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Teaching for Visual Literacy: 50 Great Young Adult Films
Alan B. Teasley In any gathering of language arts teachers, reading specialists, and librarians, someone usually gets around to blaming students' lack of readingon their near-addiction to film and video. As English teachers who love bothbooks and movies, we argue that the problem is not quite so simple. We knowmany adults who are both avid readers and filmgoers; in fact, movies oftenmotivate us to read particular books or to find further information aboutsomething we've seen in a film.
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Ann WilderWe see a problem not so much with the quantity of films and videos thatstudents watch but with the passive nature of so much of their viewing and withthe quality of the films they choose to watch. Over the past eight years wehave been working with middle and high school students to become thoughtful,active viewers and to challenge ourselves to find ways to engage students inconversation about good films. We just don't believe that our students have tochoose between reading and viewing. They can, in fact, do both -- atsophisticated levels -- when teachers challenge them appropriately.
We believe that it's important to use films in language arts classes and to doso in ways that go beyond the "read-the-book-see-the-movie" patterns we observeso frequently. This pattern does disservice to both films and books,particularly when teachers portray reading the novel as the "hard work" andseeing the movie as a treat or reward. Even when the teacher engages thestudents in comparison/contrast analysis of the book and film, the teacheroften conveys the message, intentionally or unintentionally, that books areinherently better than movies.
We have developed strategies for teaching film that honor the art offilm for what it is, not what it isn't -- strategies that enable students tounderstand what films do, not just what films can't do. Sometimes we havetaught film terminology as a way of promoting "close reading" of film "texts."(Basic Film Terms: A Visual Dictionary, Pyramid Film & Video, Box1948, Santa Monica, CA 90406, is a good resource for this purpose.) Studentsthen analyze film clips, write film reviews, and study film genres such aswesterns and detective films.
When we study a whole film as part of a unit on a particular theme orhistorical period, we use an approach modeled after the "reader response"approaches to teaching literature. In this "viewer response" approach, teachersmove away from their more traditional role of being the source of all relevantinformation and the final judge on matters of interpretation to the role offacilitator, listener, clarifier, guide, and consensus-builder. In turn, thestudent's role changes from that of passive receiver of the teacher'sinterpretation to that of an active constructor of meaning who respects avariety of responses and interpretations.
To promote this more active role on the part of students, we design a viewingguide for each film we teach. We divide up the film into meaningful chunks --one long scene or several related scenes -- with an average length of 12-15minutes. As students view the film, we encourage them to jot down notes in twoboxes: one for interesting visual images and another for interesting sounds. Atthe end of each viewing chunk, we stop the video and give the students a fewminutes to record notes in the boxes and to consider a few open-ended questionsabout what they've just seen. We design these questions deliberately to have noabsolute right-or-wrong answers but to elicit students' feelings and opinionsabout events in the film. After a few minutes for reflection, the teacher opensthe floor for discussion with an open-ended question such as "What did younotice about this portion of the film?" Sometimes the students initiatediscussion of the questions; sometimes they surprise the teacher by noticingthings or having reactions that the teacher has not anticipated. In such casesthe teacher listens, clarifies, asks if other students have had similarreactions, and so forth. The teacher's goal is for the students to construct aninterpretation and support it with evidence from the film -- remembering that"evidence" in a film consists of actions, photography, motion, editing, soundeffects, and music as well as dialogue and narration.
Viewing and discussion of the film proceed over several class periods. When thefilm is completed, the teacher asks students to look back over all theirviewing guides and to notice any patterns that emerge. The teacher may alsogive the students a list of open-ended questions for the film as a whole. Theconcluding discussion provides an opportunity for students to deal with ideasand patterns in the entire film. Follow-up writing assignments can includewriting a review, analyzing the film as an example of a particular genre,explicating a particular theme in the film, or comparing some aspect of thefilm to another film or to a work of literature.
The viewer response approach works particularly well with films aboutadolescent issues. Recently we have been viewing a number of films in order toidentify a body of "young adult films" analogous to the YA novels used in ourlanguage arts classes -- films that students would enjoy and that would beappropriate for students to analyze and evaluate. As we have scoured videostores and perused reference lists and catalogs, we have developed thefollowing criteria for selection -- a definition, if you will, of "YAcinema."
1. The protagonist of the film is 10-19 years old. We have eliminatedsome excellent films with younger protagonists (Careful, He Might HearYou and Small Change) and other films with young people insubsidiary plots (Entre Nous). We want films that focus onadolescents.
