meeting point tle

MEETING POINT TLE
Livret d’exploitation de la vidéo
>
SOMMAIRE
Unit 1 – Origins of a festival (documentaire) .
. . . . . . . . . . . . .
p. 2
. . . . . . . . . . . . . . . . . . .
p. 3
. . . . . . . . . . . . . . . . . . . . .
p. 5
Unit 2 – Mary Quant (documentaire)
Unit 4 – Progress (documentaire)
Unit 6 – A King in New York (extrait du film
de Charlie Chaplin, 1957 ) . . . . . . .
. . . . . . . . . . . . . .
Unit 7 – Rise and fall of the British Empire (documentaire)
Unit 7 – Horrible stories (sketch)
p. 6
. . .
p. 8
. . . . . . . . . . . . . . . . . . . . . .
p. 10
Unit 7 – Empire’s Children (documentaire)
. . . . . . . . . . . . . . .
Unit 8 – Of hope and justice (extrait du film Bread
& Roses de Ken Loach, 2000) . . . . . . . . .
Unit 10 – New energy? (film d’animation) .
. . . . . . . .
. . . . . . . . . . . . . . .
p. 12
p. 14
p. 16
Unit 11 – Dream, believe, achieve (extrait du film Murderball
de H.A. Rubin et D.A. Shapiro, 2005) . . . . . . . . . . . . p. 18
Unit 12 – Macbeth (extraits de films)
. . . . . . . . . . . . . . . . . . .
Unit 15 – The myth of the cowboy (documentaire)
Unit 15 – Dances with Wolves (extrait du film
de Kevin Costner, 1990) . . . . . . . . .
. . . . . . . . .
. . . . . . . . . . . .
p. 20
p. 22
p. 24
N’hésitez pas à nous écrire !
Éditions Hatier – Équipe Meeting Point – 8, rue d’Assas – 75006 Paris
© Éditions Hatier, 2012 – ISBN : 978-2-218-95163-3
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MEETING POINT TLE - Livret d’exploitation de la vidéo
U ni t 1
ORIGINS OF A FESTIVAL
> Informations sur le document
DOCUMENT : extrait d’un documentaire retraçant les origines historiques de Thanksgiving.
DURÉE : 0’54’’
SOURCE : site Internet www.history.com
LIEN AVEC LE MANUEL : Unit 1, Myth or reality? : l’origine de la fête et les mythes qui l’entourent,
tableau de Jean Leon Gerome Ferris, p. 21.
NOTIONS DU PROGRAMME : Mythes et Héros, Espaces et Échanges.
OBJECTIF : acquisition des repères culturels nécessaires pour pouvoir comprendre et
commenter le tableau de Ferris.
> Script de la vidéo
Video
To most Americans, the Pilgrims of Plymouth Massachusetts are the iconic inspiration
for today’s Thanksgiving feast. After the winter of 1620 killed almost half of their people,
the colonists formed a relationship with the neighboring Wampanoag tribe, who taught
them about fishing, planting and hunting. By autumn of 1621, the colonists had collected
enough food to feed the community through the coming winter. The Wampanoags joined
the colonists for a three-day feast in honor of their bounty. The feast probably did not
include our modern Thanksgiving staple, turkey. More likely the colonists and Wampanoags
dined on roast goose, along with corn, codfish and lobster. This 1621 harvest meal is now
commonly thought of as the first Thanksgiving.
> Mise en œuvre
1. Ce document étant riche en repères culturels, nous proposons de faire faire la recherche
Internet (Get ready) avant d’étudier le document.
2. Travailler sans la bande son.
Il y a dans ce documentaire de nombreuses informations. Montrer la vidéo sans le son
permettra aux élèves dans un premier temps de décrire ce qu’ils ont vu. On pourra ainsi
introduire le vocabulaire qu’ils entendront par la suite. En outre, les élèves se concentreront
davantage sur l’écoute quand ils verront le documentaire avec le son.
3. Montrer la vidéo et se servir de la fiche de repérage proposée.
4. Les élèves se serviront des connaissances acquises pour analyser le tableau de Jean
Leon Gerome Ferris, page 21 de leur manuel.
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UNIT 1 - ORIGINS OF A FESTIVAL
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U ni t 2
MARY QUANT
> Informations sur le document
DOCUMENT : documentaire d’époque.
DURÉE : 2’14’’
SOURCE : The National Archives
DATE : 1966
LIEN AVEC LE MANUEL : Unit 2, The Swinging Sixties, Watch a video, p. 37.
NOTIONS DU PROGRAMME : Mythes et Héros, l’idée de Progrès.
OBJECTIF : montrer les débuts d’une icône de la mode dans les années soixante.
