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Introduction
Le DVD Insight offre 18 documents authentiques, de 1 à 5 minutes, choisis
pour leur apport culturel autant que linguistique.
Une partie Rom, consultable sur un ordinateur, donne notamment accès à
des fiches photocopiables.
D’autres documents complémentaires se trouvent sur le site Insight :
www.insight-hatier.com.
Le DVD peut être utilisé en lycée général ou technologique, de la Seconde
à la Terminale, en accompagnement des manuels Insight, ou de toute
autre méthode utilisée.
Nous espérons que le DVD Insight vous permettra d’enrichir votre palette
d’outils pédagogiques tout en immergeant vos élèves dans le monde anglophone.
Nous vous souhaitons d’excellentes séances vidéo avec vos élèves !
I. Mode d’emploi de la partie vidéo
La partie vidéo se lance automatiquement à l’insertion du CD dans votre
lecteur DVD.
fi Le menu du DVD permet de sélectionner le
document souhaité.
Il propose deux écrans qui regroupent chacun
9 documents (on passe de l’un à l’autre en sélectionnant « suite » et « retour »).
fi Un sous-menu permet de choisir la version
(sous-titrée ou non).
Les sous-titres peuvent aussi être activés ou
désactivés à tout moment par la touche « subtitle » de votre télécommande.
livret vidéo x insight x page 3
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t
Pour votre confort :
• Chaque document commence par un écran noir de 4 secondes, ce qui
permet de manipuler la télécommande, etc.
• Pour un certain nombre de documents, nous avons défini des parties
qui sont signalées par un numéro en haut à droite de l’écran. Ce numéro
clignote avant la fin de chaque partie pour vous donner le temps de
faire une pause, si besoin. (Ces numéros de parties sont indiqués dans les
scripts ainsi que dans les fiches photocopiables.)
La touche x permet de passer d'une partie à l'autre (chapitrage).
II. Mode d’emploi de la partie Rom
• À l’insertion du CD dans le lecteur de votre PC :
Quittez la vidéo (si elle s’est lancée automatiquement) puis allez dans
« Poste de travail » et faites un clic-droit sur le disque « Insight Vidéo Lycée ».
Dans le menu proposé, sélectionnez « Ouvrir » (ou « Explorer »). Une fenêtre s’affiche et vous donne l’accès à un dossier « Documents ». Ouvrez
ce dossier.
• À l’insertion du CD dans le lecteur de votre Mac :
Quittez la vidéo, si elle s’est lancée automatiquement, et double-cliquez
sur l'icône du disque qui se trouve sur votre bureau, puis ouvrez le dossier
« Documents ».
Le dossier « Documents » contient :
- Un dossier « Fiches » comprenant 18 fiches photocopiables (= une fiche
par document vidéo) au format PDF, les 18 mêmes fiches au format Word
pour vous permettre de les personnaliser, ainsi que les corrigés des
fiches.
- Un dossier « Masked hoodies » comprenant les fichiers vidéo de l'activité
de doublage proposée à la page 80.
Si vous le souhaitez, vous pouvez copier ces éléments sur votre disque.
III. Niveaux
Pour chaque document, des niveaux cibles sont proposés dans le livret,
en fonction des programmes culturels au lycée, mais aussi en termes d’activités langagières du CECRL.
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Introduction
Ce sont de simples propositions, et chacun reste libre de travailler avec
chaque document au niveau de son choix. (Cependant, dans un lycée où
plusieurs collègues utilisent le DVD, il sera préférable d’établir une liste de
documents pour chaque niveau afin d’éviter les redondances d’une année
sur l’autre.)
Les documents et activités du DVD Insight se situent aux niveaux A2, B1 et
B2 du CECRL. Vous trouverez ci-après les descripteurs des niveaux A2 à B2
pour l’activité « réception audiovisuelle » puis ceux des niveaux B1 et B2
de l’activité « écouter ».
Comprendre des émissions de télévision et des films
(CECRL, p. 59)
A2 - Peut identifier l’élément principal de nouvelles télévisées sur un événement, un accident, etc., si le commentaire est accompagné d’un support visuel.
- Peut suivre les rubriques du journal télévisé ou de documentaires télévisés présentés assez
lentement et clairement en langue standard, même si tous les détails ne sont pas compris.
B1 - Peut comprendre une grande partie des programmes télévisés sur des sujets d’intérêt
personnel, tels que brèves interviews, conférences et journal télévisé si le débit est relativement lent et la langue assez clairement articulée.
- Peut suivre de nombreux films dans lesquels l’histoire repose largement sur l’action et
l’image et où la langue est claire et directe.
Peut comprendre les points principaux des programmes télévisés sur des sujets familiers si
la langue est assez clairement articulée.
B2 - Peut comprendre la plupart des journaux et des magazines télévisés.
- Peut comprendre un documentaire, une interview, une table ronde, une pièce à la télévision
et la plupart des films en langue standard.
Écouter
(CECRL, p. 26-27)
B1 - Je peux comprendre l’essentiel de nombreuses émissions de radio ou de télévision sur
l’actualité ou sur des sujets qui m’intéressent à titre personnel ou professionnel si l’on parle
d’une façon relativement lente et distincte.
B2 - Je peux comprendre la plupart des émissions de télévision sur l’actualité et les informations. Je peux comprendre la plupart des films en langue standard.
IV. Utiliser la vidéo Insight
Avec les extraits que nous présentons ici, il ne s’agit bien sûr pas de « regarder un film » comme à la maison, mais bien de traiter un extrait comme
tout autre document.
L’objectif du DVD est le même que celui des manuels Insight : le document
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doit nécessairement engager les élèves dans des tâches de compréhension et d’expression orales (et dans une moindre mesure, écrites).
Ce double objectif (compréhension + expression) est d’autant plus important que la vidéo est à la fois le support le plus complet et celui qui motive
le plus les élèves.
EXPLOITER LES IMAGES ET LE SON
La technique filmique est souvent porteuse de sens, notamment dans les
œuvres de fiction. C’est un élément que nous proposons d’analyser de façon ponctuelle, lorsqu’il est pertinent, pour mieux comprendre un aspect
essentiel de ce qui est montré.
Certaines images fixes pourront être utilisées pour se concentrer sur un
personnage (expression du visage) ou sur la composition d’une image.
La vidéo est aussi un très bon support pour motiver les élèves à la compréhension orale, car lorsque le locuteur est présent à l’image, le besoin
de savoir ce qu’il dit en est renforcé. Les bruitages et musiques de fond
pourront aussi faire l’objet, le cas échéant et s’ils sont pertinents, d’un
commentaire approprié.
Avec les images, motivantes pour les élèves car souvent plus familières,
les élèves bénéficient d’une aide qui leur permet de prendre confiance, et
ainsi d’être mieux préparés aux exercices de compréhension orale proposés au baccalauréat.
Il est aussi intéressant d'exploiter l’absence d’image et/ou de son.
- Un visionnement « muet » permettra de mieux se concentrer sur l’image,
et de demander aux élèves de produire leur propre commentaire, d’imaginer ce que pourraient dire les personnages, etc.
- De même, une écoute « aveugle » pourra s’avérer utile pour que les élèves se concentrent sur l’oral, ou pour leur proposer d’imaginer ce qu’il
pourrait y avoir à l’écran, ou ce qu’ils montreraient s’ils étaient cinéastes.
Les didactisations de ce livret proposent quelques unes de ces techniques. Il appartient à chaque utilisateur d’en faire un usage plus ample afin
de créer le très utile « information gap » qui permet, souvent de façon ludique, d’aiguiser la curiosité des élèves et de les rendre actifs.
EXPLOITER LES SOUS-TITRES ANGLAIS
Nous avons tenu à ce que les sous-titres soient les plus fidèles possibles
à ce qui est dit. Cependant, dans quelques rares cas où le débit est trop
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Introduction
rapide, certains sous-titres ont dû être simplifiés.
Nous recommandons d’utiliser les sous-titres uniquement pour aider les
élèves à confirmer leurs hypothèses une fois qu’ils auront fait l’effort de
comprendre ce qu’ils ont vu et entendu.
En effet, la lecture de sous-titres en anglais peut mobiliser l’attention de
certains au détriment de la compréhension orale et visuelle, et ce, particulièrement lors d’un premier visionnage.
ÉVALUATION
On pourra évaluer les connaissances acquises au cours de l’étude du document de différentes manières :
- avec un test écrit dans lequel on posera des questions classiques de compréhension ;
- en donnant quelques citations qu’on demandera de remettre dans leur
contexte : Who said this? To whom? When? Why/ What for? ;
- en proposant un exercice d’expression semi-guidée, dérivée du document
étudié (cf. rubriques Zoom out).
Il sera aussi possible d’utiliser un document vidéo comme support d’évaluation à part entière, notamment avec des élèves ayant déjà participé à
des activités vidéo et qui auront acquis un savoir-faire en matière de compréhension audiovisuelle.
CONTENU DU LIVRET
Pour chaque document, le livret fournit les éléments suivants :
- Des éléments sur le document (résumé, source, informations complémentaires, intérêt pédagogique) ;
- Les objectifs (niveaux ciblés, objectifs linguistiques et culturels) ;
- Les scripts (enrichis de descriptions de ce que l’on voit à l’écran lorsque
cela semble opportun) ;
- Une proposition d’exploitation (exploitation simple, en une séance).
Cette partie détaille, sous forme de questions/réponses, une étude assez
rapide du document, à faire à l’oral (avec ou sans fiche de compréhension).
Il appartient à l’enseignant d’adapter, selon les besoins des élèves, le déroulement de ce travail, en faisant des arrêts sur image ou en repassant
une scène pour en améliorer la compréhension si nécessaire.
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Différentes rubriques organisent le déroulement de la séance :
- Warm up propose, dans certains cas, une activité courte de « pré-visionnage ».
- Overview donne quelques tâches à faire après un premier visionnage du
document dans son intégralité. (Il arrive que la démarche proposée ne comporte pas d’étape Overview afin de ménager le suspense, par exemple.)
- Zoom in propose des tâches classiques de compréhension détaillée avec,
le cas échéant, un découpage en différentes parties.
- Look back permet de revenir sur l’ensemble du document avec un certain
recul, après l’avoir étudié dans le détail.
- Zoom out propose diverses tâches d’expression orale (et parfois écrites), favorisant les interactions au sein de la classe.
LES FICHES PHOTOCOPIABLES
Les 18 fiches et leurs corrigés sont
fournis dans la partie Rom du DVD
Daisy girl
(voir mode d’emploi, p. 4).
Les fiches PDF sont à imprimer et à
K
J
s
erou
Gen
photocopier pour la classe. Elles peuvent être complétées individuellement en classe, au fur et à mesure de
la séance, et gardées par l’élève en
trace écrite de l’activité vidéo.
_
> Overview
1 Type of document:
2 Aim of the document:
3 Probable time & place (justify your answer):
>
iew
erv
Ov
.
alth
ned
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ics.
1 Top
J.K.
Tick
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three
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we
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5 Say what the first part evokes in you. Explain your answer.
Peace.
Innocence.
Fragility.
” Freedom.
6 What is the turning point?
Row
The future.
A sound bite. A picture.
-
Explain.
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zoom in. zoom out.
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. Tru
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at
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Daisy girl
Insight
Part 2
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Les fiches sont aussi proposées au
format Word pour vous permettre de
les personnaliser.
© Édi
LE SITE INSIGHT
Nous vous invitons à consulter le site Insight (www.insight-hatier.com),
qui fournit de nombreux documents complémentaires et originaux :
- propositions d’exploitation très détaillées ;
- fiches : lexique, storyboarding, évaluation, etc.
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Games
LE DOCUMENT
Cette publicité (1’) a été lancée au Royaume-Uni en 2004 par l’organisation
internationale Save the Children.
Le spot a pour but de collecter des fonds ; il montre des enfants victimes de
la pauvreté et/ou de la guerre, endossant des rôles et des responsabilités
d’adultes.
Cette publicité habilement construite (plans utilisés et rhétorique de la
répétition créant l’émotion) permettra de sensibiliser les élèves aux techniques filmiques et publicitaires.
OBJECTIFS
Niveau : 2de (Lien social ; Échanges économiques).
Grammaire : Le pronom relatif who ; révisions du présent en be + ing.
Lexique : Adjectifs décrivant les réactions et les sentiments ; look / look
like.
A2-B1
CECRL :
Interactions : Insight 2de : unité 5 (Helping out : Text 2, p. 84 ; Views, p. 87 ;
Issue, p. 92-93).
Ressources proposées :
- Un parcours simple ci-après.
- Un parcours détaillé sur www.insight-hatier.com.
- Une fiche photocopiable accessible dans la partie Rom du DVD.
SCRIPT
PART 1
(Several shots show children who are victims of poverty and war. Five
captions appear: “Hide and seek” ; “Treasure hunt” ; “Mummies and daddies” ; “Doctors and nurses” ; “Toy soldiers”.)
Voice-over: For these children, there are no fun and games, just fear,
93367-0728MP3_.indd Sec1:9
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hunger, pain and endless poverty. We don’t think it’s right. If you don’t
either, call Save the Children on 0800 093 13 13 and pledge three pounds a
month. (The “Save the Children” flag is flying.)
PART 2
(Several shots show children who are being helped by adults.)
Voice-over: Three pounds a month can get food, water, and shelter to children who desperately need it. Three pounds a month could give some of
the world’s poorest and most vulnerable children the chance to be children
again. So please pick up the phone and call “Save the Children” on 0800 093
13 13 and pledge three pounds a month. (Text:savethechildren.org.uk)
PROPOSITION D’EXPLOITATION
Overview
A2-B1
Say what kind of document this is and what it aims to do.
w This commercial aims to make people aware of the children’s plight in
developing countries and in the countries that are at war. It doesn’t ask
people to buy any product, but to pledge money for children, so it’s a fundraising campaign.
Pick out the name of the association and explain its aim.
w The association is called “Save the Children.” They aim to collect money
to help children, to get them “food, water and shelter”.
What is your first reaction to this ad? How do you feel?
Zoom in
A2-B1
Describe what the children are doing in the first part. How do they look?
How do they probably feel?
w We can see:
- a group of children running in the streets. We don’t see their faces but we
can imagine they are afraid because of the gunshots.
