Films That Put Social Problems in Global Context

Author(s): Paula Dressel

Source: Teaching Sociology , Apr., 1990, Vol. 18, No. 2 (Apr., 1990), pp. 226-230
Published by: American Sociological Association

Stable URL: https://www.jstor.org/stable/1318496

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 FILMS THAT PUT SOCIAL PROBLEMS
IN GLOBAL CONTEXT*

PAULA DRESSEL
Georgia State University

Teachers of social problems are presently A GLOBAL APPROACH TO

faced with considerable challenges. Even as SOCIAL PROBLEMS
social scientists articulate increasingly the
international context of selected domestic Social problems courses at my institutio
social problems (e.g., drug use, unemploy-(and probably at many others; Baker 198
ment, the arms race), high school students are viewed as "service" courses for other
who soon will populate our classes have sig- departments that wish their students to have
nificant deficiencies in international geog- at least a cursory look at the social sciences.
raphy, history, and politics (Washington PostConsequently my overriding goal for the
1988). Furthermore, controversial nationalcourse is to promote critical citizenship.
discourse appears to have been diminished inMayer (1986) describes in general what criti-
the 1980s because of presidential and media cal awareness entails. Specifically, I want stu-
reliance on official statements issued on behalfdents to apprehend that 1) understanding
of a popular leader rather than on extended macrosociological dynamics is vital to under-
interest group interaction and debate; thus thestanding the microsociological issues about
"uncritical literacy" (Shor 1987) that studentswhich they typically have greatest concern;
bring to the classroom is reinforced. and 2) in many cases it is impossible to un-
This article suggests one strategy for ad- derstand domestic social problems without
dressing the challenge: using popular films tounderstanding U.S. foreign policy. Two cur-
demonstrate the international nature of rently available textbooks, Feagin (1986) and
selected domestic social problems. The Neubeck (1986), facilitate this agenda.
focus on films as a pedagogical tool has On the first day of the course I ask stu-
generated a substantial sociological litera- dents to respond anonymously to 10 short-
answer questions about current social
ture (e.g., Burton 1988; DeFronzo 1982;
Demerath 1981; Fails 1988; Hannon andevents. Two of the ten questions preview
Marullo 1988; Prendergast 1986; Smithissues raised by the films: 1) "There is con-
1973), to which the following remarks con- siderable debate in Congress over Contra
funding. Which country in Central America
tribute a new application. While certain films
provide a global context for understandingis the focus of this debate?" 2) "In which
country is the controversial policy of apart-
social problems, they also facilitate an under-
standing of the intersection of biography andheid official government policy?" As ap-
social forces and promote a critical perspec-parent as we might expect the answers to be,
tive on official policy pronouncements andit is not atypical for 40 percent of a class to
taken-for-granted political language. Firstmiss
I the first question and 25 percent to miss
discuss my general orientation in teaching the second.
social problems to provide the context in The stage now is set to introduce social
which certain films can be used to greatest
problems in global context. In an introduc-
tory lecture I convey the link between domes-
advantage. Then I detail two films -El Norte
and Cry Freedom-in terms of their story tic and foreign policy issues from sources
line, preparatory lecture materials, thesuch as O'Connor (1973), which focus on the
United States in the international political
sociological issues they raise, students' reac-
tions, and practical matters of use. economy. Current events provide ready il-
lustrations of what otherwise might be chal-
* An initial version of this article was presented at the
lenging abstractions: international sources of
annual meeting of the Georgia Sociological Associa-
tion, October 1988. Thanks to Ron Wilson and Gerri drugs being consumed in the United States,
Moreland for their assistance. the restrained response of the United States
to student activities in China, and unrest in
Editor's note: this note was written prior to the release
of Nelson Mandela in South Africa. local communities due to massive immigra-

Teaching Sociology, 1990, Vol. 18 (April:226-230) 226

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FILMS THAT PUT SOCIAL PROBLEMS 227

economic
tion of Central American refugees. At this exploitation, tensions between
point a context is available for U.S. citizens and alien workers due to
making
sociological sense of the two films. economic competition, U.S. immigration
policies, certain states' English-onlylaws, the
advisability of support services for U.S. im-
EL NORTE migrants, and the likelihood of upward
mobility under advanced capitalism.
THE STORY LINE