> Script de la vidéo
Video
PART 1
A young woman who has changed the dress ideas, the outlook on clothes of the new
generation throughout the Western world… Mary Quant! The “artist” in her sensed that
millions of young girls longed for something entirely different. Being one of them, so did
she. In her own sample room, she turned her designs into clothes. They quickly caught
on, not only in this country, but in many others. 0’25’’
PART 2
Her flair for design met with almost instant success, and without intending to, she soon
became a one woman export drive. In the city, they took the first steps to satisfy the
demand pouring in for the clothes. The creations that came by way of drawing board and
sample room were turned over to technicians to work out the methods of manufacturing
the designs in volume. 1’06’’
PART 3
Autumn fashions were shown in the spring to buyers of more than fifty countries whose
young generation was eager to join in the new trend. Mary’s insistence on short skirts
amazed many buyers, until they reflected that girls in Milan and Minneapolis are now
demanding what Britain already has. A lot of hard work enabled the makers to dispatch
the orders given by foreign buyers. Last year’s American sales alone topped two million
dollars. Exports to Europe are rapidly catching up. 1’50’’
PART 4
Today’s young women in the Western world demand to look exciting and let fashion have
its fling. That they are able to, they owe mainly to the lively brain of a young girl whose
drive and imagination have given a new look to a new generation.
3
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MEETING POINT TLE - Livret d’exploitation de la vidéo
> Mise en œuvre
1. Travailler dans un premier temps sans la bande son.
Il y a dans ce documentaire de nombreuses informations. Montrer la vidéo sans le son
permettra d’introduire une partie du vocabulaire qui sera entendu ensuite. De plus, les
élèves se concentreront davantage sur l’écoute quand ils verront le documentaire avec
le son.
2. Montrer la vidéo et se servir de la fiche de repérage proposée.
3. L’étude de la vidéo pourra déboucher sur la conception d’un documentaire
(Powerpoint® commenté par exemple) sur un groupe des années soixante.
4. Si on le souhaite, on pourra trouver des photos extraites de cette vidéo à l’adresse
suivante : www.britishpathe.com/video/stills/mary-export-quant
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U ni t 4
PROGRESS
> Informations sur le document
DOCUMENT : reportage sur les manipulations génétiques à visée thérapeutique.
DURÉE : 1’50’’
Source : BBC
DATE : 2002
LIEN AVEC LE MANUEL : Unit 4, Brave New World?, Watch a video, p. 65.
NOTION DU PROGRAMME : l’idée de Progrès.
OBJECTIF : faire découvrir aux élèves les enjeux des découvertes scientifiques concernant
les manipulations génétiques.
> Script de la vidéo
Video
PART 1
VOICEOVER: French Anderson has been hailed as one of the most remarkable scientists of our
time. He pioneered what came to be the biggest revolution in modern medicine: treating
genetic disease by inserting healthy genes into patients. It’s called “gene therapy”. In
1990, Anderson treated his first patient, 4-year-old Ashi DeSilva. She had a faulty gene.
That meant that her immune system didn’t work properly.
ANDERSON: Ashi had a disease called ADA deficiency. She never left the house except to
go to the hospital or to the doctor. She was just kept “in quarantine” because she was
constantly sick. 0’45’’
PART 2
VOICEOVER: Anderson and his team extracted blood from Ashi. Then they took a healthy
immune system gene from a donor, and put it into her white blood cells in the lab. The
cells with the new healthy gene were then re-injected into Ashi’s bloodstream. Then, they
waited, to see if the genetically modified white blood cells would work. 1’09’’
PART 3
ANDERSON: She was… within six months, her family began to realize that she wasn’t sick
at all any more, that she was starting to do all the things that normal kids do, and what
“tipped it over” for the parents was… in the spring... that’s about six months after she
started therapy, the whole family came down with the flu, and the first one up and
playing was Ashi. And the parents could not believe that THEY were sick in bed, and their
“immune-deficient” child was up and playing around.
> Mise en œuvre
1. Montrer la vidéo en entier avec la bande son.
2. L’étude de la vidéo pourra déboucher sur :
– une prise de parole en continu (compte rendu de la vidéo)
– et / ou une prise de parole en interaction (interview des parents de l’enfant).
5
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U ni t 6
A KING IN NEW YORK
> Informations sur le document
DOCUMENT : extraits du film de Charlie Chaplin.
DURÉE : 3’06’’
DATE : 1957
LIEN AVEC LE MANUEL : : Unit 6, Which is Witch?, Watch a video, p. 91
NOTION DE PROGRAMME : Lieux et formes du pouvoir.
OBJECTIF : comprendre comment fonctionnait la chasse aux sorcières à travers un exemple
précis.
What happens before the selected scenes:
King Shahdov (Charlie Chaplin) has just lost all his wealth and his tiny European country
after a peasant revolt. He arrives in New York where he stays in a luxury hotel without
any money and tries to adjust to life in America. The king soon finds that advertising
may be the only thing he can do to earn enough money to keep him living like a king
in exile, and he tries to work the system to his advantage. His earnings from television
enable him to remain in the country and push a peaceful nuclear plan. He soon finds
the true dark side of life in the United States, however, when he crosses paths with
an unhappy little boy (Michael Chaplin, Charlie Chaplin’s own son) whose parents are
about to be jailed as part of the anti-Communist hysteria of the period.
> Script de la vidéo
Video
PART 1
ANNOUNCER: Good afternoon. This is another televised recording of the investigations of
the congressional committee on un-American activity, going on in the federal building,
downtown New York City. These investigations are to expose Communism in all branches
of our American institutions. The committee has already questioned scientists, educators,
churchmen, writers and actors. But first, a glimpse at the humorous side. The investigators
indulge in a Hollywood touch to make themselves photogenic before appearing on
television. 0’28’’
PART 2
And now for a more serious aspect, the actual investigation in progress. The chairman
is questioning a witness…
CHAIRMAN: Raise your right hand. Do you swear to tell the truth, the whole truth and
nothing but the truth?