- a young child who is hiding. He looks bewildered and a little afraid at the
same time.
- the hands of boys foraging for food through trash. They look very hungry.
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Games
- a young girl who is carrying a baby in a bundle. She looks very sad, she
must feel hopeless. The baby is crying.
- another girl who is carrying a younger child. She looks lonely and sad
too.
- two children who are hurt / injured. They seem to be suffering a lot.
- two children who are dressed as soldiers. One of them is carrying a machine gun. He must feel very powerful and strong.
Explain what the captions are used for.
w The captions refer to games usually played by children. They are here to
show the contrast between what a normal child should be doing (he should
be playing innocent games) and what these children are actually doing.
Focus on the voice-over. Pick out the words that explain what happens to
these children.
w These children are suffering a lot, they don’t have fun, and they can’t
play games. They live in poverty, in fear, in pain, and in hunger.
Describe what the children are doing in the second part. How do they
look? How do you suppose they feel?
w The second series of pictures shows:
- one child who is seated alone, in rags. He looks poor and lonely.
- two children who are being treated by doctors or nurses. They look relieved.
- children who are at school. They are writing and singing, and they all look
very happy.
- children who are alone in a deserted yard in the sun. They look peculiar
because one of them can’t walk very well yet.
- one child who is eating from a plate. He looks well-fed and satisfied.
- a group of children who are playing. The one in the foreground looks
happy, he is smiling.
How different are the children at the end? What made that possible?
w The children we see at the end look happier and more joyful than the
ones at the beginning: they can eat, play, and learn things at school. That
is probably because they got help from the charity.
How much money does the charity ask for?
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w They ask people to donate 3 pounds a month, which is not a huge
amount of money.
Look back
A2-B1
What shots are mainly used throughout the ad? Explain the effect that is
created.
w There are mainly medium shots and close-up shots, so viewers feel sympathy / pity for these children as they share their feelings.
In the first part of the ad, coloured moving images become black and white
freeze frames. Explain what the filmmakers did that for.
w The coloured moving images create an impression of reality: what we
see is really happening somewhere in the world. The fact that the image
gets frozen and loses its colour emphasizes the children’s plight: it’s as if
these children’s lives were frozen, they are so helpless that we feel even
more compassion.
Do you think this ad is effective? Explain your answer.
w This ad is incredibly effective. It catches your attention from the beginning with these children who are playing innocently in the streets and have
to hide because of the gunshots. The first shot is quite effective as well
because it is a high-angle shot, which makes us aware that these children
are doomed / can’t escape.
What is striking too is the use of close-up shots: we are getting so close to
the children that we can share their emotions and feel pity and compassion
for them. The background music also evokes childhood and innocence. So
we want to donate money to the charity so that those children can live
normal lives.
Last but not least, the repetition of “3 pounds a month” is a good point
because £3 is an amount that many people can afford to donate.
Zoom out
A2-B1
• Imagine a conversation between you and your parents. You try to
convince them that they should call the charity and pledge three pounds a
month, but they don’t want to.
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Eco-towns
LE DOCUMENT
Ce reportage de la BBC (2’), tourné en 2008 en Grande-Bretagne, montre
que la construction de villes nouvelles écologiques, concept a priori séduisant, suscite en réalité une vive polémique.
On découvre notamment les habitants du village de Little Stretton (Leicestershire), à proximité de l’un des sites choisis, s’opposant à l’implantation
prochaine d’une eco-town sur des terres en partie agricoles.
Très abordable, ce document permettra aux élèves de comprendre les
points de vue divergents de ce débat écologique inattendu.
OBJECTIFS
Niveaux : 2de (Lien social ; Échanges économiques) ; 1re (Opposition).
Grammaire : Le passif ; be + ing ; present perfect en be + ing.
Lexique : Les chiffres ; la crainte et la colère (Zoom out).
Phonologie : Accentuation porteuse de sens (emphase).
A2-B1
CECRL :
Interactions : Avec Insight 2de, ce document complétera utilement l’unité 6
(Urban paradise?) et surtout les activités Work out (p. 107) et Issue (p. 108109). Avec Insight 1re, ce document ira avec l’unité 3 (Resist!).
SCRIPT
Voice-over: Eco-towns are coming, but where will they be built? Across
the country, possible sites are being proposed, each developer pushing to
make their scheme one of ten to be chosen by the government. Typical is
this site around Leicester airfield, one of some sixty now under consideralivret vidéo x insight x page 13
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tion. The runways and control tower qualify as a brownfield site but most
of the 4,000 acres are farmland owned by the Co-op. The proposal: to build
15,000 new environmentally-friendly homes, right here.
Reporter: (standing in airfield) Across the country, it’s sites like this which
are the potential locations for these new eco-towns. For the government,
they are a green solution to our housing crisis. For others, though, building
new homes here would be an environmental disaster.
Reporter: (protesters shouting outside a supermarket.) As with many other
potential eco-town sites, the locals here reject government assurances that
the new towns will set a new gold standard of good building and planning
practice. (views of a village) In the tiny village of Little Stretton, they fear
being swamped by thousands of new homes on their doorstep.
Local man: What’s eco-friendly about building roads, building houses, destroying all the local habitat, all the trees?
Local woman: I’m hoping to wake up, that this plan has all been a dream
because you only have to look around the area proposed and... and think,
is it... it’s sheer madness!
Reporter: Many environmentalists like the idea of eco towns, but not the
potential greenfield locations.
Environmentalist: If you build your developments out in the middle of the
countryside, it’s much harder to... to make your community sustainable
and, and as self sufficient as possible. What you end up with, essentially,
is, is a well-heeled commuter belt.
Voice-over: (views of houses being built) Eco-towns make up just a fraction
of the government’s target of three million new homes. What’s different
is that they will be new towns with infrastructure that goes beyond just
housing.
Warm up
A2-B1
Explain briefly what the word “eco-town” means to you.
Zoom in
A2-B1
Say what type of video this is, and what it is about.
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Eco-towns
w This video is a report about some British people who are protesting
against the planned building of eco-towns in the area where they live.
Listen for the numbers at the beginning and say what each of them refers
to.
w 10: final number of eco-town sites.
w 60: total number of sites under consideration.
w 4,000: acres of farmland on the airfield site.
w 15,000: number of eco-homes that may be built on the airfield site.
Where do the events take place?
w The events take place in Britain. The people speak British English and we
can see typical English brick houses.
Who has decided to encourage the building of eco-towns? What for?
w The government has decided to encourage eco-towns to provide “a
green solution” to Britain’s “housing crisis.”
How is Little Stretton presented in the film?
w It looks like a typical, quiet country village, with a church, flowers and a
country atmosphere. It is almost an idealised village.
What three words are stressed by the journalist when he talks about the
village?
w “They fear being swamped by thousands of new homes on their doorstep.” He stresses the idea of invasion.
How do local people react? Why?
w They are protesting and demonstrating against the plan because they
think it will be an “environmental disaster”. They think it’s “sheer madness” and don’t see why destroying trees to build houses and roads can be
good for the environment.
Listen for the last number mentioned and say what it refers to.
w 3,000,000: total number of new homes that need to be built in Britain
(not all of them eco-homes).
Look back
B1-B2
Do you think this report is objective? Explain your answer.
w The journalist presents the exact facts and figures, but most of the images show how calm and green the village is. The report shows protesters
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and demonstrators, then interviews of villagers and an environmentalist,
but nobody from the government. As a result, viewers will probably feel a
little sorry for the villagers... without understanding what an eco-town will
actually be.
Zoom out
B1-B2
• Act out a conversation between one of the angry villagers and a government representative, or an environmentalist, or someone living in a noisy
city.
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Murderball
LE DOCUMENT
Murderball est un documentaire de Henry Alex Rubin et Dana Adam Shapiro sorti en 2005 qui met en scène les équipes américaine et canadienne
de rugby en fauteuil roulant (wheelchair rugby/ quad rugby/ murderball).
Ce sport spectaculaire, qui tient autant du rugby que du handball et du
hockey sur glace, est une discipline olympique depuis 2000.
Le document proposé ici (environ 5’) est constitué de deux extraits émouvants, aux rythmes très différents :
- l’histoire de Keith, qui est en rééducation, peu de temps après un accident
de moto ;
- une présentation très dynamique de ce sport et de trois joueurs américains aux personnalités bien trempées.
Le premier extrait permettra de comprendre la difficulté pour un quadriplégique de faire des gestes quotidiens, alors que le deuxième extrait montre
l’incroyable énergie dont les joueurs de « murderball » font preuve.
(Pour la petite histoire, Keith s’en sortira et intégrera l’équipe de wheelchair rugby. Par ailleurs, Mark Zupan, le capitaine de l’équipe américaine,
est devenu une véritable star suite à la sortie de Murderball, qui a été encensé par la critique et nominé aux Oscars.)
OBJECTIFS
Niveaux : 2de (Lien social) ; Tle (Identités ; Interdépendances).
Grammaire : Used to (Part 1) ; (a) few/ (a) little (Part 2).
Lexique : Le handicap ; le sport ; les parties du corps.
B1-B2
CECRL :
Interactions : Insight 2de : on pourra utiliser ce document avec l’unité 2
(Standing out) et notamment avec la double page Outline (p. 30-31). Insight Tle : ce document pourra s’intégrer dans l’unité 2 (Take a stand!).
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- Une fiche photocopiable sur la partie Rom du DVD.
SCRIPT
PART 1
(In a hospital)
Keith’s mother: (images of Keith before his accident) All his life, as soon as
he was able to get on a tricycle, he’s been on wheels. Bicycles, dirt bikes,
quads... He loved wheels. Now, one of the favorite things in the world to
Keith... hurt him.
(Kessler Institute for Rehabilitation, outside then inside)
Nurse: (to Keith) You got it! All right!
Keith: When you go down to that gym, you realize how much you’re broken
down. You’re really... almost at an infant’s level. You get frustrated because you can’t even lift your arm up to itch your nose. Just shaking hands with
somebody, I can’t even make a firm grip with my hand to present myself.
And that type of reality check… it just… you can’t explain to anybody.
(Keith trying to unfasten his Velcro shoes)
Keith: The Velcro’s put on too tight.
PART 2
Referee: (two wheelchair-bound referees on the court) Quadriplegic rugby
was developed in Canada, and the original name for the game was “murderball”.
Marty, USA pit crew: (custom-made wheelchairs being welded) What we
do is we take these wheelchairs and make them into a gladiator, a battling
machine, a Mad Max, a wheelchair that can withstand knocking the living
daylights out of each other.
Mark Zupan: The majority of the people that play wheelchair rugby have
broken their necks. (animated drawings of skeletons) So we have rods,
plates, screws... inside. The biggest misconception is, “You’re quadriplegic?
Oh, I thought they couldn’t move their arms.” I’m like, no, I have impairment
in all four limbs. The higher you break your neck, the less mobility you
have. So we’re given point values ranging from a half a point to three and
a half points based on what you can move. You can’t exceed eight points
on the court at one time.
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Murderball
Andy: I’m a two because I have some hand function and full arm function.
My hands don’t close, they only open, so kind of like spatulas for pancakes
or fuckin’ people off. When I was 16, I was in a car accident, the car hit a
tree and it made the car flip, and when it flipped, the roof came down on my
head. And I came in incomplete C6 quadriplegic.
Hogsett: I was out on the back porch, and he was trying to pick a fight with
me, and he picked me up and threw me off the deck, and he punched me
and it snapped my spinal cord. I’ve got a few muscles left. But like, for the
most part, my trunk’s paralyzed, to about, right here. I’ve got biceps, my
triceps are paralyzed, I’ve got very little finger function. Hold on, let me
move ’em! There, just see ’em, I moved ’em!
Mark Zupan: One thing that we do to help grip the ball is we add some kind
of glue, so it’s sticky, and you can actually pick the ball up and throw it. I’m
a three and my grip is affected, I can’t close that. Also missing the muscle in
my left shoulder. My accident happened in Florida when I was eighteen. My
buddy spun out, threw me into a canal and I spent thirteen and a half hours
in the canal, holdin’ onto a branch until somebody found me.
Mark Zupan’s father: He’s always been what I call a tough kid. You know, I
know very few people that would ever fuck with Mark.
Marty: Just to see him out on the court with the tattoos up his arm, the
goatee, he’s intimidating. He’s one of these players that people try to just
stay away from.
Mark: (with other players in a hotel lobby) Jason! Jay, where d’you wanna
go? Down or up? Where?
Jason: Back up ...
Mark Zupan: Where? Where? Where? Where do you wanna go?
Jason: Shut up or... (Andy falls backwards)
Hotel worker: You want us to call security?
Zoom in
B1-B2
PART 1
Introduce Keith. Say what happened to him and where he is now.
w Keith is a young man who had a motocross accident 4 months ago.
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He is probably quadriplegic and is now in a rehabilitation centre for handicapped people.
Compare Keith’s former life with his new life.
w Keith used to lead a normal life, but now he lives in a hospital. He used
to ride all sorts of bikes, and especially motorbikes, whereas he now has
to move around in a wheelchair. He used to be an independent adult, but
today he feels he is a child again as he can’t even take off his shoes by
himself.
PART 2
Sum up all you have seen and heard about the sport: names, type of game,
equipment, point system.
w Wheelchair rugby (or quadriplegic rugby) is an indoor sport for quadriplegics that originated in Canada and used to be called “murderball”.
Players use a ball that looks like a volleyball and have to score goals with it.
They wrap their hands in bandages and add glue to improve their grip. This
is a violent sport as they use custom-made wheelchairs that are designed
to bump into other wheelchairs, and to be bumped into. All the players
are handicapped, and they are assigned points according to their mobility
(from a 1⁄2 point to 3 1⁄2 points). The total “value” of all players for a team
on the court cannot exceed 8 points.
Listen to Andy, Hogsett, and Mark Zupan. Say what happened to them and
what physical functions they have.
w Andy was in a car accident when he was 16. He is a “2” because he can
move his arms, but his hands don’t close.
w Hogsett had a fight 13 years ago and his spinal cord was injured. He is
a “1” because his triceps and most of his trunk are paralysed, and he can
hardly use his fingers.
w Mark Zupan was in an accident in Florida when he was eighteen. He’s a
“3” because his “grip is affected” and there is a muscle he can’t move in
his left shoulder.