Set in Guatemala and Los Angeles in the

STUDENIS' REACTIONS
1970s, El Norte focuses on the harrowing
journey of Enrique and Rosa, a brother and
a sister from Guatemala, through Students
Mexico invariably are sympathetic to Enr
and illegally across the U.S. border toque and
seek a Rosa, whose characters are har
working,
better life in "the North." They are forced to optimistic, and strongly committ
to after
leave their community in Guatemala family. Beyond the emotional respon
they
their father is killed and other family demonstrate an ability to articulate h
mem-
Enrique's
bers are taken away by the military because and Rosa's biographies are inte
the father was active in a liberation locked
move- with broader social forces. Equal
important,
ment. The film depicts their dreams about students can see how certa
phenomena
the United States, the struggles they en- in their own communities (e.g
growing
counter to cross the border, and their Hispanic populations, raids on loc
tenuous economic and social situation as il- businesses by the Immigration and
legal workers in Los Angeles. (See Marger Naturalization Service) and in their own
1989 for a detailed description.) country (e.g., the controversial English-only
bills) fit into a broader context of internation-
al policy and politics.
PREPARATORY MATERIALS One latent function of showing the film is
vocal support for English instruction for im-
Before showing the film, it is important to who are not English-literate. The
migrants
first two-thirds
provide a brief overview of the geopolitics of of the film uses subtitles be-
Central America. I distribute a mapcause it is set in Guatemala and Mexico,
of the
region and discuss certain historical andwhere
con-Spanish and Indian languages are
temporary issues common to several spoken.
of the When Enrique and Rosa reach Los
Central American nations: the mixture of Angeles, the site of the latter part of the film,
cultures (Indian, Spanish, Afro-Caribbean),most people speak English, and the siblings
the relative strength of military in relation to themselves learn English through available
governmental institutions, U.S. policyclasses. By the final one-third of the film,
toward various governments, the countries' students are generally so weary of reading
economic struggles, and reasons for the subtitles (most say that they never go to sub-
growing out-migration of native peoples,titled films) that they are ready to endorse
legal or otherwise, to the United States. any intervention that will facilitate their own
ability to communicate!

SOCIOLOGICAL ISSUES
PRACTICAL MATlERS
The preparatory lecture, the assigned read-
ings, and the content of the film enable
At least thetwo practical issues should be kept
class to discuss important social in issues
mindat regarding the use of El Norte. Firs
blindeven
surprisingly high levels of abstraction students
as will not be able to make sense
they keep in mind the microsociological ex- portion of the film unless they
of the first
periences of Enrique and Rosa. Among happen tothe
know Spanish. Even then, much of
topics that emerge for debate are thethereasons
dialogue employs local Indian language.
For thesein
for indigenous liberation movements students a verbal or written sum-
Third World nations, the vulnerability
mary of il- highlights of the first portion
of the
legal immigrants in the United States
should beto
provided, and they should have the