JAMES DURKIN: I do.
CHAIRMAN: State your name please.
JAMES DURKIN: James Durkin.
CHAIRMAN: Profession?
JAMES DURKIN: Schoolteacher.
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CHAIRMAN: Mr. Durkin, were you ever a member of the Communist party?
JAMES DURKIN: I was, sir. I joined the Communist party in 1940 and resigned in 1950.
CHAIRMAN: In 1940, did you meet Mr. and Mrs. Macabee, schoolteachers?
JAMES DURKIN: I did, sir.
CHAIRMAN: Mr. and Mrs. Macabee, stand up please. Take a look at this man and woman.
Are they the same Macabees that you met in 1940?
JAMES DURKIN: They are, sir.
CHAIRMAN: To the best of your recollection, were they at that time members of the Communist
party?
JAMES DURKIN: They were, sir.
CHAIRMAN: That’s all Mr. Durkin.
JAMES DURKIN (quietly): Thank you.
CHAIRMAN: Mr. Macabee will now take the witness stand. 1’21’’
PART 3
ANNOUNCER: On the witness stand Macabee admitted he had been a Communist, but stated
that he had resigned from the party five years ago. When asked to give information about
other party members, Macabee refused to answer.
CHAIRMAN: Mr. Macabee, if you do not answer you will be charged with contempt!
MR. MACABEE: I will answer any questions concerning myself, but it is against my conscience
to give names or to inform on other people.
CHAIRMAN: This committee cites witness for contempt of congress. Remove him.
MR. MACABEE: And I charge this committee with fomenting a cold civil war of hate and…
ANNOUNCER: James Macabee now faces contempt charges. If convicted, he will receive a
minimum sentence of one year on each charge. KXPA now returns you to popular music
from the hit parade. 2’05’’
PART 4
POLICEMAN: Don’t be afraid son, there’s nothing to fear. We’re here to ask you to help your
parents. All we want is the names of some of their friends.
KING SHAHDOV: How is the little fellow?
POLICEMAN: Well, he’s been through quite an ordeal, poor little chap. But he’s doing better
now since his parents are out of jail.
KING SHAHDOV: But I thought they were sentenced for two years.
POLICEMAN: They were, but the committee recommended a suspended sentence, so now
they’re free.
KING SHAHDOV: Indeed?
POLICEMAN: And they can thank the boy for that. The parents were foolish, stubborn, and
were protecting others. Fortunately, the boy cooperated.
KING SHAHDOV: Cooperated?
POLICEMAN: It’s been a happy solution all around.
KING SHAHDOV: I see…
> Mise en œuvre
1. S’assurer que le vocabulaire nécessaire à la compréhension de la première partie est
connu en s’appuyant sur une photographie du film pour rebrasser le vocabulaire utile.
2. Montrer la vidéo et se servir de la fiche de repérage proposée.
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UNIT 6 - A KING IN NEW YORK
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U ni t 7
RISE AND FALL OF THE BRITISH EMPIRE
> Informations sur le document
DOCUMENT : extrait d’un documentaire éducatif donnant une vision historique et mettant
en évidence le multiculturalisme du Commonwealth.
DURÉE : 2’15’’
SOURCE : British Empire and Commonwealth Museum
DATE : 2002
LIEN AVEC LE MANUEL : Unit 7, A Common Ground, Watch a video, p. 105.
NOTIONS DU PROGRAMME : Lieux et Formes du Pouvoir, Espaces et Échanges.
OBJECTIF : donner une définition du Commonwealth par le biais de ses représentants et un
rappel historique de ce que représentait l’Empire britannique. La multiplicité des visages,
origines, sexes, âges vise à faire découvrir et comprendre la richesse actuelle de cette
association de pays, durement acquise. Les effets négatifs de l’Empire et du colonialisme
sont rappelés au même titre que les valeurs et symboles positifs et maintenant partagés
par tous.
> Script de la vidéo
Video
What’s the Commonwealth?
It’s a big group of countries…
We’re like… friends…
… most of the time.
They go back a long way.
The British Empire is what started it all.
It lasted 500 years.
We’re not the only ones: the Greeks, the Romans, the Turks… they all had empires, didn’t
they?
The British Empire was imperialism at its worst. It was about greed, power and white
supremacy.
It was simple economics. People just wanted to make money… who doesn’t?
All the pink places on the map were ours and in my day a lot of the world was pink.
We were the super power of the world like America is today.
Queen Victoria was the living symbol of the Empire.
She was the Empress of India.
You find her name all over the world.
Victoria Falls… Victoria Harbour… Victoria Station.
She wanted total world domination.
Even when the British Empire ended the countries in it still had a lot in common.
That’s when the Commonwealth began.
It’s huge.
54 countries.
The Queen… she’s the Head.
There’s a whole mix of different cultures.
8
UNIT 7 - RISE AND FALL OF THE BRITISH EMPIRE
MEETING POINT TLE - Livret d’exploitation de la vidéo
They share a lot of history.
And suddenly I turned round and there was this huge bull elephant getting ready to charge.