Say what kind of person Mark is. Comment on the scene at the end.
w Mark is a “tough kid”. His parents and the crew member who repairs
wheelchairs seem to be very proud of him. The scene at the end shows that
the team members are friends.
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Murderball
Look back
B1-B2
What impact does this video have on you?
w What is striking is the sharp contrast between Keith, who is having a very
difficult time after his accident, and the wheelchair rugby players who are
full of energy and make the most of life. It seems sport has made their lives
meaningful again.
Zoom out
B1-B2
• You are a nurse at the Kessler Institute for Rehabilitation and you would
like Mark Zupan to give a motivational speech to a group of quadriplegic
patients. Write a letter to convince him to come.
• You are Mark Zupan and you have agreed to give a motivational speech
to a group of quadriplegic patients at the Kessler Institute for Rehabilitation. Write your speech and deliver it.
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Copycats
LE DOCUMENT
Ce bref document (1’30’’) est un reportage de la BBC diffusé en janvier
2008. Il montre à quel point le plagiat est une pratique courante chez les
élèves du secondaire.
En fait, les élèves ne se rendent pas toujours compte que certaines de leurs
pratiques sont une forme de tricherie.
Le but de ce document ne se limite donc pas aux activités de communication : il s’agit d’éduquer nos élèves aux bonnes pratiques en matière
d’usage des sources.
OBJECTIFS
Niveau : 2de (Création littéraire et artistique ; Lien social : lien élève-professeur, notamment).
Grammaire : Le reproche, le passif (Zoom out)
Lexique : Le travail scolaire, la triche ; le reproche, l’excuse, le démenti
(Zoom out).
A2-B1
CECRL :
Interactions : Insight 2de : unité 1 (Live & Learn).
- Une fiche d’apprentissage (Plagiarism or not?) et un parcours détaillé
sur www.insight-hatier.com.
SCRIPT
PART 1
Voice-over: Teachers already call this the “cut’ n’ paste generation”. For
many pupils, it seems, copying from the internet is now a normal part of
school work. Online plagiarism is widespread, according to a survey of
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Copycats
sixth form teachers like this one, who wants to remain anonymous.
Teacher: Two students submitted work that clearly wasn’t their own. In
one case it was 100% plagiarised. I found a website where the coursework
was verbatim in its original form, and in the other case about 75% was
plagiarised.
PART 2
Voice-over: The survey of three hundred teachers by the ATL* union found
more than half – 58% – said online plagiarism was a problem. More than a
quarter estimated that more than half the work they received was copied
from the internet. These students agree it’s all too easy.
Student #1: You get your bit of paper from the GCSE people saying: “have
you plagiarised”, and all this… People just tick it and they think… and then
if you think, “Well maybe I have but... they won’t find out.”
Student #2: People just do it anyway ’cause it’s… it means they spend less
time on exams and more time on other stuff. And they just don’t really have
to think about anything.
PART 3
Voice-over: But the survey also found that most teachers believe their students simply don’t know the difference between plagiarism and legitimate
research, suggesting many are copying from the internet through ignorance rather than a desire to cheat. James Westhead, BBC news.
*ATL: Association of Teachers and Lecturers.
Warm up
A2-B1
Même si l’on décide d’exploiter le document sans la fiche photocopiable,
on pourra donner aux élèves le matching exercise qui s’y trouve pour élucider quelques mots dont on peut difficilement deviner le sens, notamment :
cut and paste ; widespread ; survey ; sixth form ; tick ; verbatim ; GCSE.
Overview
B1-B2
What type of document is it?
w This is a short report from the BBC. It is about plagiarism.
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How many different speakers are there?
w There are four different speakers: the reporter, a sixth form teacher and
two pupils.
What is the main idea?
w Plagiarism is widespread. Many students copy their assignments from
the internet instead of doing them on their own.
Zoom in
A2-B1
PART 1
What term do teachers use to call the present generation of students?
What do they mean?
w They use the term “cut ’n’ paste generation”. They mean that many pupils just look for ready-made answers or even essays on the internet.
Pick out a term meaning “copying from the internet”.
w Online plagiarism.
How common is online plagiarism? Justify your answer.
w It’s very common. The reporter says that “for many pupils, [it is] a normal
part of school work,” and that “online plagiarism is widespread.”
What example does the teacher give?
w He gives the example of two assignments that were handed in to him.
The first one had been 100% plagiarised, and the second one 75%.
How did the teacher know?
w In the first case, he found a website where the assignment was written
word for word (where “the coursework was verbatim in its original form.”)
PART 2
What do the figures 300, 58%, 28% correspond to?
w 300: the number of teachers that were surveyed.
w 58%: the percentage of teachers who say plagiarism is a problem.
w 28%: the percentage of teachers who think more than half the work they
receive is copied from the internet.
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Copycats
One of the students mentions a bit of paper. Who do they get it from?
w They get it from the “GCSE people” (the people in charge of collecting
GCSE coursework).
What do they have to do with it? Imagine some of the questions it may
contain.
w They have to tick it, so it certainly contains yes / no questions like “Do
you certify that the work you have submitted is your own?” or “Did you
provide all the necessary references?”
What are the different reasons why students plagiarise?
w Plagiarising is very easy; they think they won’t get caught; they want to
have more time to do other things than studying.
PART 3
What term is the word plagiarism opposed to?
w Legitimate research.
Do most teachers think that students who plagiarise are cheaters?
w No, they don’t. Most believe that students plagiarise “though ignorance
rather than a desire to cheat.”
Zoom out
A2-B1
• Act out a conversation between the teacher who is interviewed at the
beginning and the student who has plagiarised 75% of the coursework.
• Imagine what could be done to prevent plagiarism.
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Generous JK
LE DOCUMENT
Ce document (2’) est composé de deux extraits de reportages de la BBC
diffusés en 2007.
On y voit la vente aux enchères à un prix record d’un livre manuscrit de J.K.
Rowling, écrit à la suite des sept tomes de Harry Potter. Puis on découvre
l’écrivain la plus riche du monde interviewée sur son action en faveur des
enfants et sur sa relation à l’argent. Après un travail principalement axé
sur la compréhension orale, on utilisera ce document pour sensibiliser les
élèves aux causes qu’ils aimeraient soutenir.
OBJECTIFS
Niveaux : 2de (Création littéraire et artistique ; Lien social ; Échanges
économiques) ; 1re (Influence).
Grammaire : Adjectifs composés (record-breaking; handwritten) ; opposition prétérit / present perfect.
Lexique : La philanthropie.
B1-B2
A2-B2
A2-B2
CECRL :
Interactions : Avec Insight 2de, ce document pourra se conjuguer avec les
unités 3 (Money matters), 5 (Helping out) et 9 (Dream on). Avec Insight 1re :
unité 4 (Role models).
SCRIPT
Sotheby’s auctioneer: (auction room) Okay. £1,950,000. Thank you very
much.
Voice-over: (Assistant holding up the book with a big smile on his face.)
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Generous JK
A record-breaking sum for a book by an author who by now must be getting
used to breaking records.
J.K. Rowling: (Journalist and J.K. Rowling flick through the book together.)
Actually this whole book was left to Hermione, yeah, but The Tale of the
Three Brothers was the one where she saw the mark of the Hallows.
Voice-over: One of a limited edition of only seven. Handwritten fairy stories
illustrated by the author, this book is the first thing J.K. Rowling has written since the last Harry Potter novel was published. And the book of fairy
stories opens a new chapter in J.K. Rowling’s charitable work. I asked her
why vulnerable children in Eastern Europe became the focus of the charity
she founded.
J.K. Rowling: I think it was the powerlessness. I think, I think that I’ve got
a real... terror of being powerless. And... I could not think of any person
with less of a voice, more disenfranchised than... a child with mental health
issues, or mental illness, or mentally handicapped, who has been taken
from their family or given by their family to an institution and then placed
in a cage. I could… I couldn’t think of anyone more vulnerable and anyone
more in need of... of an articulate voice.
Reporter: You are incredibly wealthy.
J.K. Rowling: Mmh.
Reporter: And I wanted to ask you about the connection between that
wealth and your social conscience. Have you always had a very strong social conscience?
J.K. Rowling: I... I would say yes. There was this curious disassociation in
my mind between the work I’d done and the money I’d got, because the
reward seemed, when it came, so enormous, you know... It was quite scary
in a way. And large amounts of money no one should ever, ever complain
about having them. And I don’t complain! They… I think they do bring a certain responsibility, if you’re any kind of human being then you, once you’ve
fulfilled your needs and your family’s needs, then I think, if you’re any kind
of human you’re going to think, OK, well, how do I, how do I do some good
with this? And I think most people in my position would, would do that.
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Overview
A2-B1
Say what type of document this is. Locate the two scenes and present the
two topics covered here.
w This is a report with an interview of J.K. Rowling. At the beginning, the
scene takes place in an auction room where one of her books is being sold.
The interview takes place in a house, maybe J.K. Rowling’s house, and she
speaks about the children she has decided to help.
Zoom in
A2-B1
What type of book is being sold? Say what makes it exceptional.
w The book that is sold is a handwritten, author-illustrated book of “fairy
stories”. It is exceptional because it is supposed to be a book that was given to Hermione in Harry Potter, and because there are only 7 handwritten
copies of it. Its leather bound cover is beautifully designed. Moreover, it’s
the first book J.K. Rowling has written since the last Harry Potter novel.
How much did J.K. Rowling get for the book? Comment on that.
w She got £1,950,000 for the book. This is an incredible amount of money for a book! We can wonder who gave so much money for it. Maybe
the buyer wanted to help her and at the same time buy a collector’s item.
[L’acheteur était en réalité Amazon.com.]
Say how J.K. Rowling intends to use the money. Explain her goal.
w J.K. Rowling wants to use the money for charity. She wants to support
mentally handicapped children in Eastern Europe, because some of them are
cut off from their families and sometimes, as she says, “placed in a cage”.
How rich is J.K. Rowling? Explains how she feels about money.
w J.K. Rowling is “incredibly wealthy” and she says that all the money she
gets makes her feel more responsible and she wants to share her wealth.
Zoom out
A2-B1
• You have £2,000,000: you want to use it to support some people in need.
Have a debate in pairs or in groups to decide who you will help, and how
you will spend the money. Explain your project to the rest of the class.
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The Meatrix
LE DOCUMENT
Ce film d’animation (3’45’’) est une parodie du film The Matrix. Réalisé en
2003 par Sustainable Table (www.sustainabletable.org), il dénonce les
méfaits de l’élevage industriel : cruauté des conditions d’élevage, qualité
déplorable de la nourriture, conséquences sur l’environnement. Ce film
a rencontré un succès considérable et a été couronné d’une multitude de
prix.
Dans une exploitation familiale, Leo (un cochon) reçoit la visite de Moopheus (une vache), qui lui apprend que le monde qui l’entoure n’est qu’une
illusion : il vit en fait dans un élevage industriel. Moopheus explique comment les firmes agroalimentaires ont transformé le paysage agricole du
pays, au détriment des personnes et des animaux. Dans une acrobatie digne du film d’origine, Leo se joint au groupe de résistance de Moopheus et
décide de l’aider à libérer le monde de la Meatrix.
The Meatrix a deux suites : The Meatrix II (4’) ; également présent sur le
DVD Insight) et The Meatrix II 1⁄2, que vous trouverez sur le site www.themeatrix.com.
OBJECTIFS
Niveau : 1re (Domination / Opposition : industrie agricole et ses opposants ; Influence : technique de Moopheus pour convaincre).
Grammaire : The more… , the more…
Lexique : La ferme, l’élevage ; les maladies.
B1-B2
CECRL :
Interactions : Insight 1re : unité 3 (Resist! : Issue, p. 64-65).
- Un parcours détaillé ainsi que des ressources supplémentaires sur
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SCRIPT
PART 1
Farmer: Here you go, Leo.
Moopheus: Psst, Leo.
Leo: Who are you? And how did you know my name?
Moopheus: I am Moopheus, and I know a lot about you. Have you heard
of the Meatrix?
Leo: The Meatrix?
Moopheus: Do you want to know what it is?
Leo: OK.
Moopheus: The Meatrix is all around you, Leo. It is the story we tell ourselves about where meat and animal products come from. This family farm is
a fantasy. Take the blue pill, and stay here in the fantasy. Take the red pill,
and I’ll show you the truth.
PART 2
(Leo takes the red pill.)
Moopheus: Welcome to the real world.
Leo: Wow! What is this horrible place?
Moopheus: This is a factory farm, Leo. Places like this are where most eggs,
milk, and meat come from.
Leo: How did this happen?
Moopheus: I’ll show you. In the mid-20th century, greedy agriculture corporations began modifying sustainable family farming to maximize their
profits at great cost to both humans and animals. Factory farming was
born. Animals are packed as closely together as possible. Most never see
sunlight, touch ground or get fresh air. Many can’t even turn around. These
poor conditions cause fights and disease amongst the animals. To fix this,
the corporate machine began systematic mutilations, practices such as debeaking chickens, and they started adding a constant dosage of antibiotics
to their feed, just to keep these poor wretches alive. This overuse of antibiotics breeds super strains of resistant disease-causing germs. Every day
we get closer to an epidemic that cannot be stopped.
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The Meatrix
PART 3
Leo: Ugh! What’s that smell?
Moopheus: Twelve million pounds of excrement. This pollutes the air and
ground water. That’s why communities near factory farms often suffer from
high levels of related sicknesses.
Leo: Well, it smells like shhhh…
Moopheus: And what’s more, factory farming corporations have been
destroying communities and mistreating their workers for decades. Since
1950, over two million small hog farms have disappeared. If they continue
at this rate, there’ll be no real independent family farms left. That is the
Meatrix, Leo. The lie we tell ourselves about where our food comes from.
PART 4
Moopheus: But it’s not too late. There is a resistance.
Leo: Count me in. Yeahhhh! So how do we stop them, Moopheus?
Moopheus: We are going to spread the word. But it’s you, the consumer,
who has the real power. Don’t support the factory farming machine.
There’s a world of alternatives. I’ll show you what you can do to escape
the Meatrix.