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228 TEACHING SOCIOLOGY

option of determining whether or not their eyes; these films inevitably depict some
attendance will enhance their understanding white people as the heroes and centra
of the film. agents of change in history. Such films
A second practical concern is raised by downplay the vantage point of the very
the length of the film. At 2 hours and 21 people whose everyday existence is
minutes, it may be unable to be shown in a threatened by racism and whose multi-
single class. Conveniently, however, it is faceted strength, courage, and pain have
divided conceptually and visually into three brought down some of its most visible bar-
parts, the first set in Guatemala, the second riers. Nevertheless, the first half of the film
in Mexico, and the third in Los Angeles. I gives the character of Steve Biko a portion
have achieved good results by showing Parts of center stage; viewers are afforded a rela-
1 and 2 together and showing Part 3 during tively complex view of Biko as a person and
the next session. By the end of the first ses- of the BCM as a social and political move-
sion, after Enrique and Rosa have triumphed ment. The film also begins and ends with
over numerous obstacles to reach Los An- actual footage of events filmed before full
geles, the class has developed an affinity formedia censorship was imposed (e.g., police
them and looks forward to the next session. brutality against children and families in
Before I show the remainder of the film, I ask urban townships). To some extent, al-
the class what they think will happen to the though by no means fully, these features
protagonists. Responses typically convey ahelp to allay the criticism.
Hollywood or American Dream ending,
which is not realized, however. The dis-
crepancy prompts us to discuss the lack ofPREPARATORY MATERIALS
correspondence between our ideology and
the opportunity structure of a changingBefore showing the film, it is important to
political economy. give a brief overview of racism as a historical
and contemporary system of economic,
political, and ideological arrangements
CRYFREEDOM
around the globe. That presentation can be
THE STORY LINE
followed by lecture materials about the
present sociopolitical situation in South
Cry Freedom is based on the true story
Africaof and in the front-line states, including
white South African newspapercolonial
editor and postcolonial governments and
Donald Woods, who details his friendship
economies, apartheid, liberation struggles,
with Steve Biko, leader of South Africa's
U.S. political and economic interests in the
Black Consciousness Movement region,(BCM).and U.S. policy and domestic protest
During the first half of the filmregarding
we see South African apartheid. Students
Woods's gradual education about the BCM
also read selected newspaper articles updat-
and about Steve Biko, as Woods moves
ingfrom
issues in Southern Africa. As with El
viewing the sociopolitical movementNorte,asI distribute a map of the region in
"reverse racism" to understanding it as a
question.
quest for self-determination. His respectBefore for I show the film I detail the con-
Biko grows, and when Biko dies suspiciously troversy surrounding it. The controversy
in a South African jail, Woods attempts itself contains
to certain lessons about how
use his journalistic resources to uncover racism is manifested in the United States
and
reveal the state's role in Biko's death. The and in western Europe. I also point out that
second half of the film focuses on the anyone attempting to show this film public-
problems that Woods and his family ly
en-in South Africa would be arrested; this
counter as a result of his challenging apart-
observation creates the opportunity to dis-
heid's order. cuss how racism in South Africa differs
Cry Freedom merits some of the same from racism in the United States. In addi-
criticisms that were leveled atA WorldApart tion, we are prompted to examine the role
and Mississippi Burning (Hitchens 1988; of mass media in helping to define social
Mitchell 1987). Critics have asked whywe see problems and then in keeping them on the
so many films about racism through whites' public agenda for official attention.

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FILMS THAT PUT SOCIAL PROBLEMS 229
SOCIOLOGICAL ISSUES
intellectual level of discussion, but there have
always been individuals in the class who have
The preparatory lecture, assigned readings,
presented us with appropriate transitions in
and content of the film provide abundant
order to raise critical questions about our
materials for examining racism in own
its many
lives. Furthermore, current events are
manifestations and permutations. With
alwaysCry
available on which to build such
Freedom we discuss how apartheid affects
linkages, whether they deal with individual or
U.S. foreign policy and vice versa, but myracism (e.g., the practices of
small-group
primary goal is to encourage students to talk
"private" clubs) or with direct or indirect
frankly about racism in our own communities
institutional racism (e.g., banks' lending
and nation. That subject can be threatening
practices, the composition of a university
both for people of color, who frequently
faculty). are
not in the numerical majority in my Discussions
class- along these lines predictably
rooms, and for white students, who may
create be and anxiety in the classroom.
tensions
inclined to think that the topic is more his- often seem unprepared for
White students
torical than contemporary. I have found that
the anger and frustration frequently ex-
by focusing the discussion initially on another
pressed by students of color; the latter fre-
system and by highlighting its inequities, we quently seem chagrined at the naivete dis-
can move more easily to a focus on the
played by the former. I have found it produc-
United States. For example, in the film
tive toBiko
face these dynamics openly and
speaks about his resistance to white man's
honestly, using them as an illustration of the
education; that segment is a useful everyday, routinized consequences of
springboard for discussing the current racism. Although tensions can undermine
debate over the Eurocentric bias of core cur-
class cohesiveness, I also believe that some
ricula in U.S. colleges and universities. level of tension, if handled sensitively, can
Other topics that usually emerge in dis- move students closer to understanding the
cussion of the film include students'
particular manifestations of racism.
misunderstanding of the Black Power move-
ment in the United States, the ambiguous
position of black police officers who enforce
PRACTICAL MATTERS
the laws of apartheid, and the many ways in
which racism is expressed. To facilitate dis-
At 2 hours and 37 minutes, the length of Cry
Freedom is generally not amenable to
cussion initially, it is useful to ask students
presentation in a single class period. Al-
first to list the different ways in which racism
was manifested in the film and then to state
though it does not have a dividing point as
whether it also occurs in those ways in thevisually clear-cut as in El Norte, I generally
United States. Invariably students listbreak the it after Steve Biko's funeral. The first
most dramatic or most public examples half gives Biko a share of center stage; the
second half focuses solely on Donald Woods
(police brutality, derogatory language, physi-
and becomes a chase film in the worst Hol-
cal segregation), but they frequently over-
look the relatively subtle forms, such as
lywood sense. At times I have even chosen
not to show the second half but rather have
educational hegemony. Their oversights
provoke a discussion of the evolutiondescribed
of its contents succinctly, highlight-
forms of racism in the United States. ing the particular manifestations of racism
contained therein.

