英文电影赏析在初中英语教学中的应用

2013年第3期金色年华

英文电影赏析在初中英语教学中的应用

王 卫

（贵州省遵义县第五中学，贵州 遵义 563100）

英文电影资源可以帮助初中英语教学营造全方位的语言环境，突破英语教材的局限性，声情并茂的英文影片能够极大的激发学生的学习兴趣，极大的丰富了学生的知识面，使他们能够用更地道的表达方式和英语思维来学习英文。

一、英文电影资源对初中英语教学的积极影响

利用英文电影辅助教学实际上是试听教学法的一种具体运用。英文电影中规范的字幕和地道的语言加上鲜活生动的人物对白能够有效的刺激学生大脑获得知识的感官功能，目前来说这种方式是最受初中生喜爱的。学生可以边看边听，将自己融入到英语语言的大环境中去，在有点的时间内得到最大程度的试听训练，身临其境的体会最地道的欧美人的表达。另外，英文电影还可以帮助学生培养跨文化交际的能力，增强全球意识，为学生创造充满异国文化的语言环境。最后，英文电影资源辅助初中英语教学还有利于打破“聋哑英语”的局面，由于学生听力和口语能力的培养。

二、目前英文电影资源介入初中教学存在的问题

首先，从建构主义理论来说，目前英文电影资源介入初中英语教学存在情境创设中忽略学生知识经验的问题。作为建构主义的促进者，教师应该帮助学生创设有利于学习的情境。但是在选择电影时，教师会考虑电影的内容是否积极向上，会考虑是否能够引起学生的兴趣，但是能够考虑电影内容与教材内容相关性和兼顾学生实际英语水平的则很少。而事实上，看一些脱离教材、脱离学生认知范围的电影不但不会对教学有所帮助，还会降低课堂效率。其次就是电影教学中的自主性缺失，教师还是没有从传统的课堂权威者和操控者的角色中转变出来，从电影的选择到根据电影设计的相关学习活动，教师都是绝对的权威，学生很难按照自己的意愿去吸收知识。英文电影介入课堂只是教师为了提高教学质量的一种手段，而不是为了学生自主学习创造条件，导致学生依赖性增强，不利于学生自主学习能力的提升。最后，英文电影教学的评价片面化，评价主体虽然有教师、学生和家长等，但是仍然以教师评价为主，这导致学生很难认同评价结果，削弱了教育的民主化和人性化。从评价的内容上来看，教师除了要关注学生的学习技能情况，还要关注学生的情感态度和价值观，而事实上，大部分教师都只关注学生对语法、词汇或者句型的掌握程度，而忽视评价学生的思维文化和情感态度。在评价时，鲜有教师能够在尊重学生差异的基础上对学生进行差异化评价，基本没有根据学生的实际情况来衡量学生在英文电影中的收获，这样的评价方式非常不利于学生的个性发展。最后，在英文电影教学中，一大部分教师忽视了教学反思这一重要环节。并且在教学反思中，学生、同事和参与的很少。

三、如何有效的利用电影资源提高初中英语教学实效性

首先，在选择电影资源时，要以教学目标的实现为首要考虑对象，注重目标的生成性和多元性。教学目标的有效设定能够帮助师生快速有效的认清教学的目的。在英文电影教学中，确立好教学目标非常重要，并且向学生表述期望学生在观看电影的过程中学到什么。在制定教学目标时，应该按照英语教材的教学内容来制定教学目标，在电影中选取需要学生掌握的词汇、语法和句型，还有情感态度。选取的电影一定要与教材相联系，选择的英文电影一方面要与教材的主题相关，另一方面要与学生的经验相关。只有与教材的主题相关，才能真正发挥英文电影在教学中的作用，拓展学生对课本知识的迁移，真正提高英语能力，而不会陷入“纯娱乐”的欣赏中去。只有与学生的生活经验相关，才能激起他们的学习兴趣，不断根据自有的知识建构新的知识，用自身的生活经验进入到体验式的学习状态中去。兼顾教材和学生生活经验的电影能够将教材单元的知识结构和特点和英文电影教学结合起来，从学习的角度分析电影，制定适切性的教学目标。