Thousands of people came to meet Her and lined the road wherever she went. “She’s
our Queen too”, they said.
There were 12 doctors for 12 million people and one dentist.
We had a pet cheetah who would sit and watch us play tennis from the side of the court.
Of course the British Empire was originally about trade.
About making money more like.
Slaves.
Sir…
Exquisite hand-painted porcelain.
Opium.
Tea.
Sugar.
Spices.
Gold.
Arriving in London was a shock.
The red bus.
A cup of tea and two biscuits.
Chimneys.
My parents saved everything they had to send me to England.
We left Jamaica and came to England because we wanted a better way of life.
I left England and went to Australia because I wanted a better life.
> Mise en œuvre
1. Proposer une anticipation
Le Get ready de la fiche a pour but de faire repérer certains mots utiles, et chercher
quelques informations sur la Reine Victoria (référence importante dans cette vidéo).
2. Montrer la vidéo et se servir de la fiche de repérage proposée.
3. L’étude de la vidéo pourra déboucher sur plusieurs activités :
a. Expression orale: compte rendu de la vidéo en s’appuyant sur les questions du Action!
b. Avec une classe solide, on pourra commenter les deux dernières phrases du
documentaire :
“We left Jamaica and came to England because we wanted a better way of life.
I left England and went to Australia because I wanted a better life.”
9
UNIT 7 - RISE AND FALL OF THE BRITISH EMPIRE
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U ni t 7
HORRIBLE STORIES
> Informations sur le document
DOCUMENT : extrait d’un sketch humoristique et satirique sur l’expansion de l’Empire
britannique à travers les âges. La forme choisie est celle d’un bulletin météo illustrant
ainsi les différentes étapes de la colonisation.
DURÉE : 2’20’’
SOURCE : CBBC Children’s TV Show (episode 11).
DATE : 2009
LIEN AVEC LE MANUEL : Unit 7, A Common Ground, Watch a video, p. 105.
NOTIONS DU PROGRAMME : Lieux et Formes du Pouvoir, Espaces et Échanges.
OBJECTIF : se familiariser avec les principaux points de repères historiques concernant
l’Empire Britannique.
> Script de la vidéo
Video
WOMAN / SAM: Hello, and welcome to the news at when. When? Well, the modern day I
suppose. Today we’re looking at how come Britain has connections with so many countries
around the world. Here to explain more, is Bob Hail, with the British Empire Report. Bob…
MAN / BOB: Thank you, Sam. Well, there it is… THE WORLD! and right there, in the middle
of it, is England; tiny little country with a big idea… to take over everywhere else and
become really, really powerful. So, in 1583, a Tudor chap, called Humphrey Gilbert, lands
over here, in a new found land called “Newfoundland”. He claims it for England and so,
the Empire begins. TA DA! Sadly he doesn’t leave anyone one there to look after and then
he dies on the way home. So, all in all, it’s not a brilliant trip, but England tries again.
In Stuart times, back across the Atlantic they go and, this time, they claim Canada and
the Caribbean and most importantly the East Coast of America, which means we finally
have a British Empire and everything’s going awfully, awfully well! But not for long… The
American States declare independence, not only do they declare it, they fight for it and
they win! ARGHHH! It’s a disaster! So, Britain has to go and try its luck somewhere else.
Fortunately, Captain Cook discovers Australia, so Britain says, “We’ll have that!” and also
decides they would also like a bit of Asia over here. Yes, you see, there’s a British business,
in Asia, called the East India Company which trades in things like tea and biscuits. Mmmm,
yummy! Because everyone loves tea and biscuits, right? In fact, everyone loves it so much
the Company becomes big and powerful and starts to take over entire countries! Plus,
Britain wins the Napoleonic Wars against the French Empire and they nab more countries
out of them. But wait a minute, it seems the Indian people don’t like to be ruled by a Tea
Company, and who can blame them? They decide to rebel. The British Army, however,
crushes the rebellion and Queen Victoria takes over the country as Indian Empress, which
don’t impress the Indians! Ha! Ha! Meanwhile, over here it seems that the Dutch won’t
share South Africa! Naughty, naughty! So Britain has a couple of wars down there: the
Boer Wars, and gobbles up a few more countries along the way. In fact by the time World
War I breaks out a third of all Africans are ruled by the British and what’s Britain’s prize
for winning the war? A load more countries of course! I mean just look at it all! A third of
the planet run by one tiny island! Ah…
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> Mise en œuvre
1. Montrer la vidéo et se servir de la fiche de repérage proposée.
Dans le cadre d’une classe fragile, on peut désigner de petits groupes de travail et
donner à chacun quelques questions seulement. Les élèves plus solides pourront traiter
l’ensemble des questions.
2. L’étude de la vidéo pourra déboucher sur plusieurs activités :
a. travail de PPC : présentation orale par un élève ou deux (l’un commence, l’autre
poursuit là où son camarade s’est arrêté) de la vidéo et de son contenu.
b. avec une classe solide et pour les professeurs qui souhaiteraient poursuivre le
document et voir la fin, on peut prévoir un prolongement en travail autonome ou en
groupe à la maison.
Lien pour accéder au document dans sa totalité (5’08’’) :
www.youtube.com/watch?v=bWedTbuAtR4&feature=related
N.B. : pour des raisons techniques, cette vidéo n’est pas disponible en version sous-titrée.