Zoom in
B1-B2
PART 1
What type of document is this?
w It’s a parody of the science fiction film The Matrix, in which the reality
humans perceive is actually an illusion created by computers that control
them in order to use them as mere batteries.
Pick out the names of the animals.
w The pig’s name is Leo, and the cow is called Moopheus. This is a humorous allusion to Neo and Morpheus in the original film.
Why has Moopheus come to see Leo?
w He has come to tell him about the Meatrix: the family farm he lives on is
not real. He offers him a choice between remaining in a fantasy world and
knowing the truth.
Imagine what Leo will choose.
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PART 2
What type of farm does Leo find himself on after taking the red pill?
w He finds himself on a factory farm. The family farm he thought he lived
on is an illusion.
List three things that are produced on such farms.
w Eggs, milk and meat.
Describe the animals’ living conditions.
w They live in horrible conditions. They are packed as closely together as
possible, never see the sunlight, touch the ground or get fresh air. They
often can’t even turn around.
Explain the consequences.
w The animals end up fighting for their territory, sometimes to the death.
The more animals are packed together and the closer they are to each
other, the higher the risk of spreading infections.
Say how the problem is solved.
w The animals are mutilated. For instance, chickens are debeaked to prevent them from hurting or killing each other. Besides, antibiotics are used
to stop diseases.
Do you find Moopheus’s speech convincing?
w He criticises agricultural corporations, but he uses a positive term (“sustainable”) to qualify family farming. He uses the word “poor” twice when
talking about the animals, which he calls “wretches”. Viewers can’t help
feeling pity for them.
PART 3
Pick out the two numbers Moopheus gives. Explain what they refer to.
w 12 million: the weight of excrement produced by factory farms, in pounds
(about 5,440 tonnes). It pollutes the air and groundwater and causes people to be sick.
w 2 million: the number of hog farms that have disappeared since 1950.
They can’t compete with factory farms, which operate at a much lower cost,
so they run out of business.
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The Meatrix
What else does Moopheus accuse corporations of?
w He accuses them of destroying communities and mistreating their workers.
PART 4
Why is it not too late?
w There is resistance: some people are committed to fighting against factory farming.
Show Leo is eager to join the resistance.
w First, he jumps out of his cage and says “Count me in!”, and then he asks
Leo how to stop agricultural corporations.
How does Moopheus intend to stop them?
w Moopheus can’t do much as he’s a fictional character. He can only spread
the word. It’s up to us, consumers, to act, by buying sustainable products.
Zoom out
B1-B2
• You are an animal rights activist. Prepare a speech about the disappearance of family farms and the reasons why factory farms should be
banned.
y En prolongement, on pourra montrer la suite de ce film (également proposé sur le
DVD Insight.) Il sera possible d’étudier The Meatrix II de façon plus légère après avoir
acquis des structures avec The Meatrix I, ou encore d’utiliser The Meatrix II comme
support d’évaluation après avoir étudié The Meatrix I.
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Daisy girl
LE DOCUMENT
Cette publicité d’anthologie a marqué la campagne du président américain
Lyndon B. Johnson en 1964.
On y voit une fillette effeuiller une marguerite en en comptant les pétales.
Soudain, une voix grave entame un compte à rebours à l’issue duquel explose une bombe atomique.
Dès sa diffusion, cette publicité a causé une vive controverse, les républicains accusant les démocrates de manipuler les électeurs en exacerbant
leurs peurs.
Il est à noter que les paroles de Johnson, « We must either love each other,
or we must die », sont une référence au poème « September 1, 1939 » dans
lequel W. H. Auden écrit « We must love one another or die ».
Ce document permet d’aborder le thème de la guerre froide et d’étudier les
procédés utilisés pour convaincre les électeurs.
OBJECTIFS
Niveaux : Tle (Conflits : la guerre froide) ; 1re (Influence : la politique et
la manipulation).
Lexique : La guerre froide ; la politique ; la publicité.
B1-B2
B1-B2
A2-B1
CECRL :
Interactions : Insight Tle : unité 7 (Brothers in arms) ; Insight 1re : unité 5
(The art of persuasion).
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Daisy girl
SCRIPT
(A girl is standing in a meadow. Birds are singing in the background. She is
picking the petals of a daisy.)
Girl: One… Two… Three… Four… Five… Seven… Six… Six… Eight… Nine… T…
Ni…
(The camera zooms in on her eye.)
Man’s voice #1: Ten. Nine. Eight. Seven. Six. Five. Four. Three. Two. One.
Zero.
(An atomic bomb is exploding. A mushroom cloud is forming.)
Man’s voice #2 (President Johnson): These are the stakes! To make a world
in which all of God’s children can live. Or to go into the dark. We must either
love each other… or we must die.
(Text: VOTE FOR PRESIDENT JOHNSON ON NOVEMBER 3.)
Man’s voice #3: Vote for President Johnson on November 3rd. The stakes
are too high for you to stay home.
Overview
B1-B2
What type of document is this? When was it probably made? What for?
w This is a TV commercial/ advertisement in black and white. It must have
been made in the 1960s and it aims to make people vote for President Johnson.
The ad falls into two parts. Explain which ones.
w The first part shows a little girl who is wearing summer clothes and standing in a meadow. She’s counting the petals of a daisy as she picks them.
The second part shows the mushroom clouds of nuclear bombs.
Zoom in
B1-B2
Say what the first part evokes in you.
w This is a very peaceful scene. The girl stands for innocence as she’s wearing a white dress, and her counting mistakes make her sound all the more
innocent.
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Contrast the two main parts of the video (sounds, images).
w The girl’s voice, which is quite slow and almost dreamy, is opposed to
three adult male voices that sound very businesslike/ serious/ solemn.
Moreover, the first man is counting backwards, which further enhances the
contrast.
The background “noises” also are different from each other: the exploding
bomb, which evokes death, comes in sharp contrast with the birds’ songs.
The images are important too: the girl symbolises youth and hope for the
future, contrary to the exploding bomb, which only brings chaos and destruction.
Compare the three male voices and say how voters are supposed to feel.
w The first male voice is implacable and ominous. There seems to be no
way the countdown can stop. The second voice must be that of the president as it seems he is addressing a crowd or making an official announcement. Finally, the third man sounds reassuring when he advises viewers to
vote for President Johnson.
Voters are supposed to be frightened/ scared into electing Johnson because they want to avoid a nuclear war. That was probably the biggest fear
Americans (and Russians) faced during the cold war.
Say who is targeted by this ad.
w The ad targets Johnson’s opponent, who is indirectly portrayed as a
reckless, inexperienced man. Johnson, who is already president, wants to
show he’s a careful man who will not lead the country into a nuclear war.
Do you think this ad is well done?
Zoom out
B1-B2
• You are the other candidate, Barry Goldwater, and you decide to call
the TV channel that aired this ad and protest against it. Act out the phone
conversation.
• You were the girl in the advert and your parents show it to you for the
first time 20 years later. React.
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What do you do ?
LE DOCUMENT
Ce court extrait (2’10”) du film Thank You for Smoking (Jason Reitman,
2005) montre le lobbyiste Nick Naylor (Aaron Eckhart) qui vient parler de
son métier dans la classe de son fils Joey. Il travaille pour l’industrie du
tabac, et essaie de convaincre les enfants d’essayer la cigarette pour se
faire leur propre idée…
Dans cet extrait, deux thèmes principaux pourront être explorés grâce à un
travail de compréhension de l’implicite dans les paroles et les actes des
personnages :
- la persuasion, avec le discours de Nick qui profite outrageusement de son
avantage rhétorique face à un public juvénile ;
- le rôle de Nick en tant que père qui se ridiculise devant son fils.
OBJECTIFS
Niveau : 1re (Domination ; Influence).
Grammaire : Exclamations (Zoom out) ; used to / be used to.
Lexique : Le tabagisme ; la persuasion ; adjectifs décrivant les réactions.
Phonologie : Accentuation porteuse de sens (persuasion ; emphase).
B1-B2
CECRL :
Interactions : Avec Insight 1re, ce document offrira un pont entre deux unités : World of work (Unit 1) et The art of persuasion (Unit 5) dont la page
d’ouverture (p. 86-87) est une image du film qui pourra servir de déclencheur.
L’étude de la vidéo pourra s’articuler avec la plupart des documents (textes et audio) de l’unité 5 ainsi que les pistes 12 et 13 du CD élève.
- Un parcours détaillé et des ressources supplémentaires (fiche lexicale,
évaluation) sur le site www.insight-hatier.com.
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SCRIPT
PART 1
(Outside a school, then in a school corridor. Strong applause in a classroom.
An airline pilot and a man in a suit are sitting on a bench. A woman is seeing
a fireman out.)
Teacher: (to fireman) Thank you so much for coming. (To man in suit) Mr.
Naylor? It’s your turn.
Nick Naylor: Ah. (He sits up.)
Teacher: Joey is such a bright young man. We all look forward to his
coming out of his shell a little. He’s a bit shy.
Nick Naylor: Yeah, he gets that from his mother.
PART 2
(Mr. Naylor enters the classroom, stops and whispers to Joey.)
Nick Naylor: Hey, Joey!
Joey: (whispering) Please don’t ruin my childhood.
Nick Naylor: (whispering) Come on, Joey, trust me.
PART 3
(He goes to the platform and speaks. The teacher is sitting at her desk.)
How many of you want to be lawyers when you grow up? (Some hands go
up.) Right. How about... movie stars? (More hands go up. He laughs.) How
about lobbyists?
Boy: What’s that?
Nick Naylor: It’s kind of like being a movie star. It’s what I do, I talk for a
living.
Boy: What do you talk about?
Nick Naylor: I speak on behalf of cigarettes.
Girl: My mom used to smoke. She says that cigarettes kill.
Nick Naylor: Really? Now, is your mommy a doctor?
Girl: No.
Nick Naylor: A scientific researcher of some kind?
Girl: No.
Nick Naylor: Well, she doesn’t exactly sound like a credible expert, now,
does she? (The girl slouches down into her chair and starts sulking.)
Ha! Don’t feel bad. It’s okay to listen to your mom. I mean, it’s good
93367-0728MP3_.indd Sec8:38
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What do you do ?
to listen to your parents… (He points his finger at Joey.) Joey. All I’m
suggesting is that… there will always be people trying to tell you what
to do and what to think. There probably already are people doing that.
Am I right?
Children: (some of them, softly) Yes.
Nick Naylor: I’m here to say that when someone tries to act like some sort
of an expert, you can respond, “Who says?”
Boy: So, cigarettes are good for you?
Teacher: (stands up and raises her left arm) No!
Nick Naylor: (stops her; she sits back) No, that’s not… That’s not what I’m
getting at. My point is that you have to think for yourself. You have to
challenge authority. If your parents told you that chocolate was dangerous, would you just take their word for it?
Children: (all of them, enthusiastically) No!
Nick Naylor: Exactly! So perhaps instead of acting like sheep when it
comes to cigarettes, you should find out for yourself.
Teacher: (stands up again) Okay, then. Thank you, Mr. Naylor, for joining
us. (Light applause. Joey buries his head in his arms.)
Zoom in
B1-B2
PART 1
Describe the setting and the characters.
w The scene takes place in a school. An airline pilot is sitting next to a man
in a suit. A fireman is being seen out by a woman who thanks him for coming, so she must be a teacher. We can imagine this is a career day.
Get the man’s name, what the teacher tells him, and what he replies.
w The teacher tells Mr. Naylor that his son Joey is bright, but a bit shy. He
answers that he “gets that from his mother.”
How does the teacher react? Why?
w She looks puzzled, and even shocked and disgusted to hear him blame
Joey’s shyness on his wife.
93367-0728MP3_.indd Sec8:39
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PART 2
Get what the characters say and comment on that.
w Mr. Naylor tells his son: “Come on, Joey, trust me.” It means his son
doesn’t trust him.
PART 3
M
Montrer cette partie en coupant le son.
What shots are used when Mr. Naylor is in the classroom? What effect
does that have?
w There are high-angle shots that show Mr. Naylor’s point of view, and lowangle shots to show the pupils’ point of view. So we can see he probably
feels superior.
Describe Mr. Naylor’s attitude.
w It seems he is used to speaking in public and he really feels at home in
the classroom. He really lords it over everyone.
So what kind of job could he do?
w He may be a politician/ salesman/ clergyman/ teacher/ etc.
How do the other characters react?
w Although Mr. Naylor looks very persuasive, the pupils and the teacher
don’t look too keen/ enthusiastic.
So what could Mr. Naylor be speaking about?
w It must be a controversial issue, something children are not supposed
to hear about.
M
Montrer à nouveau, cette fois avec le son.
Say what job Mr. Naylor does.
w Mr. Naylor is a lobbyist who works for tobacco companies.
Imagine what it consists in. Would you like to do such a job?
Explain what happens with the girl.
w She says her mother “used to smoke” and “says that cigarettes kill”,
but Mr. Naylor argues that she’s not a “credible expert”, so he implies the
girl should not believe her. Then the girl starts sulking and starts slouching
down into her chair.
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What do you do ?
What does Mr. Naylor explain then?
w He explains that smoking is not necessarily bad. He advises them to try
it out for themselves instead of listening to adults.
Explain what happens with the boy and how the two adults react.
w One of the boys deduces that cigarettes are good for you. Mr. Naylor is
taken by surprise by that remark, and he has to back down. The teacher
clearly disapproves of his message. She shouts “No!” and stands up.
What does Mr. Naylor say then? Explain his rhetoric.
w Mr. Naylor goes on advising the children to “challenge authority” and
says cigarettes are like chocolate.
What does the teacher do? What for?
w She stands up again to make him understand he’d better leave. She’s
had enough.
Explain how the different people feel at the end.
w Mr. Naylor looks proud of himself. The teacher is embarrassed and upset, but she remains polite. The children are clapping, but they are less enthusiastic than when whey clapped for the fireman. Joey looks devastated
and he must be ashamed of his father.
Look back
B1-B2
On the whole, is Mr. Naylor portrayed in a negative or positive light?
w He is portrayed in a negative light. He may be a skilled speaker, but
trying to make children smoke is highly questionable. He stops at nothing,
even if it involves manipulating children, including his own son! That’s why
Joey is devastated at the end.