其次，创设适合初中生的情境。英语的情境教学不是偏重于气氛的营造，而是让学生根据电影的情节最大程度的去听、去说，在英语课堂上的电影有条件的情况下应该删除字幕，学生就算不能完全听懂，也会在电影的情节发展过程中最大限度的锻炼听力，有利于学生提高辨音、辩词的技能，全方位提高听力理解的深度和广度。当然初中生毕竟英文能力有限，完全离开字幕可能不太现实，理解起来也比较吃力，教师可以播放有英文字幕的英文电影，切忌不能播放中文字幕的电影，否则就彻底沦为了娱乐的工具。

最后，要转变教师只能，尊重学生的主体地位。从建构学习理论视角来看，真正能够提高学习效率的是学生主动的学习，主动参与到相关经验中去，意义才能被产生和建构。学习本质上需要通过与他人的交流来构建意义。英文电影教学要摆脱传统的教师占主体地位的模式，提倡学生间的互助协作。协作学习可以是学生就电影中的某个问题用英文展开讨论，抒发各自不同的观点，小组罗列观点后分享观点，教师在过程中只需点拨学生需要记忆的单词、句型就可以了，不必事必躬亲。开展协作式学习活动，既有利于教师主导作用的发挥，又有利于学习者自主探索角色的体现，而且还有利于培养学习者的合作精神。学生在此过程中能够不断丰富自己的认知，锐意创新，并在协作交往中学会尊重他人的意见，共享群体的智慧。

【参考文献】

[1]李高岳.英文电影片断在中学英语教学中的应用[J].湘潭师范学院学报（社会科学版）,2005,(2).

[2]徐小红.英文电影对提高我国英语学习者跨文化交际能力的作用[J].长江大学学报（社会科学版),2006,(4).

[3]陶林燕.浅谈看英文原版电影与英语听说能力的提高[J].兰州教育学院报,2011,(1).

【摘 要】如今多媒体教辅辅助课堂教学已经成为了教师普遍采用的手段，对于英语教学来说，英文电影资源是很好的教学辅助工具，能够帮助学生学会最地道的表达，加深对多元文化理解，了解英美国家的思维方式。可以说，英文电影的介入对初中教学的影响极大。本文就英文电影在初中英语教学中的应用的优势以及存在的问题做了探讨并提出了一些对策和建议。

【关键词】初中英语；英语教学；英文电影

学科教育

157

英文电影赏析在初中英语教学中的应用

作者：王卫

作者单位：贵州省遵义县第五中学,贵州 遵义 563100

刊名：

金色年华(教学参考)

英文刊名：Golden Times

年，卷(期)：2013(3)

本文链接：https://www.wendangku.net/doc/ea12141406.html,/Periodical_jsnh-jx201303153.aspx

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Seven(七宗罪)1995经典电影英文影评

Seven(七宗罪)1995 David Fincher's classic tale of inventive serial killing and urban degredation, with Brad Pitt and Morgan Freeman on excellent form Who'd have thought? An absurd-sounding tale of a serial killer basing his crimes around the seven deadly sins, directed by the man behind the mess that was Alien3, turning out to be one of the most chilling and original thrillers of the 1990s. From the outset, through the film's brilliantly designed deliberate under-lighting - we see very little blood and guts - and muffled sound, the audience is encouraged to lean towards the screen, immerse itself in the film's unbearably grim world. Pitt is in career-making form as Mills, a simple cop moving with his sweet young wife (Paltrow) to a grim, anonymous city, determined to make a difference, to do some good. He is assigned to track down a vengeful killer, and works alongside Somerset (Freeman), a jaded, wise policeman on the verge of retirement. The two are that modern movie cliché -the mismatched pair thrown together by circumstance, who gradually learn mutual respect. But Fincher and Walker take these hackneyed ingredients, play with them in the context of a brilliantly cohesive plot, and present something consistently fresh - the police finding themselves with too much evidence, the premature unmasking of the killer - and very, very dark. 1

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Tess(苔丝)1979经典电影英文影评

Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1