"(Re)Imagining Life in the Classroom" written by Mark A. Lewis and Ian Parker Renga is an interesting chapter addressing movie archetypes of students, teachers, and their relationship. The authors begin by discussing the "stereotypical boxes" in which movies have repeatedly pegged characters, which include: the misunderstood misfit, the athlete/bully, the popular/princess, the nerd, and finally the rebel. Although, by examining other movies about the school environment including Dead Poets Society, The History Boys, Dangerous Minds, and The Class- do the authors uncover other archetypes.
The authors argue that movies create stereotypical characters (or enhance them) because they are easy for viewers to relate to. That is, there are expectations within society that have pre-determining powers over social function and it is difficult for people to view stereotypes as such (66). Along with that, the authors argue that there is a problematic view of adolescence. In every example they give, the authors mention how the movies are depicting "out-of-control hormones and angst" in their teenaged characters. They do not exactly point out how this is a problem though, as they further mention how understanding adolescence hormones as a "construct" will provide a foundation for critiquing films (67).
The authors then discuss how teachers are portrayed in movies. They interpret the stereotypical teacher to be a white-female who is not only overworked but has difficult relationships with her pupils. Although, in Dead Poets Society and The History Boys, both of the movies' students are in a privileged setting with a devoted, energetic, and optimistic by their sides. Both of the films depict teachers as encouraging and respect their students in the sense that they view them as emerging adults with potential rather than "out-of-control" animals, as the teachers do in Dangerous Minds and The Class.
In this reading, it is clear the authors are comparing and contrasting two types of school environments: privileged vs. marginalized. In the privileged settings (movies: Dead Poets Society and The History Boys), the students' adolescent angst is encouraged by their teachers in the sense that the teachers want to harness that potential to further help their students become successful adults. The students are often depicted as white and understanding their identity is the root of their causes. Meanwhile, in marginalized settings (movies: Dangerous Minds and The Class), the teachers are trying to control the adolescent angst and believe they cannot harness that potential. Instead, the teachers view their hormonal-driven behavior as bad for it does not help them become successful adults. Not to mention, in most marginalized movie settings, the majority of the students are of color. Despite these differences, all four movies depict students who wish to be respected by their elders.
The problem with depicting privileged vs. marginalized students is not only because it pigeon-holes certain characters but these movies also highlight the problems that society is facing currently. In the previous reading response about Kozol (1991) and Orfield's (2013) housing issue and education, they too mentioned the increasing segregation of privileged vs. marginalized people. They mentioned how there is a discrepancy between housing cost and quality education, in the sense of a continuous feedback-loop that encourages segregation. These movies highlight the segregation of whites and blacks and how they are treated differently by society. Lewis and Renga argue these movies go beyond the classic stereotypes and address more important issues not only within the education system but in society.
Lewis, M.A., & Renga, I.P. (2016). (Re)Imagining life in the classroom: Inciting dialogue through an examination of teacher-student relationships in film. In M. Shoffner (Ed.) Exploring teachers in fiction and film: Saviors, scapegoats & schoolmarms (pp. 65-75). New York, NY: Routledge.
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