Zoom out
B1-B2
y On proposera aux élèves de jouer devant la classe différentes situations au choix,
avec ou sans préparation écrite.
• Imagine a conversation between a pair of characters:
- Joey and his father that evening;
- Joey and the girl who was humiliated by his father;
- Joey’s teacher and a colleague;
- Mr. Naylor and the fireman, who is an anti-smoking activist.
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I wouldn’t steal
LE DOCUMENT
Ce court document (1’20’’), est une vidéo « virale », diffusée et échangée
sur Internet. Ce nouveau mode d’expression, en plein essor, est souvent
utilisé comme vecteur de protestation. Sortie en 2008, cette publicité
soutient le téléchargement « illégal » de films, et proteste ainsi contre les
pouvoirs jugés despotiques des multinationales du cinéma. Elle a été produite en Suède par le parlementaire Carl Schlyter et réalisée par le collectif
RåFILM pour le compte des Verts européens (The Greens/ European Free
Alliance).
Récemment, un spot émanant de la puissante MPAA (Motion Picture Association of America) a été diffusé dans les cinémas du monde entier et inséré au début de nombreux DVD. On y voit une jeune femme téléchargeant
un film, puis plusieurs voleurs. Le message est : You wouldn’t steal a car/ a
handbag/ a television/ a DVD. Downloading pirated films is stealing. Stealing is against the law. Piracy. It’s a crime.
“I wouldn’t steal” se veut une réponse au message moralisateur de la
MPAA. Le thème musical et le scénario sont parodiés et détournés ; le montage et la musique électronique apportent un côté « underground », les
prétendus voleurs s’avèrent être bien intentionnés et le téléchargement
est revendiqué comme une action de « partage » culturel.
Le site www.iwouldntsteal.net peut être consulté pour de plus amples
explications. Nous ne prenons pas position sur ce thème, notre propos est
de susciter le débat en classe, via ce spot militant.
OBJECTIFS
Niveaux : 2de (Création artistique) ; 1re (Opposition ; Révolte ; Domination).
Grammaire : Usage de would. Phrases en if.
Lexique : Le téléchargement de films et de musique ; le vol.
Phonologie : Rôle emphatique de do.
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I wouldn't steal
CECRL :
B1-B2
Interactions : Insight 2de : unité 9 (Dream on) ; Insight 1re : unité 3 (Resist!),
unité 5 (The art of persuasion), unité 6 (Profit first?). Avec Insight Tle :
unité 2 (Take a stand!) / Student CD (piste 15 : CDs and DVDs).
SCRIPT
y Remarque : La vidéo étant « sans paroles », nous avons indiqué ici les textes qui
apparaissent à l’écran.
PART 1
(A young man is running, clutching a handbag he may have stolen.)
Text: I WOULDN’T STEAL A HANDBAG.
(A young woman in a hoodie is looking inside a car as if she wanted to
steal it.)
Text: I WOULDN’T STEAL A CAR.
(Someone is putting black gloves on. He seems to be stealing a TV.)
Text: I WOULDN’T STEAL A TV.
PART 2
(Several people are holding signs)
Text: BUT I DO DOWNLOAD FILMS.
(The young woman is looking at a dog in the car.)
Text: THE ENTERTAINMENT INDUSTRY LOBBIES TO ADAPT LAWS TO SUIT
THEM.
(The person carrying a TV is actually playing a Star Wars game.)
Text: THEY EXPLOIT ARTISTS AND SELL PROPAGANDA.
(The man with the handbag is bringing it back to an elderly lady who thanks
him.)
Text: SHARE - IT’S FAIR.
Text: IWOULDNTSTEAL.NET
(Credits)
Text: SUPPORT ARTISTS, NOT MULTINATIONALS.
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y Avant de voir la vidéo, on pourra montrer le spot officiel de la MPAA (qui se trouve sur
de nombreux DVD et sur Internet) ou faire lire des articles récents (recherche Google
News sur les termes « illegal downloading » ou « P2P »).
Zoom in
WHOLE DOCUMENT
y On pourra dans un premier temps masquer l’écran (ou éteindre le vidéoprojecteur)
de sorte que les élèves écoutent la bande-son, sans l’image.
M
Ne faire découvrir que le son.
What type of music is this? Have you ever heard that tune?
w It’s electronic music. I’ve already/ I’ve never heard that tune.
What / Who do you associate that music with?
w It can be associated with youth culture, computer culture, etc.
y Montrer ensuite la vidéo « normale » (image + son).
PART 1
Describe the three scenes.
w The artistic technique used is a sort of collage. We can see several people: a young man who is running and clutching a handbag, a young woman
who is about to steal a car, and someone who is stealing a TV set. After
each scene, they are holding signs with a message that read “I wouldn’t
steal...”
What do you think this video aims to do?
PART 2
Explain the message.
w The video advocates movie sharing and downloading. They say it’s fair
to share because the entertainment industry “lobbies to adapt laws”. Moreover, they “exploit artists and sell propaganda”.
Say who the “lobbies” are: give some studios’ names.
w The movie majors are Warner Bros., Disney, Paramount, Sony Pictures,
Fox Movies, and Universal. They belong to the MPAA (Motion Picture Association of America).
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I wouldn't steal
Say how the characters are portrayed. Make comparisons with the first
part. What is the producer’s goal?
w The characters are portrayed as everyday people. We thought they were
stealing things, but they were not. The man was actually trying to give a
woman a lost handbag, the woman was looking for a car owner whose dog
was locked in, and the other person was only playing a game. The producer’s goal is to say that sharing is “fair” and should not be illegal.
Say who produced this video. Comment on that.
w It was produced by The Greens. This political party usually defends the
environment, but we can see that they are tackling other issues too.
Look back
Do you think this video is well done? Explain your answer.
Zoom out
B1-B2
• Prepare and act out a conversation between two friends. One of them
downloads about 10 films and 100 songs a month, but the other opposes
illegal downloading.
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Land of the brave
LE DOCUMENT
Ces deux extraits (2’30’’ et 1’30’’) se situent au début du film The Wind That
Shakes the Barley (Ken Loach, 2006). L’action se situe en 1920, pendant la
Guerre d’Indépendance irlandaise (1919-1921) dans le Comté de Cork.
Le premier extrait montre des jeunes gens réunis dans la cour d’un cottage
après une partie de hurling. Damien, un médecin qui va partir travailler à
Londres, vient saluer la famille de son ami Micheail. Soudain, des paramilitaires britanniques (les Black and Tans) font violemment irruption et humilient les jeunes hommes. Micheail les défie en refusant de parler anglais. (Il
sera ensuite exécuté, mais cette scène n’est pas montrée ici.)
Dans le second extrait, on retrouve Damien (qui a décidé de rester en Irlande) au sein d’un groupe paramilitaire dans la campagne irlandaise.
Outre l’étude du cadre culturel et historique, ces extraits permettront de
montrer l’abus de pouvoir des soldats britanniques, mais aussi la réaction
des « autochtones » face aux « envahisseurs », et la façon dont les luttes
armées se sont mises en place.
OBJECTIFS
Niveaux : 1re (Domination ; Opposition ; Révolte) ; Tle (Conflits ; Contacts
des cultures ; Identités).
Lexique : La coercition ; l’utilisation de la force.
B1-B2
CECRL :
Interactions : Avec Insight 1re, le document pourra accompagner les unités 2 (The right language?) et 3 (Resist!). Avec Insight Tle, la vidéo complétera les unités 3 (What we are) et 7 (Brothers in arms).
93367-0728MP3_.indd Sec10:46
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Land of the brave
SCRIPT
PART 1
(The scene takes place outside a cottage.)
Damien: Hello, Sinead.
Sinead: (holding a basket full of peat) Damien. When are you off?
Damien: At the weekend.
Sinead: I wish you all the best.
Damien: Thanks, thanks very much.
Sinead: Mind yourself.
Damien: I will. Right. (He hugs Peggy.)
Peggy: God will protect you, son. I know he will.
Damien: Thanks, Peggy.
(British paramilitaries arrive running into the courtyard, yelling and forcing
the young men to line up against the wall.)
Damien: OK, alright.
Sergeant: Get over there! Against the wall, now!
Soldier: Don’t move a muscle.
Sergeant: Don’t look at me! Move!
(The soldiers are pointing their rifles at them.)
Sergeant: Right. How many times have you bastards, you Mick bastards,
been told, eh? Defence of the Realm Act. Do you understand? All public
meetings are banned, and that includes your poxy little games. (He snatches Micheail’s hurling stick from his hands.) Do you understand? Take
their details. I want names. I want addresses. I want an occupation. (He
points the stick at them.)
Soldier: Name?
Con: Con O’Sullivan.
Sergeant: (yelling) Louder!
Con: Con O’Sullivan. Ballingeary. Ironmonger.
Soldier: Name?
Chris: Chris Reilly.
Sergeant: Louder!
Chris: Chris Reilly.
Sergeant: Don’t look at me, boy.
Chris: Reaves Estate. By the crossroads. Farm labourer.
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Sergeant: More like a prick! (Threatening Chris with the stick.) Don’t grin
at me, you bastard.
Soldier: Name?
Sergeant: Look down!
Soldier: Your name?
Micheail: Micheail Ó Súillebheán.
Sergeant: What’s that shite? He doesn’t want riddles! He wants your name,
in English. (Waving the stick.) Tell him. (To Damien who tries to say something to Micheail) Shut the fuck up! (to Micheail) Tell him.
(Micheail says something in Irish.)
Sergeant: Bit of a comic, are we, boy? Do you see me laughing? Hm? Well,
laugh at this. (Micheail’s mother approaches and tries to say something to
her son.) The lot of you, strip off. Now. (To Micheail’s mother) Shut up, you
bitch! Move!
y Le passage qui suit est dominé par les vociférations du sergent et peut présenter
des difficultés de compréhension.
Damien: Officer… Officer…
Sergeant: (to Damien) Shut the fuck up! (to Micheail’s mother) Move!
Soldier: Move! Get back!
Bernadette: I’m telling you, his name… His name is Micheail O’Sullivan.
Sergeant: (pushing her away. To a soldier) Watch her!
Bernadette: He lives with me.
(The young men start taking their clothes off, except Micheail.)
Soldier: Strip off right now! Right now!
Sergeant: Quicker!
Soldier: Do it right now!
(Damien talks to Micheail.)
Sergeant: Take your bastard trousers off, you prick! Your bollocks are in a
bag. They’re not gonna drop out! Come on!
Soldier: Sir, we got a tough guy over here.
Soldier: Take your shirt off!
PART 2
(In the countryside, a group of men are advancing holding hurleys as if they
were rifles. Leo and Rory, who have real rifles, are with Finbar crouching
and watching from afar.)
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Land of the brave
Finbar: (Pointing his finger) Where’s the rest of that shaggin’ section?
Move, you...
(Rory and Leo take aim and pretend to shoot at the men.)
Leo: I have him. I have him. I have him. (Shouting) Right sections, hollow
square. Section Two, facing me. Come on. (The men gather.)
Steady Boy: Section One, along here.
Finbar: Ned, Aidan, Sean, Damien, Paul, Vince, Richard, Dennis, Pat, down.
(They crouch.) Why are they down? Why are they down, lads?
A young man: Dead.
Finbar: Dead. That’s right. I estimate half the column just died. Everyone
down. (They all crouch.) If we lose half this column, it’s not readily replaceable. The Brits see you, they’re going to kill you, the Brits catch you,
they’re going to kill you. (The men listen to him intently.)
Zoom in
B1-B2
PART 1
Describe the setting.
w The scene is set in the courtyard of a cottage. We can imagine it is set
during the interwar period. The family who lives here is probably poor. Damien has come to say goodbye because he’s leaving at the weekend.
Guess what the young men have been doing.
w They’ve probably been playing a game. They’re holding sticks that look
like bats or hockey sticks.
Describe the British soldiers’ arrival.
w They take the young men by surprise. They run and yell indistinct orders,
pointing their rifles at everybody. They look very aggressive. The camera
makes quick, shifting movements that emphasise the urgency of the situation.
What do the soldiers want?
w They want to enforce a law that prevents Irish people from meeting in
groups, even if they are playing games. They probably just want to impose
their authority on the young men in order to make them feel inferior.
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Explain how the sergeant is portrayed.
w He is portrayed as a loud-mouthed brute, who probably hates everything
and everyone Irish. He uses offensive language and calls people names. He
is a sort of petty tyrant.
Describe Micheail’s reaction.
w He refuses to speak English or to comply with the British soldiers’ orders. He is defiant and also brave in front of them. This is very dangerous
because they are armed.
Imagine what the young Irishmen are saying to themselves.
w “I’d better do what they want if I want to stay alive.” / “Let’s play it
safe.” / “That man is really vicious.” / “If only I had a rifle.”
Imagine what may happen next.
PART 2
Describe the setting, the background music and the general atmosphere.
w The men are advancing in a rocky, hilly landscape. The piece of traditional Irish music at the beginning of the extract conveys the idea of patriotism and war.
What are these men actually doing? How good are they at it?
w They are drilling to become soldiers. Their leader says half of them would
have been killed by the British if they had actually been fighting, so they
need more drilling. They must have joined the IRA.
Look back
B1-B2
What is the link between the two extracts?
w What happens in the second extract could be a consequence of what
happened in the first. The young Irish men were so humiliated by the British sergeant that they decided to enlist in the IRA and train to push back
the British.
Zoom out
B1-B2
• Act out a conversation between Con and Damien. Con wants to join the
IRA, but Damien would like to go to London to work as a doctor.
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Evolution
LE DOCUMENT
Cette publicité canadienne (1’10’’) fait partie d’une grande campagne menée par la marque Dove. La vidéo, lancée sur Internet fin 2006, a connu un
succès populaire (12 millions de spectateurs la première année) et a remporté le Grand Prix du marketing viral au prestigieux festival international
de publicité de Cannes, le « Cannes Lions ».
On voit une jeune femme s’installant dans un studio pour une séance
photo. Après les nombreuses opérations de coiffure, maquillage, etc., la
photo prise subit une multitude de retouches avant d’être intégrée dans
une campagne publicitaire fictive pour des produits de beauté. Toutes les
étapes sont filmées en accéléré, rythmées par un tempo musical soutenu,
en plan fixe – procédés qui décuplent l’étonnement du spectateur face à la
métamorphose d’une « girl next door » en « cover girl ».