11
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U ni t 7
EMPIRE’S CHILDREN
> Informations sur le document
DOCUMENT : extraits d’une série de films documentaires sur l’histoire personnelle et
familiale de célébrités britanniques dont les ancêtres sont originaires des quatre coins
de l’Empire britannique.
DURÉE : Shobna Gulati (1’11’’), Adrian Lester (1’24’’), soit un total de 2’35’’.
SOURCE : Channel 4
DATE : 2007
LIEN AVEC LE MANUEL : Unit 7, A Common Ground, Your Task, p. 115.
NOTIONS DU PROGRAMME : Lieux et Formes du Pouvoir, Espaces et Échanges.
OBJECTIF : montrer aux élèves comment les vies de certains contemporains ont été marquées,
voire totalement changées par leur appartenance à l’Empire britannique.
What happens before the selected scene (Shobna Gulati):
Shobna’s parents arrived in the early 1960s. They came from India and settled in Oldham,
a city located to the northeast of Manchester. Shobna’s father came to Britain to practise
medicine. The family integrated into a middle-class suburb.
> Script de la vidéo
Video
• Extract #1: Shobna Gulati
VOICEOVER: In many ways Joa and Asha settled easily into Oldham society. They both
eventually became chair of the local Men’s and Women’s Rotary clubs.
SHOBNA: Did people think you were British or Indian?
THE MOTHER: Well, they knew I was foreign.
SHOBNA: Before you came here, were you proud to be part of the British Empire?
THE MOTHER: Yes, you see, we were sent to all these schools that were English-speaking.
We did English history, all about the Tudors and the Stuarts, but we didn’t learn Indian
history till later.
SHOBNA: My mum is so English in very many ways. I mean, we take tea at four o’clock and
that’s what we’ve always done. I can very much feel Empire in her behaviour. It really
does intrigue me.
VOICEOVER: To discover more about her family’s life before they came to England, Shobna
will have to retrace her parents’ steps back to Bombay on the west coast of India.
• Extract #2: Adrian Lester
PART 1
VOICEOVER: For British actor Adrian Lester, the stories of Jamaica and its colonial past have
resonated throughout his life. Now, Adrian is on his way to see his grandfather James. He
hopes that he’ll be able to help him understand how the island’s history has impacted
on his life. 1’40’’
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PART 2
In 1655, when the Empire was still in its infancy, the British seized Jamaica from the
Spanish. For the next two centuries, the country was one of the Empire’s most valuable
assets, with a thriving economy built on the trade of sugar, cultivated by slave labour.
Today, most Jamaicans are descended from those slaves who were once traded as a
commodity, until their emancipation in 1834. 2’10’’
PART 3
ADRIAN LESTER: In a way I would not be where I am today, were it not for the British Empire,
and I know that there really wouldn’t have been an Empire without slavery. Every country
has its history, and it’s not necessarily pleasant, it’s not nice, it’s not good, but it should
be just simply acknowledged.
> Mise en œuvre
1. Montrer la vidéo choisie (une sur les deux) et se servir de la fiche de repérage
proposée.
2. L’étude de la vidéo pourra déboucher sur plusieurs activités :
a. travail de PPC : présentation orale du contenu de la vidéo.
b. approfondissement possible de l’histoire de Shobna Gulati en montrant le passage
qui précède, visible à :
www.richardarmitageonline.com/Richard-Armitage-Flash/Empires-Children-2-1.html
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U ni t 8
OF HOPE AND JUSTICE
> Informations sur le document
DOCUMENT : extrait du film Bread & Roses réalisé par Ken Loach.
DURÉE : 3’34’’
DATE : 2000
LIEN AVEC LE MANUEL : Unit 8, Borderlands, Watch a video, p. 121.
NOTIONS DU PROGRAMME : Lieux et Formes du Pouvoir, Espaces et Échanges.
OBJECTIF : comprendre les luttes sociales des immigrés d’origine hispanique aux États-Unis.
> Script de la vidéo
Video
PART 1
CROWD: We want justice! Now! Justice… Now! Si se puede!
SAM: …tonight with me?
MAYA: Tonight? Yah! Tonight!
SAM: Yes, at my place.
MAYA: What d’you wanna… Pizza?
SAM: No, no, I’m gonna cook! All right?
CROWD: Si se puede! 0’25’’
PART 2
SAM: OK… OK… All right. All right. Wow! OK. Listen up! Today… today is a great day for the
janitors in this building, all right? But we have to let the owners of this building know that
is going to continue… until they get their jobs back… Right?!
CROWD: Yeah!
SAM: OK… OK… In the past few months, I’ve seen you insulted, OK… I’ve seen you fired
from your work… I’ve seen you go through financial crises with your families that have
been threatened of deportation… I’ve seen friends split up because of betrayal, all right?
I salute your courage! OK? Because it takes a lot of it. Now… We’re fighting for health
care, right?
CROWD: Yeah! (cheers)
SAM: … for respect at work…
CROWD: Yeah! (cheers)
SAM: We want bread but we want roses too!
CROWD: Yeah! (cheers)
SAM: We want all the beautiful things… all the beautiful things in life. You see that banner?
