The typical high school level film class will, of course, be incorporated into the English department. While this is certainly the most suitable place for such a course, there are some points of drastic divergence as to how the class must be taught compared to the average English class.
The interesting thing about an introductory film course is that in some ways, it resembles a foreign language class more closely than a literature-based English class. In language courses, oftentimes the first two or three years are dedicated to learning the syntax, vocabulary, and structure of a language before having any actual discussions. In the typical high school level English class, knowledge of these concepts is assumed. Now, it would be silly to claim that a beginning film student must spend the first three years of their studies just learning the tropes and visual vocabulary of cinema, but nonetheless a strong foundation must be established before any high-level discourse is held to examine the technical elements of the medium.
So how does Harkness fit into this? My only experience with the method is with 9th grade English students so I can’t discuss all contexts in which it may be useful, but I can say that it isn’t a tool that I’ll be implementing at the outset of my course. The first few weeks will be spent building up a strong visual vocabulary, and the weeks following those will probably center around heavily guided discussion. I want to ensure that we build a strong understanding of the building blocks of cinema, and I fear that leaving students to their own devices will reinforce bad habits of film analysis. Perhaps later on, when I’m sure that students understand the purpose of cinematic analysis and the good habits that go along with it, I’ll give them more room to discuss in a more free flowing manner.
Yet I fear that by restricting free discussion early on I may set a negative tone for the discipline of film studies in general. While a great degree of film analysis involves the systematic deconstruction, there’s also an element of emotional connection to the medium that has to take place in order to analyze it in an original manner. Leaning too far towards the didactic teaching style would, I think, remove too much of this emotional connection. As I discussed in my last post, removing this instinctual link to some degree is crucial, but to do so completely is to destroy one’s ability to empathize with the thrust behind a piece. Perhaps my dilemma concerning Harkness demonstrates this pressure point, and my decisions about how to implement it effectively will turn out to be consequential for my semester-long plan for molding the analytical abilities of my students. If I can strike a productive balance between Harkness-style discussion and traditional classroom techniques, then I can also strike a balance between disconnected analysis and instinctual empathy. That, ultimately, is the reason to teach a film class in the first place.