Cette mise en abyme révèle à quel point les images utilisées par les publicitaires sont des leurres. Dove a en effet lancé sa « Campaign for real
beauty » pour combattre les stéréotypes véhiculés par la publicité, notamment auprès des jeunes filles.
Ce document permettra de faire réfléchir les élèves sur le mythe de la beauté dans le monde occidental. Il pourra également être étudié avec un sens
critique, car Dove est aussi une marque qui utilise un message différent
pour vendre ses produits.
OBJECTIFS
Niveaux : 1re (Influence) ; Tle (Identités).
Grammaire : Le present perfect ; comparatifs et superlatifs.
Lexique : La beauté ; les stéréotypes ; les parties du visage.
B1-B2
CECRL :
Interactions : Avec Insight 1re, ce document s’intégrera dans l’unité 7 (Keeping up appearances) avec notamment la publicité Dove de la page Views
(p. 131) ainsi que le texte 2 (p. 128) qui parle des marques.
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SCRIPT
Confused noise in the background. A young model is getting ready for a
photo shoot.
Text: A Dove film / Evolution
Music, mixed with inaudible and accelerated words.
Text: No wonder our perception of beauty is distorted. / Take part in the
Dove Real Beauty Workshops for Girls / The Dove Self-Esteem Fund.
Overview
B1-B2
Say what type of document this is and what it shows.
w This is an ad for Dove. It shows a time-lapsed video of a woman who is
made up for a photo shoot, then her picture is manipulated / edited / Photoshopped before being shown on a billboard in an advert for a fictional
beauty brand called Fasel.
Zoom in
B1-B2
y Pour que les élèves puissent mieux détailler les différentes étapes de la transformation du personnage, on pourra faire passer la vidéo au ralenti.
Describe the woman at the beginning.
w The woman who arrives at the studio is probably not a top model. She
is an ordinary person who wears no make-up. Moreover, she looks a bit
tired.
Explain what happens in the studio.
w First, two lights are switched on. Then we can see a team of make-up
artists and hairdressers taking care of her skin and hair. Finally, a series of
photos is shot using harsh flashlights and a fan.
The woman before and after the photo shoot. What has changed? Try to
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Evolution
spot as many details as possible.
w Her skin looked pink and a bit oily, with some spots / pimples. All her
skin flaws have been erased, and her skin looks darker and less shiny now.
Her eyebrows are longer and darker. Her hair has been adjusted and curled. It has been given extra volume, contrast and shine.
Explain what is done then.
w After that, the best photo is selected and imported / loaded / scanned
into a digital retouching / an image editing computer programme. The
photo is heavily edited to make the woman’s lips look plumper, her neck
longer, her eyes larger, her ears smaller, her face rounder, etc.
These modifications are supposed to make her look gorgeous / better-looking / more beautiful / more attractive.
Look back
B1-B2
Suggest what all these modifications are made for.
w The fictional people who create the ad probably want to make the woman look more “feminine” and younger, because they believe they will sell
more products if they show idealised women. The message is more or less:
“If you want to look like this woman, buy our products.”
What is the aim of this ad?
w Its aim is to show how pictures that we see in adverts are manipulated in
order to attract consumers. By showing the making of such a picture, Dove
wants to demystify the beauty myth, to make us aware that our perception
of beauty is distorted and that we are deceived / fooled / cheated by ads.
Dove is a famous beauty brand and they probably also want people to buy
their products.
Zoom out
B1-B2
• Should some beauty ads be banned? You are on a committee to regulate
advertising in your city. The Fasel fake brand wants to show the billboard
advert you have seen in the video. Have a discussion to decide whether this
advert should be allowed. Explain your decision to the rest of the class.
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No such thing
LE DOCUMENT
Cette publicité d’une minute fait partie d’une campagne de prévention de
Focus12, un centre de réhabilitation pour toxicomanes basé dans le Suffolk.
La vidéo cherche à choquer les spectateurs en montrant des personnes
âgées en train de se droguer, le message final étant There’s no such thing
as an old junkie.
Ces images peuvent heurter la sensibilité de certains élèves. Aussi, nous
recommandons de réserver ce document aux élèves assez mûrs, et de bien
les encadrer pendant le visionnement.
Outre l’intérêt de pouvoir, grâce à ce document, sensibiliser les élèves à la
lutte contre la drogue et l’addiction, on s’appuiera sur leurs réactions pour
alimenter un débat en classe.
OBJECTIFS
Niveaux : 1re (Influence) ; Tle (Interdépendances)
Grammaire : Le passif ; les descriptions au présent en be + ing.
Lexique : Les addictions.
B1-B2
CECRL :
Interactions : Avec Insight 1re, on pourra rattacher ce document à l’unité 5
(The art of persuasion).
SCRIPT
(“I Can’t Begin to Tell You”, sung by Bing Crosby in 1945.) I can’t begin to
tell you / How much you mean to me. / My world would end / If ever we
were through. / So take the sweetest phrases / The world has ever known /
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No such thing
And make believe / I’ve said them all to you.
(Scratching sound, end of a vinyl record looping with the needle down.)
Text: There’s no such thing as an old junkie. Focus 12 – rehab centre – take
back your future.
Overview
B1-B2
Say what type of document this is and what its aim is.
w This is an advert for a rehab centre, Focus12. Their aim is to convince
people not to take drugs by showing images of old people taking drugs and
saying that such images are fiction. They want to make people aware that
drug addicts die young.
Zoom in
B1-B2
Describe the scenes you see at the beginning.
w First, we can see old people going about their everyday business. Two
elderly ladies are sitting in armchairs in a living room. An old man is using
a walking frame / a zimmer to move about his home. Another old man is
cooking. He’s wearing an oxygen mask. An old woman is in a wheelchair
and has a blanket over her lap. Everything seems to be quiet. It is as if time
had stopped.
What happens then?
w But then we can see that all those people are doing drugs. One of the two
ladies is sniffing a line of what looks like coke. A woman is being given an
injection. An old man is heating a spoonful of white powder. The first old
lady is now rubbing her gums with something. A man is smoking something
from a homemade pipe. And the woman in the wheelchair is giving herself
an injection between her toes.
Say how you react to that.
w We don’t expect old people to take drugs, so the pictures are really shocking. Moreover, all those old people seem to be in pain, and it’s very painful to watch them drug themselves to death.
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Focus on the cinematic techniques (shots, lights, soundtrack) and say
what effect is created.
- Shots: In the first part, there are many tracking shots with the camera
opening the doors to make viewers feel they are sharing those people’s
private lives. Then, the camera moves closer to the old people when they
are shown taking drugs. There are many close shots that make the viewer
sympathise with the old people. So we are made to think these are real-life
scenes.
- Lights: The fact that most of the scenes are shot in dim light also makes
viewers feel they are sharing the old people’s lives.
- Soundtrack: We can only hear the people whispering a few indistinct
words, which emphasises the idea of intimacy. The music, a 1940s love
song, takes us back to when these people were young. Its mellowness
contrasts with the violence that they inflict on their bodies.
“There’s no such thing as an old junkie.” Explain the message in your own
words.
w The advertisers want to show that old junkies are a myth. They only exist
on TV. People are warned that if they do drugs, they will die long before
they reach old age.
“Take back your future.” Rephrase the message.
w When you do drugs, your future no longer belongs to you: you can no
longer make personal, sensible decisions, so you are robbed of your future. But it’s up to you to decide.
Is this the type of ad you’d expect from a rehab centre?
w Their mission is to help junkies stop doing drugs, but here they are trying
to deter people from starting drugs altogether. That is not their primary
goal, but it makes sense.
Look back
B1-B2
Do you think this ad is persuasive?
Zoom out
B1-B2
• You have to create an anti drug campaign for young people. Decide on
what you are going to show in it with your associates, then present your
project.
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Against the odds
LE DOCUMENT
Cet extrait (3’) provient d’un documentaire britannique. On y découvre une
jeune femme Massaï étudiant aux États-Unis avant de revenir éduquer les
filles de son village. On apprend surtout, dans un passage émouvant, que
Kakenya a conclu un pacte avec son père : elle a accepté d’être excisée
pour avoir le droit de poursuivre ses études.
Ce document servira à montrer les contrastes entre deux modes de vie radicalement différents, mais aussi les compromis que certains individus doivent faire entre traditions ancestrales et lois démocratiques. Par ailleurs,
alors que sous nos latitudes les inégalités entre les hommes et les femmes
s’atténuent progressivement, et que l’éducation est souvent considérée
comme un dû, voire comme une contrainte, l’histoire de Kakenya permettra de frapper certaines consciences.
OBJECTIFS
Niveaux : Tle (Contacts des cultures ; Identités ; Interdépendances) ;
1re (Influence).
Grammaire : Want sb to do sth.
Lexique : L'éducation ; les traditions.
B1-B2
CECRL :
Interactions : Insight Tle : ce document s’articulera notamment avec ceux
des unités 2 (Take a stand!) et 3 (What we are) ; avec Insight 1re : unité 9
(Free at last?) pour les droits des femmes.
- Un parcours détaillé sur le site www.insight-hatier.com.
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SCRIPT
PART 1
(African women working in a village.)
Voice-over: Fetching drinking water from the local stream. Ploughing the
fields. Milking the cows. And cooking dinner in a mud hut. This is Kakenya’s old life. (Kakenya microwaving a pizza, then surrounded with books,
writing at a desk.) And this is her new world: microwaved pizza; the life of
a graduate student in America.
Kakenya Ntaiya is in Pittsburgh studying for her doctorate in international
education. It’s not just the work which is challenging. Every day life in the
US is still overwhelming for this 27-year-old Maasai woman.
PART 2
Kakenya: (African schoolchildren playing in a field at break time.) My teachers, they were not encouraging me. I felt that I was always laughed at.
As girls we saw that it’s the boys who would do well, it’s the boys who…
You know, they’re the ones who will leave, they’re the ones who will go
to high school, they’re the ones who will do ABCD but… As girls we felt
constrained.
Voice-over: (Kakenya milking a cow.) Kakenya’s father, a policeman, was
no exception. His biggest concern was marrying off his oldest daughter.
And that meant the officially outlawed practice of female circumcision, the
traditional Maasai rite of passage to womanhood.
Kakenya: And I started, I said, you know, once I go through this I am married. My school is ending. So I have to find a strategy of not going through
this! I was speaking… to dad. (Close-up on Kakenya’s face.) “This is what’s
gonna happen: I can only get circumcised if you let me go back to school!”
And the reason I did that is that if I don’t get circumcised, no man will marry
me and then it will be a shame to my family. (Kakenya among a group of
villagers singing a religious song.)
I had to trade my, you know, my part of my body to get an education.
PART 3
Voice-over: (Kakenya talking to a group of women.) The women of the village already have their own ideas for Kakenya.
Kakenya: They said, “We want a girls’ school, we want our girls to be in a
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Against the odds
separate place with the men,” and I always asked “Why?” (Kakenya on a
bus in the USA) They said, you know, “We want our girls… we want to protect our girls from the boys.”
Voice-over: And so Kakenya, whose only goal had been to get an education, found herself on a mission to build a school and educate all the girls in
her village. It’s a big dream for anyone, let alone a young Maasai woman.
Kakenya: (Kakenya climbing up the stairs of the Hillman Library.) I want to
see girls from my village happy. That’s my goal. And I know that the only or
the best way I can to achieve that is by giving them a school.
Zoom in
B1-B2
PART 1
Describe the living conditions in Kakenya’s village.
w We can see that the villagers lead a very simple life and are ill-equipped. There is no running water, they use an ox-drawn plough and milk the
cows by hand, etc. And what is striking is that only the women seem to be
working.
How does the speaker describe Kakenya’s life in the US? Explain.
w The speaker describes her current life as “overwhelming.” It means she
must find it difficult to adapt to her new lifestyle.
Going and studying in the USA is very expensive. Imagine how it was
made possible.
w She must have won a Pittsburgh University scholarship.
PART 2
Explain how Kakenya was treated in the village school.
w She says her teachers did not encourage her and she was even laughed
at. She was probably a bright student, but only the boys were supposed to
know how to read, and to go to high school.
Say what Kakenya’s father wanted for her. Did she agree?
w He wanted her to get married, which meant she had to undergo “circumcision” (in fact, excision) and stop going to school. However, Kakenya only
wanted to pursue her studies.
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Explain the deal they made.
w She accepted excision on the condition that he let her stay in school.
Explain how you feel about that deal.
w Nobody should ever have to trade a part of their body for an education,
or anything else. This is horrible. But on the other hand, it was the only way
for Kakenya to stay in her village and get an education.
PART 3
Say what the village women want, and why.
w The women of the village would like Kakenya to manage a girls’ school
because they want the girls to be protected from the boys.
Is Kakenya willing to help them? How and why?
w Kakenya has decided to help them by giving them a school because she
wants the girls of her village to be happy.
Imagine how Kakenya will “give” them a school.
Look back
B1-B2
Explain why the title of the document is relevant to Kakenya’s story.
Zoom out
B1-B2
• Village debate: a school for girls?
The women and men of the village have decided to have a debate about
the education of boys and girls. The women want things to change, but the
men are reluctant. At the end, the villagers have to make a decision.
• You need to collect money for Kakenya’s school. Try to convince a friend
to donate all their pocket money.
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Indian appeal
LE DOCUMENT
Les médias diffusent de nombreux reportages sur les Indiens qui s’expatrient ou qui travaillent dans des centres d’appel délocalisés, mais le bref
extrait (environ 2’) que nous avons choisi ici aborde un aspect plus original
de la mobilité professionnelle et du contact entre les cultures : les expatriés occidentaux en Inde.
Ce document montre les avantages et les inconvénients de s’expatrier en
Inde, et prend pour exemple l’expérience de l’Irlandais Paul Byrne, qui est
chromiste pour un studio de cinéma de Mumbai.
Cet extrait permettra d’aborder efficacement la thématique de l’expatriation, pour amener rapidement les élèves vers des activités de communication.
OBJECTIFS
Niveaux : Tle (Contacts des cultures ; Interdépendances) ; 1re (Domination ; Influence) ; 2de (Création : littéraire et artistique).