2. Students are not as likely to have seen the film. We have notincluded such widely viewed films as Ferris Bueller's Day Off, StandBy Me, Dead Poets Society, or Dirty Dancing because studentshave usually seen these films multiple times. Even though these may beexcellent portrayals of adolescence, why spend limited class time on somethingthat students are already so familiar with?
3. The film deals with issues of concern to adolescents. We have lookedfor films that deal with questions of identity, belonging, friendship, comingof age, family relationships, and death. Typically we have not consideredhorror, fantasy, or martial arts films.
4. The film is "teachable," that is, artful enough to warrant class time orstudent study. We have excluded films with overly formulaic plots,schmaltzy narrations, or gratuitous sex and violence. We have asked ourselves,"Can you imagine using this film in class?" If the answer is "no," we haven'tincluded it.
(Note: The Motion Picture Association of American rating of the films has notautomatically been a consideration in our selection. Clearly, teachers shouldbe cautious in their use of PG-13 films with middle school students or ofR-rated films with any "under-17" audience. For each R-rated film on the listwe have weighed the benefits of using the film against the potential problems.We are concerned about students' right to view as well as their right not toview. We advise teachers to know their community, their students, and theirreasons for using a particular film -- and to obtain parental permission in anycases that might present problems. Our inclusion of a film on this listindicates we could imagine using these films in classrooms, and that they areworth teachers' consideration.)
5. The film is not an adaptation of a "classic" or of a widely read YAnovel. Because we want to encourage teachers to move away from the practiceof showing films of novels studied in class, we have deliberately excluded filmadaptations of the high school "canon." Hence, the list does not include ToKill a Mockingbird, Tex, A Separate Peace, I Know Why theCaged Bird Sings, or either version of Lord of the Flies.
6. As a group, the films present a wide variety of protagonists, settings,and issues. Since there were initially more films with white, middle-classboys, we have looked particularly for films that would give the list gender,ethnic, geographic, and historical diversity.
Information in parentheses includes the country of origin, director,year of release, MPAA rating ("NR" means "not rated"), and length. Theannotations give an indication of the plot, characters, setting, and theme.
Alan & Naomi (US, Sterling VanWagenen, 1991, PG, 95 min.). Alan is aJewish boy living in New York at the end of World War II. When Alan wouldrather be playing stick ball in the streets, his parents make him spend timewith Naomi, a French refugee girl whose experiences in Nazi-occupied Francehave left her catatonic. Alan and Naomi develop a friendship that helps herbegin to live and trust again. Great portrayal of the friendship between theboy and girl.
American Graffiti (US, George Lucas, 1973, PG, 112 min.). On the nightbefore high school graduates Steve and Curt are to leave for college, theyspend time with their friends John and Terry, riding around to varioushangouts, going to a school dance, meeting new girls, witnessing a drag race,and so forth. Set in 1962, this slice of life shows Steve and Curt examiningtheir priorities as they choose between home and college, between safety andthe unknown. The nonstop rock-and-roll soundtrack comments on the action.
Au Revoir les Enfants (France, Louis Malle, 1987, PG, 104 min.). DuringWorld War II, two French schoolboys in a Catholic boarding school becomefriends. The conflict arises when it becomes apparent that one of the boys is aJewish student who is being hidden in the school to protect him from theGermans. Noteworthy: the strong friendship between Jean and Julien and thecharacter of the priest who works to save Jewish children.
Boyz N the Hood (US, John Singleton, 1991, R, 122 min.). This criticallyacclaimed film by first-time director John Singleton (25 at the time he wroteand directed it!) tells the story of three friends growing up in South CentralLos Angeles: Doughboy, a drug dealer; his brother Ricky, bound for college on afootball scholarship; and Tre, the focal character, longing to make somethingof his life but not immune to his surroundings. Particularly moving is thestrong relationship between Tre and his father (appropriately named FuriousStyles). The film is often bleak and violent, but there is hope. The world ofthe film is undeniably real. (R rating is probably the result of the languageand violence.)
Breaking Away (US, Peter Yates, 1979, PG, 100 min.). "The Cutters," agroup of working-class recent high school graduates, find themselves at oddswith their families and with the college kids in their Indiana town. They entera bike race and learn to accept themselves as they "break away" from childhoodand from their underdog self-images.