STUDENTS' REACTIONS

Students invariably express sympathy for CONCLUSIONS

both Steve Biko and Donald Woods, and
they demonstrate an exciting capacity to
As ar-
pedagogical devices, the aforementione
ticulate their concerns about these films and related discussions achieve a num-
individuals' lives within the broader, ber more
of goals simultaneously and efficiently.
abstract sociological context provided. TheseStu-
include maintaining students' interest,
dents vary in their ability to shift theenabling
analysis them to link micro- and macro-
to the United States and to maintain the same systems, enhancing their atten-
sociological

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230 TEACHING SOCIOLOGY

tion to current events, and enhancing their Mayer, J. 1986. 'Teaching Critical Awareness in an
Introductory Course." Teaching Sociology 14:249-
critical intellectual faculties. In my opinion, 256.
these are some of the most important out- Mitchell, E. 1987. "What's Wrong with This Picture?"
comes that one might seek from a course on Rolling Stone (December 3):31-32.
social problems. Neubeck, KJ. 1986. Social Problems: A Critical Ap-
proach. 2nd ed. New York: Random House.
O'Connor, J. 1973. The Fiscal Crisis of the State. New
York: St. Martin's.
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Prendergast, C. 1986. "Cinema Sociology: Cultivating
the Sociological Imagination through Popular
Baker, PJ. 1986. 'The Helter-Skelter Relationship Films." be-
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Problems and Small Wins." Teaching Sociology Chicago: University of Chicago Press.
14:50-66. Smith, D.D. 1973. 'Teaching Introductory Sociology by
Burton, C.E. 1988. "Sociology and the Feature Film." Film." Teaching Sociology 1:48-61.
Teaching Sociology 16:263-271. . 1982. "Teaching Undergraduate Sociology
DeFronzo, J. 1982. "A Film-Augmented Course on through Feature Films." Teaching Sociology 10:98-
International Social Movements." Teaching Sociol- 101.
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Demerath, NJ. 1981. 'Through a Double-Crossed International Comparison of Geographic
Eye: Sociology and the Movies." Teaching Sociol- Knowledge." July 28:A4.
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Fails, E.V. 1988. "Teaching Sociological Theory
through Video: The Development of an Ex- Paula Dressel is Associate Professor of Sociology at
perimental Strategy." Teaching Sociology 16:256- Georgia State Universitywhere she teaches poverty and
262. welfare and gender stratification in addition to social
Feagin, J. 1986. SocialProblems:A CriticalPowerCon- problems. Her research focuses on the intersection of
flict Perspective. 2nd ed. Englewood Cliffs, NJ: these areas, including gender, race, and class in the
Prentice-Hall. production of poverty and social policy. Her publica-
Hannon, J.T., and S. Marullo. 1988. "Education fortions include The Service Trap: From Altruism to Dirty
Survival: Using Films to Teach War as a Social
Work and recent articles in SocialProblems, The Geron-
Problem." Teaching Sociology 16:245-255. tologist, and the Joural of Sociology and Social Welfare
Hitchens, C. 1988. "White Wash." American Film on welfare policies and social stratification. Address
13:62. correspondence to Paula Dressel, Department of
Marger, M.N. 1989. "Review of El Norte." Teaching Sociology, Georgia State University, Atlanta, GA
Sociology 17:121-122. 30303.

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