Grammaire : Present perfect ; have to.
Lexique : Les pays chauds ; l’intégration, le marché du travail.
B1-B2
CECRL :
Interactions : Avec Insight Tle, ce document pourra s’intégrer dans les unités 1 (Close encounters) et 6 (High hopes). Avec Insight 1re, on associera ce
document avec l’unité 1 (World of work) et avec les pages Issue (Should
they relocate? p. 118-119) de l’unité 6 (Profit first?).
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SCRIPT
Voice-over: (crowded Indian street) For decades, India has exported armies
of professionals –doctors, engineers, IT whiz kids– to the West.
(Europeans working in an Indian call centre) Now, job seekers are heading
East to answer the call of India. Each year, some 3,000 foreigners are choosing this South Asian nation as their workplace.
(Man running on a beach road) Paul Byrne is a film colourist. Two years
ago, he left behind the chilly clime of Ireland for the steamy diversity of
Bombay, now known as Mumbai.
Paul Byrne: I came to India because it’s one of the most... vibrant film markets in the world... (Paul Byrne in studio) The… most films are shot here,
of anywhere in the world actually, even in LA. Bombay actually does more
feature films and TV commercials shot here than anywhere else, I think.
Salaries in Bombay would be equivalent to that of Europe or the US, but
basically the cost of living here is so low that it’s a... you know, you can
save quite a bit of money while living here as well.
Voice-over: But there are disadvantages.
Paul Byrne: Say, even to pay a phone bill, I, it took me three days once. So
I had to... go to, I think, twelve different offices to... to pay a phone bill. So
that can be frustrating, yeah.
Voice-over: (European woman in auto rickshaw; beggars and other people
eating on the street) Expats have to face fierce heat and humidity, a gauntlet of beggars in the streets, and the risks of malaria, food poisoning, and
in Bangalore, dengue fever.
(European woman teaching ballet to Indian women) Today, experts say
there are about 30,000 foreigners working in India. That’s practically nothing in a country with a population of more than one billion. But the number of people willing to make the move is growing. And so far, there’s been
little complaint about foreigners stealing Indian jobs.
Overview
B1-B2
Say what type of document this is and what it is about.
w This is a report about foreigners who work in India.
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Indian appeal
Zoom in
B1-B2
Explain what is new in the Indian job market.
w Everybody knows that many Indians work abroad, but what is new is that
many foreigners (about 3,000 a year) come to work in India.
Sum up what you learn about Paul Byrne.
w Paul Byrne is an Irishman who works as a film colourist in Mumbai. He
has been living there for two years.
List all the advantages and disadvantages of living and working in India
for expatriates.
y On pourra faire travailler les élèves en binômes ou en petits groupes ayant pour
tâche de repérer soit les avantages, soit les inconvénients. Une mise en commun aura
lieu ensuite.
w Advantages: He decided to come to Mumbai because it has one of the
“most vibrant film markets in the world” and more films are shot there than
in LA. Moreover, his salary is the same as the one he would get in Europe or
the US, so he can save a lot of money while living there. Two more advantages are mentioned at the end of the video: India is a diverse country, and
Indians do not reject foreigners.
w Disadvantages: Paul explains that it took him three days to pay a phone
bill. The reporter also mentions the heat and humidity, the beggars on the
streets, and health issues like malaria, food poisoning and dengue fever.
How is the trend evolving? Quote one number.
w More and more foreigners want to work in India. There are about 30,000
of them today.
Zoom out
B1-B2
• Pairwork. You want to work in the film industry and consider going to
Mumbai, but you are a bit apprehensive. You decide to call Paul Byrne for
information. Act out your conversation.
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The border
LE DOCUMENT
Ce document (1’40’’) en deux parties est extrait d’un documentaire sur
l'immigration à la frontière américano-mexicaine.
La première partie montre un groupe de clandestins arrêtés par la Border
Patrol. Dans la deuxième partie, on découvre un Samaritan, un retraité
américain qui, en dépit des critiques de ses compatriotes, aide les clandestins à survivre dans le désert.
Depuis la construction du mur de séparation entre le Mexique et les ÉtatsUnis en 2006, principalement en Californie et au Texas, les clandestins
tentent de passer par l’Arizona, une zone inhospitalière, où ils risquent
leur vie. En effet, il est estimé qu’environ 500 clandestins meurent dans le
désert sur le million qui traverse la frontière chaque année.
Ces deux extraits, complémentaires, permettront d’aborder notamment le
thème de l’immigration et du rêve américain.
OBJECTIFS
Niveau : Tle (Contacts des cultures ; Identités ; Interdépendances)
Grammaire : Le bilan ; les expressions de but et de visée ; used to (Look
back) ; modalité (Zoom out).
Lexique : La comparaison ; les reproches ; les remerciements ; la colère ;
l'accord et le désaccord (Zoom out).
Phonologie : Accentuation porteuse de sens (emphase).
B1-B2
CECRL :
Interactions : Ce document sera idéal pour enrichir l’unité 6 (High hopes)
d’Insight Tle, et notamment les documents liés à l’immigration aux USA :
Outline (p. 108-109), Views (p.115), Text 3 (p. 116-117), Issue (p. 120-121). Il
pourra aussi s’articuler avec les documents de l’unité 8 (Colours).
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The border
SCRIPT
PART 1
Border Patrol officer: (immigrants crossing through holes in the fence;
security cameras; immigrants being arrested) The problem is getting out
of hand. Everybody used to think it was just a problem for California or
Arizona, and now people are showing up in places, like, you know, Topeka,
Kansas, and America’s waking up to the fact that there is a mass influx of
illegal immigration.
Voice-over: (tired, arrested migrants sitting under trees.) Deep in the Arizona desert, this group’s dream of a new life in America has just bitten
the dust. They’ve trekked for the last 36 hours in a hundred-degree heat.
Nineteen miles through a landscape crawling with tarantula spiders and
rattlesnakes. For some, like unemployed carpenter Reuben Barrita, their
third attempt at the journey north in a single week.
Reporter: So now, you go back to, back to Mexico?
Reuben Barrita: Yeah, I go back to Mexico.
PART 2
(People walking in the desert, carrying water, calling out.)
Samaritan #1: Samaritanos con agua.
Voice-over: They call themselves “Samaritans”. Led by a retired Arizona
dentist, volunteers carrying everything from water to baby nappies to migrants in need of help.
Samaritan #2: ... tenemos agua y comida.
Voice-over: And many locals accusing them of encouraging the human
flow.
Samaritan #1: One of my best friends calls me a felon, and that’s OK. I don’t
care. Our mission isn’t to get them into the United States. (Samaritan under
a tree.) Our mission is simply to keep them from dying.
Voice-over: (views of migrant and officer; barbed wire; moon) Not even
the Border Patrol believes more fences, guards and soldiers hold all the
answers. As long as there’s a job in America, the migrants will find a way.
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Zoom in
B1-B2
PART 1
M
On pourra couper le son dans un premier temps pour demander aux élèves
d’inférer un maximum d’éléments.
Describe the first pictures. Say where the scene could take place and who
you think these people are.
w We can see people running across a country road, passing through holes
in a long wall and fence, and later climbing over a high wall. The scene probably takes place somewhere along the US-Mexico border. Most of these
people seem to be poor young men. They are probably emigrants trying to
get into the USA.
Explain who the men in the vehicle are and what they are supposed to do.
w The men in the vehicle are members of the US Border Patrol. Their job is to
prevent immigrants from getting into the USA and arrest them if they can.
What is used against the immigrants?
w We can see: a very tall fence, a high-tech camera, maybe an infrared
camera. The border patrol officers have walkie talkies, and use an SUV
(Sport Utility Vehicle) to move faster in the desert.
M
Montrer à nouveau cette première partie, cette fois avec le son.
What kind of dangers do the immigrants have to face?
w Crossing the border is extremely dangerous for immigrants. It’s a long trek
through a hot desert, so they may die of thirst or starve to death. In addition,
there are deadly animals such as rattlesnakes and tarantula spiders.
Who is Reuben Barrita? Why are his details mentioned?
w He is an unemployed carpenter. It’s the third time he has tried to cross
the border this week, and he’s been arrested. He may symbolise the “typical” immigrant who is prepared to do anything to find a job.
If you were American citizens, what would you do about this issue?
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The border
PART 2
Explain who the four men are and what their aim is.
w The four men are members of a volunteer group called the “Samaritans”.
They aim to help immigrants crossing the Arizona desert to survive by giving them water, food, etc.
Do all Americans support this group?
w Many citizens accuse them of encouraging the “human flow” into the
USA, of being “felons” (criminals) who encourage illegal immigration.
How does their leader react to criticism?
w He explains he just wants to prevent illegal immigrants from dying in the
desert. He makes it clear his mission is humanitarian, so he doesn’t mind
being called a felon.
What is the main reason for immigration according to the reporter?
w It is the availability of jobs in America.
Look back
B1-B2
“Push and pull” factors. Use the film to explain what pushes migrants to
go to the USA and what pulls them there.
w Push factors: unemployment, poverty, poor living conditions, poor educational facilities.
w Pull factors: the American Dream, hope of a better life, better jobs and
living conditions.
Zoom out
B1-B2
• Imagine a dialogue between a Samaritan and a local resident who is fed
up with seeing Mexicans cross the border.
• “Walls, fences and border patrols will never prevent immigrants from
crossing the border into the USA.” Make a list of arguments for and
against this statement, then have a discussion about it.
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The dictator
LE DOCUMENT
Ce document est un extrait (5’) de la dernière scène du film mythique The
Great Dictator de Charlie Chaplin (1940).
Ce film satirique est le premier « talkie » de Charlie Chaplin et fut tourné
avant que les États-Unis n’entrent en guerre. Les événements se déroulent
dans l’imaginaire Tomanie (l’Allemagne nazie). Chaplin y joue deux rôles :
celui du dictateur tomanien Hynkel (Hitler) et celui d’un naïf barbier juif,
témoin de l’oppression de son peuple.
Dans cet extrait, le barbier, qui se fait passer pour le dictateur grâce au soutien d’un officier dissident (Schultz, incarné par Reginald Gardiner), réussit
à prendre la parole lors d’un discours qui rappelle les grands rassemblements d’Hitler à Nuremberg… mais avec une conclusion bien différente.
On remarquera que la croix gammée nazie est remplacée par une double
croix. Or le terme anglais double cross évoque la trahison. Le discours du
barbier juif s’avère un plaidoyer sans égal pour la démocratie, la paix et la
tolérance, et suscite l’enthousiasme de l’auditoire.
L’extrait pourra être étudié pour la rhétorique et la qualité lyrique du discours, mais aussi et surtout pour son aspect satirique dans le contexte
politique de l’époque.
OBJECTIFS
Niveaux : Tle (Conflits ; Interdépendances) ; 1re (Domination ; Influence ; Opposition).
Grammaire : Le bilan (present perfect) ; l'impératif ; la modalité ; les préfixes et suffixes.
Lexique : Les adjectifs décrivant les émotions.
Phonologie : L'accentuation porteuse de sens, surtout l’emphase.
B1-B2
CECRL :
Interactions : Insight 1re : unité 5 (The art of persuasion : “Speaking to the
crowd”, p. 102) ; Insight Tle: unité 7 (Brothers in arms).
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The dictator
- Un parcours détaillé ainsi que des ressources complémentaires sur
- Un fiche photocopiable sur la partie Rom du DVD.
SCRIPT
PART 1
Garbitsch: Henceforth this nation is annexed to the Tomanian empire and
the people of this nation will obey the laws bestowed upon us by our great
leader the dictator of Tomania, the conqueror of Osterlich, the future Emperor… of the world!
Commander Schultz: (whispering) You must speak.
The Jewish barber (dressed as Hynkel): I can’t.
Commander Schulz: You must! It’s our only hope.
The Jewish barber: Hope…
PART 2
(Melancholy music as he rises slowly, walks up to the microphone and
bows to Garbitsch. Close-up: his face, then Schultz’s.)
The Jewish barber: I’m sorry but I don’t want to be an Emperor – that’s not
my business – I don’t want to rule or conquer anyone. I should like to help
everyone if possible, Jew, gentile, black man, white. We want to help one
another, human beings are like that.
We want to live by each other’s happiness, not by each other’s misery. We
don’t want to hate and despise one another. In this world there is room for
everyone and the good earth is rich and can provide for everyone.
The way of life can be free and beautiful. But we have lost the way.
Greed has poisoned men’s souls – has barricaded the world with hate; has
goose-stepped us into misery and bloodshed.
We have developed speed but we have shut ourselves in. Machinery that
gives abundance has left us in want. Our knowledge has made us cynical, our cleverness hard and unkind. We think too much and feel too little.
More than machinery we need humanity. More than cleverness we need
kindness and gentleness. Without these qualities life will be violent and
all will be lost.
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The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men, cries out for universal brotherhood, for the unity of us all. Even now my voice is reaching
millions throughout the world, (scene change: Hannah on the ground) millions of despairing men, women and little children, victims of a system that
makes men torture and imprison innocent people. (close up: the barber)
PART 3
To those who can hear me I say “Do not despair”.
The misery that is now upon us is but the passing of greed, the bitterness
of men who fear the way of human progress. The hate of men will pass and
dictators die and the power they took from the people will return to the
people and so long as men die liberty will never perish… (in a rising, more
urgent tone) Soldiers! Don’t give yourselves to brutes, men who despise
you, enslave you, who regiment your lives, tell you what to do, what to
think and what to feel, who drill you, diet you, treat you like cattle, use you
as cannon fodder!
Don’t give yourselves to these unnatural men, machine men, with machine
minds and machine hearts. You are not machines! You are not cattle! You
are men! You have the love of humanity in your hearts. You don’t hate
– only the unloved hate. The unloved and the unnatural. Soldiers, don’t
fight for slavery, fight for liberty!
In the seventeenth chapter of Saint Luke it is written “the kingdom of God
is within man” – not one man, nor a group of men, but in all men, in you!