Cinema Paradiso (Italy, Giuseppe Tornatore, 1989, NR, 123 min.).Salvatore, growing up in Sicily in the years following World War II, is drawnto the local theater, Cinema Paradiso. The projectionist, Alfredo, befriendsSalvatore, watches over him as he grows toward manhood, and encourages him toleave Sicily to become a filmmaker. The film is shown mostly in flashback withan adult Salvatore returning to his village after becoming a successfulfilmmaker. The last scene is a must for all lovers of film!
Clara's Heart (US, Robert Mulligan, 1988, PG-13, 108 min.). WhoopiGoldberg and Neil Patrick Harris star in this story of a young boy (around 12years old) whose infant sister has died, throwing the family into turmoil. Ashis parents go through a divorce, the boy confides in their Jamaicanhousekeeper.
Dark Horse (US, David Hemmings, 1992, PG, 95 min.). Fifteen-year-oldAllie has a difficult time coping with the death of her mother followed by thefamily's move from Los Angeles to a small town. She gets in with the wrongcrowd in her new school and eventually in trouble with the law. As part of herprobation she works weekends on a horse farm, where she meets Jet, awild-spirited horse who has been resistant to training. Girl and horse tameeach other in this film about overcoming loss and growing up.
December (US, Gabe Torres, 1991, PG, 92 min.). A group of prep schoolboys reacts to the news of the bombing of Pearl Harbor. This film takes placein less than one day as the boys decide whether they will stay at school orenlist to fight in the war. Secondary plot concerns a censorship issueinvolving How Johnny Got His Gun.
El Norte (US, Gregory Nava, 1983, R, 139 min.). This independentAmerican film tells the story of a teenage brother and sister who journey fromtheir native Guatemala through Mexico and (illegally) into the United States.Life in California is alien and confusing as they try to find work, learnEnglish, and avoid being deported.
Emerald Forest, The (US, John Boorman, 1985, R, 100 min.) An Americanbusinessman and his family live in Brazil while he works on a project thatinvolves cutting down part of a rain forest for development. One day his youngson disappears into the forest, kidnapped by a tribe of Indians known for their"invisibility." Ten years later, the father encounters his son, now completelyassimilated by the Indians. For the son, the father is the living manifestationof "Dadeh," a dream from his childhood. This is an excellent film to use in adiscussion of cultural differences or of the meaning of "civilization." (Rrating is the result of the natural nudity of the native people and a fewsexual situations.)
Empire of the Sun (US, Steven Spielberg, 1987, PG, 153 min.). JimGraham, an English boy, is separated from his parents in Shanghai, China, atthe beginning of World War II. Jim spends four years in an internment camp,where his time is divided between helping other British prisoners cope withdeprivation, and learning survival tips from fellow prisoner and Americancon-artist, Basie. Strong young male protagonist. This is a great film toteach! Visually it is skillfully done, and the story lends itself to good classdiscussion.
Europa, Europa (Germany, Agnieszka Holland, 1991, R, 115 min.). SolomonPerel is a teenage German Jew. When his sister is killed by Nazis in 1938, thefamily moves to Poland, beginning a series of incredible events for youngSolly. He escapes to Russia, living for a time in a Communist orphanage. He isrecaptured by the Nazis and eventually ends up in a training school for elitemembers of the Hitler Youth. Solly survives by keeping his Jewish identitysecret -- not an easy task in the environment of the school. This is acompelling story, made all the more so because it is true. (Rated R for nudityand anatomical subplot.)
400 Blows, The (France, François Truffaut, 1959, NR, 99 min.).Twelve-year-old Antoine Doinel (an alter ego for Truffaut featured in severalsubsequent films) is having a troubled adolescence: conflict with and betweenhis parents, boring and irrelevant teachers, and brushes with the law for pettycrimes. This enduring classic of the French New Wave would provide an excellentcontrast with more contemporary films about teenagers.
Gallipoli (Australia, Peter Weir, PG, 111 min.). Set in 1915. Two youngAustralian runners go from rivalry to friendship as they set off together tojoin the army to help Australia in its fight against the Turks at Gallipoli.The film has wonderful scenes of the Australian outback and gives a sense ofthe national pride of the Australian people.
