SINKING YOUR TEETH INTO COMPOSITION: TEACHING ENGLISH USING "'QUARTIER DE LA MADELEINE. . by Benjamin Lyric Syn A.A., Community College of Denver, 2000 B.A., University of Colorado Denver, 2004 CTESOL, University of Colorado Denver. 2008 A thesis submitted to the University of Colorado Denver in partial fulfillment of the requirements for the degree of Masters of Arts English .._., 2011 © 2011 by Benjamin Lyric Syn All rights reserved. This thesis for the Masters of Arts degree by Benjamin Lyric Syn has been approved by _ Michelle Comstock Date Syn, Benjamin Lyric (M.A., Rhetoric and Teaching of Writing) Sinking Your Teeth into Composition: Teaching English Using "Quartier de Ia Madeleine" Thesis directed by Professor Michelle Comstock ABSTRACT To meet the diverse needs of composition students, Sinking Your Teeth into Composition: Teaching English Using "Quartier de Ia Madeleine" offers English teachers an additional resource to supplement lectures and textbooks. Vincenzo Natali's "Quartier de Ia Madeline," the 151 short film in the feature film Paris, je h t 'aime, offers insight into several composition fundamentals, which this guide will explain. First, this guide introduces "Quartier de Ia Madeleine" and explores its overall value in the composition classroom. Second, it investigates Emmanuel Benbihy's film assignment that created Paris, jet 'aime, and how Benbihy's assignment is akin to composition assignments. Third, by examining the organization and structure of "Quartier de Ia Madeleine," teachers can unpack how this construction parallels the introductions, bodies, and conclusions of students' papers. Forth, by looking at the Aristotelian, Toulmin, and Rogerian arguments in Natali's film, students can recognize these rhetorical devices and begin using them in their own writing. Fifth, this guide explains how the evolution of "Quartier de Ia Madeleine," through storyboard and behind-the-scenes featurette, offers insights into students' drafting, from revision to proofreading. English teachers are encouraged to use any or all of this work to supplement their composition instruction. This abstract accurately represents the content of the candidate's thesis. I recommend its publication. Signed Michelle Comstock DEDICATION Lesa and I fell in love over film. We met on the 1oth of October 2002. Lesa and I talked about movies we've seen. We chatted about screenplays we were writing. We sang songs to each other from Moulin Rouge (dir. Baz Luhrmann, 2001).1 Ever since that day, the cinema has been an essential aspect of our relationship. Even today, Friday is our date night and our favorite rendezvous is dinner and a movie. Since I began this thesis in 2009, it has sucked the life out of me~ however, like the vampire in "Quartier dele Madeleine" who saves the tourist from death, Lesa has saved me repeatedly. She is my dark angel who gave me the undead strength to go on. It is with all of this in mind that I dedicate this thesis to my wife for her undying support and understanding. 1 The actual Moulin Rouge ("Red Windmill") is located in the Pigalle quarter of Paris, so Paris itself has also been a fundamental aspect of our relationship since the very beginning ... ACKNOWLEDGEMENT I cannot express my gratitude enough to all of those at the University of Colorado Denver who have made this work possible. However, I want to ensure that I specifically thank Michelle Comstock, Susan Linville, Tiel Lundy, Vinnie Piturro, and Amy Vidali, as well as Justin Bain, Drew Bixby, Christy Brickle, Selena Dickey, Dori Koliha, Heather Lail, Sean McCandless, Julie Schenk, and Steve Weishample. As Isaac Newton offered, "If I have seen further, it is standing on the shoulders of giants." My friends, you are the reason that I have seen so far. TABLE OF CONTENTS CHAPTER 1. INTRODUCTION ..................................................................................... 1 Cinema & Students .............................................................................. 3 How We Write and How It Is Read ..................................................... 4 Background & Forecast ....................................................................... 7 2. ASSIGNMENTS ..................................................................................... 11 The Paris, je t'aime Assignment ....................................................... 11 Corrigan's Common Film Assignments ............................................ 14 The Movie Review .................................................................. 14 The Critical Essay .................................................................. 19 The Definition Essay .......................................................................... 22 3. ORGANIZATION & STRUCTURE ...................................................... 26 The Introduction ................................................................................. 28 The Body ............................................................................................ 36 The Conclusion .................................................................................. 39 4. MAKING AN ARGUMENT ................................................................... 44 Aristotelian Appeals .......................................................................... 44 Ethos ...................................................................................... 45 Pathos .................................................................................... 49 Logos ...................................................................................... 51 .. Vll The Toulmin Model ........................................................................... 54 Rogerian Argument ............................................................................ 57 5. THE EVOLUTION OF A WORK .......................................................... 61 Revision: To See It Again .................................................................. 61 Proofreading: Fixing Mistakes ........................................................... 66 WORKS CITED ........................................................................................................ 69 Vlll CHAPTER 1 INTRODUCTION Hello. My name is Benjamin Syn and, like you, I am a composition teacher. I have been teaching composition since 2008; however, my undergraduate degree is in psychology and film studies. I started out in psychology and followed this path for several years until one day I took the elective course "Introduction to Film." Of course I knew that I could get a degree analyzing literary texts, but never before did I realize I could get a degree analyzing a filmic text. In this class, my professor opened my eyes to the world of visual argument. After finishing my Bachelor of Arts degree, I began work on composition instruction and my Master's in Rhetoric and the Teaching of Writing. As Valerie Muller has shown, although students learn effectively through the written word and standard lecture, they are captivated by film (32). Furthermore, students comprehend ideas so much more fully when they learn a concept via a multimedia text such as a film. In this handbook, I am going to synthesize my knowledge of film with my expertise teaching English to create a . guide that will help you engage your students and more effectively teach composition. The work you are now reading, Sinking Your Teeth into Composition, is the teaching manual I wish I had years ago when I first started teaching. In this handbook, we will follow the philosophy of Alfred North Whitehead, who advocated in The Aims of Education "that educators should not teach too many 1 subjects, and what they do teach should be taught thoroughly" (qtd. in Buckland 126- 7). Unlike similar works that try to examine several different feature films in relation to varying aspects of English instruction, this guide embodies Whitehead's idea by focusing on one short film, "Quartier de la Madeleine," and applying it specifically to composition instruction. The use of film in the composition classroom is not a new concept. Dale Adams and Robert Kline advocated this idea in 1975. However, they offered some legitimate concerns of incorporating film into the classroom: feature films are often lengthy, short films are rare and those that do exist are often low quality, it used to be expensive to buy or rent film, it was a logistical nightmare to get a classroom into an environment capable of screening a film, and composition teachers often lack confidence in teaching a subject like film. Paris, je t'aime and this handbook can overcome these obstacles (although you will still need to find a multimedia classroom, but if you can offer a PowerPoint presentation, you can like Iy screen "Quartier de Ia Madeleine"). First, Paris je t'aime is only 120 minutes total, and of that, we are going to focus on "Quartier de Ia Madeleine," which at six minutes can easily fit into a class period. Second, the DVD or Blu-Ray for Paris, je t'aime is inexpensive and readily available to purchase at Amazon.com, rent at Netflix, or borrow from your local library. As for the lack confidence, come with me through the 2