You the people have the power, the power to create machines, the power
to create happiness. You the people have the power to make this life free
and beautiful, to make this life a wonderful adventure. Then in the name
of democracy, let us use that power, let us all unite! Let us fight for a new
world, a decent world that will give men a chance to work, that will give
youth a future and old age a security. By the promise of these things, brutes have risen to power, but they lie. They do not fulfil their promise, they
never will. Dictators free themselves but they enslave the people. Now let
us fight to fulfil that promise. Let us fight to free the world, to do away with
national barriers, to do away with greed, with hate and intolerance. Let us
fight for a world of reason, a world where science and progress will lead to
all men’s happiness.
Soldiers, in the name of democracy, let us all unite! (Long shot: huge, cheelivret vidéo x insight x page 70
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The dictator
ring crowd. Melancholy music. Fade in: Hannah on the ground, her head
buried in her hands. She rises up slowly.)
Zoom in
B1-B2
PART 1
Describe the setting and the characters.
w The scene opens with a political meeting with a lot of important officials / officers who are listening to a very impressive speaker.
Explain what is striking about this first scene.
w What is striking is that this black and white scene looks very solemn /
serious / theatrical. The double cross, the humourless faces and the uniforms remind us of a Nazi meeting. Chaplin seems out of place here but it’s
amazing how much he looks like Hitler.
How do the two men who are seated react? What happens next?
w The man on the left (Chaplin) looks lost and a little scared. His colleague
on the right looks more relaxed and seems to be whispering something to
him or giving him some advice.
Chaplin looks lost but gets up slowly in a tense moment of solitude.
PART 2
Describe what the main character does next and how the others around
him react.
w He does not get up to speak immediately but seems to hesitate. He looks
scared but his face shows many different emotions, too. He seems to be
searching for the right words. His friend encourages him but Herring and
other officers seem surprised at this “new” dictator. The viewer guesses
that this will not be a typical Nazi speech.
Explain why the viewer sees a woman (Hannah) on the ground in another
place.
w As she is lying prostrate on the ground, the message that the speaker
gives could be a message of hope for her or for oppressed people in general.
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PART 3
Describe the changes in the way the speaker addresses the crowd.
w What is striking is the increasing intensity as the speaker’s tone becomes stronger and more passionate. He speaks faster and faster and with
increasing urgency. He looks “out of the screen”, and he seems to speak
directly to us. He only looks at the microphone when he addresses the soldiers, who cheer at the end. Similarly, the scene ends with Hannah who
begins to rise up in an expression of hope and optimism. Symbolically, this
is the real meaning of his speech and the faceless soldiers around him have
been forgotten. We are made to think that his message is a personal one
for us as the camera makes us identify with Hannah.
Describe how his rhetoric evolves.
w His language is quite simple but he repeats “don’t give” or “don’t fight”,
which become “fight for” or “you the people,” or “let us” to make us feel
concerned by his message. He also contrasts “machine” with “people.” His
“I” at the beginning of the speech changes to “you” and then “we” as his
speech becomes more inclusive. Thus, although the camera moves very
little, there has been a kind of movement in the speech and his words.
Zoom out
B1-B2
• Imagine a conversation between the following characters after the
speech.
- Garbitsch and Herring or one of the officers;
- Schultz and the barber;
- Garbitsch and the barber;
- The barber and Hannah.
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AWOL!
LE DOCUMENT
Cet extrait (3’) est tiré d’un documentaire anglais sur les déserteurs américains réfugiés au Canada. À partir du témoignage de Dean, un marine
rentré d’Irak, ce document permet de comprendre les motivations des déserteurs et de voir comment leur accueil est organisé de l’autre côté de
la frontière. Le titre du document est un acronyme militaire fréquemment
employé (Absent Without Official Leave).
OBJECTIFS
Niveaux : Tle (Conflits ; Interdépendances ; Identités) ; 1re (Opposition ;
Révolte).
Grammaire : Le passif ; les adjectifs composés.
Lexique : Les conflits armés.
B1-B2
CECRL :
Interactions : Insight Tle : ce document s’intégrera bien dans l'unité 7 (Brothers in arms). Avec Insight 1re : unité 3 (Resist!), notamment les pages
Outline (p. 52-53) et Issue (p. 64-65).
SCRIPT
PART 1
Dean: (People boarding a coach.) I pretty much just took a Greyhound
bus from North Carolina to Toronto. (View of Niagara Falls; urban scenes)
Just when you get to the border, that was the most nerve-wracking part,
and you’re just absolutely terrified, somebody there is going to know why
you’re there, and somebody there is just going to snatch you up and say,
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“Well, you’re not supposed to be here.” (The coach goes through the border control.)
(Dean sitting down in his living room.) Once I actually got into Canada, it
felt like a huge weight had been lifted off my back, because I knew the
reasoning that I came here was good, I knew that my intentions were right.
I knew that... Once I got here I knew that everything was going to be OK.
PART 2
Voice-over: (Dean at the kitchen sink washing up.) Dean was a sharp marine before he deserted. He served in Iraq. The experience was devastating
and shocking. The toughest encounters were with hospitalised wounded
soldiers.
Dean: (sitting down in his living room) Seeing people come through there
with their arms blown off, their legs blown off, faces literally melted, er, a
lot of them you could only tell that they were human beings just because of
the length of what was on the gurney. People screaming because of their
nightmares, people... They just wanted nothing else in the world but to not
be in that kind of pain. (Close-up of Dean’s face, then his hands, which he is
wringing.) You know, it just, it does, it just hits you like a ton of bricks when
you finally, when you finally realize that the reasons that you went over
there, and the reasons that you joined just kind of fall apart on you.
PART 3
Voice-over: (poster: “Let U.S. War Resisters Stay in Canada”, then building:
United Steelworkers of America) Affiliated with left-leaning Canadian union
movements, the War Resisters groups provide sanctuary, legal assistance,
and human care for American soldiers who have deserted because of the
war in Iraq and Afghanistan. It is believed there are several hundred across
Canada, and the numbers are growing.
Group leader: (in an office, offering a t-shirt that says “WAR RESISTERS
WELCOME HERE”) And… don’t say you left Canada empty-handed! This is
for you.
Deserter: (laughing) I don’t plan on leaving Canada!
Group leader: So I’m a deserter, I was stationed... not too far away from
you, I was in Fort Jackson, South Carolina, and I got ordered to Vietnam,
and that’s when I came up here. And I’ve been here for 37 years now, so...
So it is possible to… , to live your life up here and so on and... (sitting in an
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AWOL!
armchair) I feel that I am well suited to be of some help to them in the sense
that I’ve had similar experiences in my life to, to what they’re undergoing
now, coming to a new country and trying to adjust to it and trying to find
their way around it and so forth, so I had to do that. But I also feel that, you
know, sadly, they’re a new generation of what I, what my generation went
through. And their country is putting them through the same type of ordeal
as it put us through, and so I can identify very strongly with them.
Zoom in
B1-B2
PART 1
Say where the scene takes place and what the speaker did.
w Most of the scene takes place at the border between the USA and Canada (we can see Niagara Falls). The speaker explains he took a bus from
North Carolina to Toronto.
Explain how he felt when he crossed the border, and after he did so.
w He was scared. He feared someone might see him and make him go back
to the USA. Then he felt relieved and safe.
Suggest why the man went to Canada.
w He may have committed a crime; he could be running away from somebody; etc.
PART 2
Explain what Dean did, and why.
w He was a US marine who served in Iraq. He decided to desert because
he could not stand seeing wounded and maimed soldiers anymore: he
couldn’t bear the sight of people who were in pain.
PART 3
Name the organization and say what they do.
w The War Resisters group welcomes US deserters. They “provide sanctuary, legal assistance, and human care for American soldiers.” It seems
American deserters have nothing to worry about.
Listen to the group leader and tell his story in your own words.
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w He was stationed in Fort Jackson, South Carolina and when he was asked
to go and fight in Vietnam 37 years ago, he decided to become a deserter.
He has been living in Canada ever since.
Is the group leader happy with his job? Explain your answer.
w He sees that more and more US soldiers are deserting, which makes him
feel sad because it means they are made to see and do inhumane things.
He sympathises with them.
Zoom out
B1-B2
• Dean’s former sergeant calls him on his cell phone. Act out their conversation.
• A TV show has invited the War Resisters leader and a US Army general to
talk about the issue of US deserters. Act out their conversation.
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Masked hoodies
LE DOCUMENT
Le document présenté ici (1’50’’) est assez particulier et a été conçu pour
permettre une utilisation « à la carte ».
Vous trouverez sur le DVD trois versions au choix :
- Une version sans commentaire
Il s’agit d’une série de plans d’un reportage, sans aucun commentaire. Le
but sera ici de demander aux élèves d’imaginer le contexte à partir des images, puis de rédiger un commentaire de type journalistique, et enfin, selon
les moyens dont on dispose, de faire le doublage son de la vidéo. (Voir les
modalités à la page 80 de ce livret, dans le paragraphe Scriptwritting.)
- Une version avec un commentaire enregistré
Cette version pourra servir soit de corrigé aux différentes activités de doublage que vous mènerez avec vos élèves, soit tout simplement de document vidéo « normal ».
- Une version avec un commentaire et sous-titres
Cette version supplémentaire vous permet d’avoir un document vidéo
« normal » sous-titré.
Les images, filmées à Londres en 2008 pour l’agence Reuters, montrent
des personnes portant un sweat-shirt à capuche (hoodie) masquant entièrement le visage. On voit d’abord un stand qui présente ces vêtements,
commercialisés par la marque « Criminal Damage ». Puis on découvre les
passants réagir de différentes façons à la vue des masked hoodies portés
dans la rue.
Depuis plusieurs années, les hoodies sont associés aux jeunes qui commettent des incivilités, notamment au Royaume-Uni. D’ailleurs, le mot
hoodie, qui désigne aussi la personne qui porte ce vêtement, a une connotation négative. Ces vêtements ont en effet été interdits dans certains lieux,
notamment parce qu’ils ne permettent pas aux caméras de surveillance de
filmer les visages.
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OBJECTIFS
Niveaux : 2de (Création ; Lien social) ; 1re (Influence ; Opposition) ;
Tle (Identités).
Grammaire : La modalité ; les quantifieurs.
Lexique : Les apparences ; la criminalité.
B1-B2
CECRL :
Interactions : On pourra associer ce travail à plusieurs unités des trois niveaux, notamment avec les pages Issue. Insight 2de : unités 2 (Standing
out) et 7 (Creative spirit) ; Insight 1re : unité 7 (Keeping up appearances) ;
Insight Tle : unités 2 (Take a stand!) et 3 (What we are).
- Des ressources supplémentaires (dont un storyboard avec photogrammes pour préparer son commentaire) sur www.insight-hatier.com.
SCRIPT DU DOCUMENT AVEC COMMENTAIRE
Voice-over: A new type of streetwear is being marketed by a brand called
CRIMINAL DAMAGE: the masked hoodie. This is a very controversial garment because it conceals your face, so you can remain anonymous when
walking in the street. The designers of masked hoodies say they just want
to make a fashion statement, and they claim that their clothes are not
meant to be provocative, but some people disagree.
Some lawmakers are unhappy with such garments, because when you
wear a hoodie, you cannot be recognised by CCTV cameras. As a result,
there is a risk that some criminals might buy masked hoodies to commit
robberies and muggings.
We have filmed people wearing hoodies in the streets of London, and even
if Londoners are used to seeing many strange-looking people in the street,
few of them were totally indifferent. Indeed, masked hoodies got most
heads turning and drew many different reactions from passers-by.
Some people looked puzzled. Others looked really surprised, and even
shocked at seeing someone wearing a masked hoodie. The fact that you
can’t see the person’s face must have made many people feel uncomfortable, and some of them even looked frightened and may have felt insecure.
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Masked hoodies
However, most of the passers-by in the busy streets of London cast amused
glances at the masked hoodies. Many people looked curious, and a few
even seemed to like the idea.
So, are masked hoodies anti-social? Do they encourage crime? Or are they
just another fashion item that some young people are going to wear to look
provocative? The police have not made a decision yet!
DU DOCUMENT SANS COMMENTAIRE
Overview
B1-B2
Say how people react to the masked hoodies.
w The reactions are very different. Some people look scared and probably
disapprove of such garments. Others are really surprised. Some look curious, and even admiring...
How do you react to such garments?
Zoom in
B1-B2
Two different places are shown. Which ones?
w The first part of the report is set indoors, maybe at a fashion show/ exhibition/ event, or in a shop. We can see models/ dummies wearing masked
hoodies. Then, we are in the streets of London where real people are wearing two different hoodies.
There are three words you can read: two at the beginning and one at the
end. What are they? Comment on that.
w In the first shots, we can read the brand name “CRIMINAL DAMAGE”, and
in the last street scene, we can see a van marked “POLICE”.
Maybe the makers of those hoodies want to stir up controversy by suggesting that those clothes are supposed to be worn by criminals. The video
editor may have used the police van to emphasise that aspect.
Imagine why masked hoodies may be controversial.
w When your wear such a hoodie, you can hide your face. Hoodies allow
you to conceal your identity, so they are likely to be worn by graffiti artists
93367-0728MP3_.indd Sec18:79
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or even bank robbers. That’s why some people may think that people who
wear hoodies (usually young people) are necessarily thugs/ criminals.
Scriptwriting
B1-B2
y Cette activité pourra être menée de différentes façons selon les moyens techniques
dont on dispose :
- Activité d’écriture puis lecture pendant que la vidéo passe.
Pour ceci, pas besoin de compétences techniques particulières.
- Activité de doublage sonore
Les élèves enregistrent leur texte sur un support numérique, puis intègrent cette bande-son au fichier vidéo qui est disponible dans la partie Rom du DVD et sur le site
Insight.
Dans la partie Rom du DVD, le document vidéo est proposé en deux formats au choix :
Windows Media Video (.wmv) et Mpeg-1 (.mpg). Vous les trouverez dans le dossier
“Documents”, (sous-dossier “Masked hoodies”).
Pour réaliser le doublage sonore, il existe différents moyens qui font l’objet d’une fiche
explicative que vous trouverez sur le site Insight (www.insight-hatier.com). Cette fiche
sera actualisée en fonction des derniers logiciels disponibles.
• You are a journalist and you have to do the voice-over for this video
extract.
You may choose to be:
- neutral.
- biased in favour of masked hoodies.
- biased against masked hoodies.
Write your script, then be ready to say it in public or record it so it can be
mixed with the video.
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