That banner dates back to 1912, in Lawrence, Massachusetts, when 10,000 immigrant
workers, who were mostly women, had to fight against… poverty wages and it was a
violent and a long dispute, but you know what happened? They won! They won. OK… No
one is giving you roses for nothing, OK? No one! You know when you get roses? When
you stop begging… and you organize… and you form a labor movement that is strong
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UNIT 8 - OF HOPE AND JUSTICE
MEETING POINT TLE - Livret d’exploitation de la vidéo
enough to compete against these powerful companies that are controlling our lives. OK?
Stand up for your fucking rights!
CROWD: Yeah! (cheers)
> Mise en œuvre
Montrer la vidéo et se servir de la fiche de repérage proposée.
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UNIT 8 - OF HOPE AND JUSTICE
MEETING POINT TLE - Livret d’exploitation de la vidéo
U ni t 10
NEW ENERGY?
> Informations sur le document
DOCUMENT : film d’animation de Peter Nicholson qui traite de manière humoristique des
enjeux liés aux énergies renouvelables et à leur impact sur les populations des pays en
voie de développement.
DURÉE : 1’18’’
DATE : 2008
LIEN AVEC LE MANUEL : Unit 10, The Power of Money, Watch a video, p. 155.
NOTIONS DU PROGRAMME : Lieux et Formes du Pouvoir, Espaces et Échanges.
OBJECTIF : faire découvrir aux élèves les liens entre les pays développés et en voie de
développement à travers les impacts humains et écologiques que peuvent avoir des
décisions économiques, financières et écologiques prises dans les pays du Nord.
> Script de la vidéo
Video
PART 1
MIDDLE CHILD: What’s for dinner, mom?
MOTHER: Lovely fresh corn!
MAN: Excuse me, I’m from “Save the Planet”. We need your corn to make diesel!
MOTHER: “Bio-fuels, the way of the future...”
CHILDREN: Yay! 0’30’’
PART 2
MIDDLE CHILD: I’m hungry!
MOTHER: Cheer up! It’s not so bad. I am buying a fridge. We can fill it with Coke and fish
fingers.
MAN: Oh, and watch it with that fridge, uh? You’re adding to global warming.
MOTHER: Emissions tax!? Bloody hell! Well, let’s get into growing corn in a big way… make
some money!
MAN: You’re hurting farmers in the US and Europe. It’s unfair, all this cheap labour. I’ve
got to put up a tariff wall.
MOTHER: Hmmm… I’ve got it! “MGAWA and family: GRAVEDIGGERS”.
MAN: Congratulations! An industry that is good for the planet!
> Mise en œuvre
1. Travailler sur les images sans le son.
Nous conseillons de commencer par travailler le début de la vidéo sans le son afin que
les élèves émettent des hypothèses et anticipent le contenu de la vidéo grâce au travail
de repérage et fassent un travail d’inférence en établissant des liens entre les différentes
images.
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UNIT 10 -NEW ENERGY?
MEETING POINT TLE - Livret d’exploitation de la vidéo
2. L’étude de la vidéo pourra déboucher sur :
– une prise de parole en continu (compte rendu du document) ;
– à l’écrit ou à l’oral, on pourra imaginer un dialogue entre une personne qui veut acheter
un véhicule fonctionnant au bio carburant et une personne qui s’y oppose.
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UNIT 10 -NEW ENERGY?
MEETING POINT TLE - Livret d’exploitation de la vidéo
U ni t 11
DREAM, BELIEVE, ACHIEVE
> Informations sur le document
DOCUMENT : extrait du film documentaire Murderball de Henry Alex Rubin et Dana Adam
Shapiro, sur deux équipes américaine et canadienne d’handicapés jouant au rugby en
fauteuil roulant.
DURÉE : 2’50’’
DATE : 2005
LIEN AVEC LE MANUEL : Unit 11, Higher, Faster, Stronger, Watch a video, p. 166.
NOTION DU PROGRAMME : Mythes et Héros.
OBJECTIFS : montrer un exemple de handi-sport peu connu de nos élèves français.
L’implication et la volonté des jeunes héros du film pourra servir à mieux comprendre la
double page du manuel.
> Script de la vidéo
Video
PART 1
FIRST MAN: I’ve been out in clubs, I’ve been out all over the place, and people will come
up to me and they’ll shake my hand and say, “Oh, it’s good to see you out!” And I’ll like,
look at ’em and like: good to see me out? Y’ know, like what? Am I supposed to be in a
closet, hanging out?
SECOND MAN: What I can do people probably don’t think I can do, is that I can cook, and
I can drive... might not be a great cook. Might not be a great driver, but I can do both.
ANDY: People say some of the dumbest things, like I’ll be at the grocery store, loading
the groceries into my car and people be like and then I’ll go get my car and like “do you
need help in your car?” And it’s like, well, I wouldn’t have come to the grocery store if I
couldn’t get back in my car.
ZUPAN: I’ve gone up to people and start talking shit and they’re like “Woah woah woah!”
And I’m like what? You’re not gonna hit a kid in a chair? Fuckin’ hit me! I’ll hit ya back! 1’35’’
PART 2
REFEREE: Quadriplegic rugby was developed in Canada, and the original name for the
game was “Murderball”.