Great Santini, The (US, Lewis John Carlino, 1979, PG, 116 min.). Basedon the novel by Pat Conroy, this film focuses on the conflict between adomineering Marine father and his 18-year-old son. Several scenes powerfullydepict the violence of this "dysfunctional" family. A secondary plot involves afriendship between the son and a simple-minded black man.
Gregory's Girl (Scotland, Bill Forsyth, 1981, NR, 87 min.). Gregory, agawky teenager, plays soccer on his school team. When Dorothy joins thepreviously all-boy team, Gregory falls in love for the first time. Gregory isan appealing character whose vulnerability will strike a chord in youngerteenagers.
Hoosiers (US, David Anspaugh, 1986, PG, 114 min.). A basketball coachwith a mysterious past arrives in a small town in Indiana to take over the highschool basketball team. His coaching techniques irritate the parents, but hissuccess with the team and with the individual players make this a heart-warmingfilm.
Hope and Glory (Great Britain, John Boorman, 1987, PG-13, 118 min.).Billy Rowan, an English boy, spends World War II in London during the Blitz,and through his eyes this film documents the lives of his family. His fatherClive dreams of fighting for England but instead becomes an army clerk. Hismother Grace holds her family together during the bombing. His sister Dawnfalls in love with a Canadian flyer. Another noteworthy character is Billy'sgrandfather who is simultaneously irascible and lovable.
Housekeeping (US, Bill Forsyth, 1988, PG, 112 min.). Two orphan sisterscome into the custody of their free-spirited aunt in the 1950s. Her lack ofresponsibility charms one of them and alienates the other. Themes presented:responsibility and family relationships.
Journey of Natty Gann, The (US, Jeremy Kagan, 1985, PG, 101 min.). In1935, teenager Natty Gann is separated from her father when he suddenly leavesChicago for a job in Washington state. When she runs afoul of the landlady,Natty sets out to find her father by "riding the rails" west. Along the way sheis befriended by a wolf and meets a variety of "down-and-out" drifters.
La Boum (France, Claude Pinoteau, 1980, NR, 100 min.). Whenthirteen-year-old Vic's family moves to a new town, her life is thrown intoupheaval. First she must figure out how to make friends in her newsurroundings, then how to navigate the "boums" (big weekend parties) given byher new friends. Meanwhile her parents are having problems of their own.
Lantern Hill (US, Kevin Sullivan, 1989, NR, 110 min.). Jane Stuart istwelve years old in 1935 when her mother's illness forces her to live with ahouseful of cold, snooty relatives in Toronto. Jane's misery is compounded whenthe father she has always believed dead sends for her to visit him at his homeon Prince Edward Island. Arriving in the small community, Jane discovers thather father is suspected of murder. She learns the truth and comes to understandher father, helped in part by a local woman with special powers.
Learning Tree, The (US, Gordon Parks, 1969, PG, 107 min.). Newt Winger,a fifteen-year-old black boy, comes of age during the 1920s in Kansas. In thecourse of this episodic film, based on Parks' autobiographical novel, Newtfalls in love for the first time, faces a bully, and struggles against theexpectations of the school system. During one scene, a white teacherdiscourages him from taking a college prep course of study because "Negroesgenerally don't go to college, and if they do, they usually end up as porters."In another scene, Newt has to decide whether to come forward with evidence in acontroversial trial. (Note: language contains racial epithets.)
Let Him Have It (Great Britain, Peter Medak, 1991, R, 115 min.). Set in1950's London, this film is based on a true story that was responsible forchanges in England's death penalty. Because 19-year-old Derek Bentley isslow-witted and a bit too trusting of his teenage friends, he gets involvedwith a group of thieves who model themselves on Hollywood gangsters. During oneburglary, his younger friend Chris pulls a gun on a policeman, who asks him tohand it over. Derek says, "Let him have it, Chris," and the boy shoots andkills the policeman. Derek faces trial for murder as an adult while Chris isremanded to juvenile court. The outcome of the trial turns on theinterpretation of Derek's statement: was he encouraging the murder, or tellingChris to hand over the gun? Although the film is slow-going in the beginning,the last part of the film (the trial and its aftermath) is riveting andprovides an excellent case study for debates on capital punishment.
Lucas (US, David Seltzer, 1986, PG-13, 100 min.). Lucas, a giftedfourteen-year old, is the high school nerd. When a new girl arrives in town,she and Lucas become friends. Lucas is devastated when she tries out forcheerleader and begins to ignore him for the more popular kids at school. Lucastries to get her attention by trying out for the football team. This film is asensitive look at the issues of popularity and belonging.