MARTY: What we do is we take these wheelchairs and make ’em into a gladiator, a battling
machine, a Mad Max wheelchair that can withstand knocking the living daylights out of
each other.
ZUPAN: The majority of the people that play wheelchair rugby have broken their necks, so, we
have rods, plates, screws, inside. The biggest misconception is “Oh, you’re a quadriplegic?
I thought they couldn’t move their arms?” And 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 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.
ANDY: Well I’m a “two” because I have some hand function and full arm function. My hands
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UNIT 11 - DREAM, BELIEVE, ACHIEVE
MEETING POINT TLE - Livret d’exploitation de la vidéo
don’t close, they only open, so er... kinda like spatulas for pancakes or flippin’ people
off. When I was sixteen I was in a car accident. The car hit a tree and made the car flip,
and when it flipped, the roof came down on my head, and I became an “Incomplete C-6
Quadriplegic”.
> Mise en œuvre
1. Proposer une anticipation.
– Le Get ready de la fiche est une activité lexicale qui réactive le vocabulaire du rugby,
du handisport, de la motivation et du dépassement de soi.
– Le pitch tiré du site Imdb et une photo du film Mad Max (choisie par le professeur)
permettront aux élèves d’imaginer ce qu’ils vont voir, le type de fauteuil roulant, véritable
arme de guerre, et la violence des contacts entre joueurs.
– Dans le cadre d’une classe fragile, mettre les mots attendus de la carte mentale dans
le désordre. Les élèves devront alors classer les mots dans les cases correspondantes.
2. Montrer la vidéo et se servir de la fiche de repérage proposée.
3. L’étude de la vidéo pourra déboucher sur :
a. Débats :
– Would you like to watch a quad-rugby / Murderball match live? Discuss in groups.
– Does this kind of violent sport contribute to the positive vision of disabled champions?
Weigh the pros and the cons.
b. Expression écrite :
– Discuss this quotation from one of the wheelchair rugby players in the film (200 words).
“When people in the community see you in a chair they kinda treat you like you’re made
of glass or that you’re fragile; things like that. But, in wheelchair rugby, it’s kinda like
high speed bumper cars (auto-tamponneuses).” Andy Cohn
– To what extent is this old English saying (proverb) true for quad-rugby? (200 words)
“Football is a gentleman’s game played by ruffians, and rugby is a ruffian’s game played
by gentlemen.” (200 words)
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UNIT 11 - DREAM, BELIEVE, ACHIEVE
MEETING POINT TLE - Livret d’exploitation de la vidéo
U ni t 12
MACBETH
N.B. : nous traitons ici ensemble les deux vidéos intitulées Macbeth.
> Informations sur le document
DOCUMENT : deux extraits de l’acte I, scène 5 de Macbeth de William Shakespeare.
Réalisations de Philip Casson avec Judy Dench et Ian McKellen et de Jack Gold, avec Jane
Lapotaire et Nicol Williamson.
DURÉE : respectivement 1’15’’ et 1’52’’.
DATE : respectivement 1979 et 1983.
LIEN AVEC LE MANUEL : Unit 12, The Corridors of Power, Your Task, p. 185.
NOTIONS DU PROGRAMME : Lieux et formes du pouvoir, Mythes et Héros.
OBJECTIFS : sensibiliser à l’importance du jeu et de la mise en scène dans la perception
des personnages. Savoir repérer et expliquer.
> Script de la vidéo
Video
LADY MACBETH:
Great Glamis! Worthy Cawdor!
Greater than both, by the all-hail hereafter!
Thy letters have transported me beyond
This ignorant present, and I feel now
The future in the instant.
MACBETH:
My dearest love,
Duncan comes here tonight.
LADY MACBETH:
And when goes hence?
MACBETH:
Tomorrow, as he purposes.
LADY MACBETH:
O never
Shall sun that morrow see!
Your face, my thane, is as a book where men
May read strange matters. To beguile the time,
Look like the time; bear welcome in your eye,
Your hand, your tongue; look like the innocent flower
But be the serpent under’t. He that’s coming
Must be provided for; and you shall put
This night’s great business into my dispatch;
Which shall to all our nights and days to come
Give solely sovereign sway and masterdom.
MACBETH:
We will speak further.
20
UNIT 12 - MACBETH
MEETING POINT TLE - Livret d’exploitation de la vidéo
> Mise en œuvre
1. Étude préalable de la scène.
Après avoir étudié la scène en classe (voir manuel p. 178-179), on pourra comparer les
deux versions filmiques en s’aidant des conseils donnés p. 185.
2. L’étude de la vidéo pourra déboucher sur une mise en scène personnelle des élèves
(jouée en classe ou enregistrée sur clé USB).
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UNIT 12 - MACBETH
MEETING POINT TLE - Livret d’exploitation de la vidéo
U ni t 15
THE MYTH OF THE COWBOY
> Informations sur le document
DOCUMENT : extrait du documentaire de Nick Green America, the Story of Us qui donne
des informations sur les origines du métier de cowboy et le mythe qui va en découler.
DURÉE : 1’32’’
LIEN AVEC LE MANUEL : Unit 15, Western Trails, Watch a video, p. 218.
NOTIONS DU PROGRAMME : Espaces et Échanges, Mythes et Héros.
OBJECTIF : faire découvrir aux élèves les enjeux culturels et historiques liés à la naissance
d’un métier et d’un mythe.
> Script de la vidéo
Video
PART 1
1865: The Civil War leaves cities on the Eastern Seaboard stripped of resources. The
country’s booming population needs food. In Texas, over six million cattle roam wild.
Worth four dollars a head here, but back East, they’re worth forty. By 1868, the railroad
spreads from the East, crossing Kansas, but it hasn’t reached Texas. There’s still one
thousand miles of Wild West between the herds and the railroad. For that kind of cattle
drive, America needs a new kind of hero: the cowboy. 1’02’’
PART 2
After the Civil War, 60% of the South’s population lives in rural poverty. In search of work,
a new kind of adventurer heads West, to cattle towns like Abilene, Wichita, and Dodge
City. One farmhand heading to Texas is Teddy “Blue” Abbott.
> Mise en œuvre
1. Travailler la première partie sans la bande son.
Nous conseillons de commencer par travailler le début de la séquence sans le son afin
que les élèves émettent des hypothèses et anticipent le contenu de la vidéo grâce au
travail de repérage et fassent un travail d’inférence en établissant des liens entre les
différentes images.
2. Montrer la vidéo en entier avec la bande son, les images venant en aide aux élèves
pour élucider le sens.
3. L’étude de la vidéo pourra déboucher sur une prise de parole en continu (compte
rendu de la vidéo) ou une prise de parole en interaction (échange entre deux cowboys
sur leur journée de travail le soir au campement).
4. On pourra étudier la suite de ce documentaire (jusqu’à 4’03’’) visible à :
www.youtube.com/watch?v=KbxBHivCqTQ&feature=BFa&list=PLBADD339BEA0C57F
1&lf=autoplay
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UNIT 15 - THE MYTH OF THE COWBOY
MEETING POINT TLE - Livret d’exploitation de la vidéo
Voici le reste du script :
TEDDY BLUE: My father wanted to tie me down and make a farmer out of me… Never! I ran
away from home to become a cowboy.
BILL RICHARDSON: The cowboy mentality; it’s the spirit of individuals. “I have a communion
with the land, with my horse.” It symbolizes resistance to authority.
VOICEOVER: Teddy Blue is one of 35,000 cowboys who will drive cattle to the railroad in
Kansas. Standing in their way, a thousand miles of untamed West, unforgiving terrain,
and gangs of rustlers. For only a dollar a day, cowboys must be skilled horsemen, and
cattle wranglers. The lasso dates back to the ancient Egyptians. Mexican ranchers have
been using them for centuries, and pass their skills on to cowboys north of the border.
Cattle brought over by the Spanish in 1493 have bred with settlers’ cows from England,
creating a new breed, the Texas longhorn. After centuries roaming the plains, they’re wild
and easily spooked. Teddy Blue hears what every cowboy dreads – Stampede!
Over four cattle drives, Teddy Blue buries three pals. A tough job for tough men.
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UNIT 15 - THE MYTH OF THE COWBOY
MEETING POINT TLE - Livret d’exploitation de la vidéo
U ni t 15
DANCES WITH WOLVES
> Informations sur le document
DOCUMENT : extrait d’un film réalisé par Kevin Costner qui raconte le voyage d’un officier
de l’Union envoyé en mission dans un poste éloigné à l’Ouest et qui découvre la vie d’un
groupe d’Indiens Lakota.
DURÉE : 3’07’’
DATE : 1990
LIEN AVEC LE MANUEL : Unit 15, Western Trails, Watch a video, p. 221.
NOTIONS DU PROGRAMME : Espaces et Échanges, Mythes et Héros.
OBJECTIF : montrer une rencontre entre des pionniers « blancs » et un groupe d’éclaireurs
indiens.
> Script de la vidéo
Video
VOICE: Christine! Christine! Christine!
FIRST MAN: Get the kids! Get them in the house!
SECOND MAN: Go on!
WOMAN: Christine! Christine! Where are you?
CHRISTINE: I’m up here, mother.
WOMAN: Get here, now!
CHRISTINE: Why?
WOMAN: Just do what I… Oh God! Stay right where you are! Keep down! Do you hear me?
CHRISTINE: Who is it Willy?
WILLY: They look like Pawnee. My father and your father are talking to them.
CHRISTINE: What do they want?
WILLY: I don’t know.
FIRST MAN: Go home! You heard me! Get out of here!
WILLY: Run Christine! I said run!
WOMAN: John! John! Christine!
> Mise en œuvre
1. Travailler avec la bande son uniquement.
Nous conseillons de commencer par la bande son pour repérer les indices sonores et
inciter les élèves à deviner ce qui se passe. La scène est très visuelle.
2. Montrer la vidéo et se servir de la fiche de repérage proposée.
3. Recherche Internet sur le film de Kevin Costner
On pourra ensuite faire faire une recherche Internet en demandant aux élèves d’aller sur :
www.imdb.com/title/tt0099348/
4. L’étude de la vidéo pourra déboucher sur une expression écrite.
Comme suggéré dans le manuel p. 221, l’étude de cette vidéo pourra déboucher sur une
expression écrite sur table ou à la maison.
24
UNIT 15 - DANCES WITH WOLVES