Man in the Moon, The (US, Robert Mulligan, 1991, PG-13, 99 min.). Twosisters, one fourteen and one eighteen, fall in love with the same neighbor boyin the summer of 1957 in rural North Carolina. During this summer they eachlearn about life, love, and death. This film shows a tightly-knit family with aparticularly strong and honest relationship between the younger sister and herfather.
My American Cousin (Canada, Sandy Wilson, 1985, PG, 94 min.). Feisty,twelve-year-old Sandy Wilcox complains that nothing ever happens on her ranchin Canada. All of that changes when Butch, her college-age American cousin,arrives for a visit in his Cadillac convertible. While Sandy enjoys Butch'sexploits, her parents are horrified by his influence on their daughter. Thefilm explores the themes of growing up, taking responsibility, and familyrelationships.
My Bodyguard (US, Tony Bill, 1980, PG, 96 min.). Clifford Peache is ahigh-school sophomore who has transferred to a new school. As the "new kid," helearns about rejection and teenage terrorism. In seeking a bodyguard, Cliffordlearns the dark truth about Ricky Linderman, an alleged "mass murderer." Cliffand his eccentric grandmother reach out to Ricky, and in accepting Ricky, Clifflearns about his own strength.
My Brilliant Career (Australia, Gillian Armstrong, 1979, G, 102 min.).Sybilla is a headstrong girl living in the late nineteenth century Australianoutback. She goes to live with her grandmother on a large ranch, but finds itdifficult to conform to the expectations of young ladies of the time. She getsinvolved with a dashing young man and eventually must choose between settlingdown with him and finding her own calling.
My Father's Glory/My Mother's Castle (France, Yves Robert, 1991, G/PG,110 min./98 min.). These two companion films, which take place inturn-of-the-century France, center on a bright young boy whose schoolteacherfather takes his family on holiday to a village in Provence. In My Father'sGlory, the boy falls in love with the countryside and never wants to leave,even when he must return home to prepare for national examinations. The sequel,My Mother's Castle, shows the family, which now spends every weekend atthe summer house, taking a short cut by trespassing through several neighboringestates in order to save hours of travel time. One of the estate ownersapprehends them and then befriends the family and treats them like his specialguests.
My Life as a Dog (Sweden, Lasse Hallström, 1987, NR, 101 min.). Arambunctious boy is sent to live with relatives in a small Swedish villageduring the 1950s. There he meets a lively cast of village characters in thissensitive, funny, and heartwarming film.
Nasty Girl, The (Das Schreckliche Mädchen) (Germany, MichaelVerhoeven, 1990, PG-13, 94 min.). Sonya Rosenberger narrates her life story,focusing on her attempt as a high school student to research and write an essayon "My Hometown During the Third Reich." At first, no one will talk to her orgive her access to any documents, forcing her to sue the town. It seems thatseveral upstanding citizens have not been honest about their actions regardingthe Nazis.
Ordinary People (US, Robert Redford, 1980, R, 123 min.). Based on thenovel by Judith Guest. Conrad Jarrett repeats his junior year in high schoolfollowing several months in a mental hospital, where he has been afterattempting suicide. With the help of a psychiatrist, Conrad comes to understandthe source of his depression and feelings of worthlessness. This is a powerfulfilm that won Academy Awards for Redford, Hutton, and Best Picture. (Rated Rfor adult language.)
Outside Chance of Maximilian Glick, The (Canada, Allan A. Goldstein,1988, G, 92 min.). Based on the novel by Morley Torgov. In the early 1960s, Maxfaces his fourteenth birthday (and bar mitzvah) as one of the few Jews in theremote Canadian town of Beausejour. Through a humorous yet believable series ofexperiences, Max learns important lessons about fitting in, being true tooneself, and becoming a man.
Pathfinder (Norway, Nils Gaup, 1988, NR, 88 min.). Set in Lappland inthe tenth or eleventh century, this film tells the story of Aigin, a young manwho witnesses his family's murder by marauding thieves. He tries to warn anearby village but is captured and forced to become the pathfinder for thethieves. This is truly a foreign film -- in time, in location, and in language(the only film ever made in Lapp!) -- but the story is a compelling one thatdemonstrates the sources of legends and the power of myth.
Power of One, The (US, John G. Avildsen, 1992, PG-13, 127 min.). Basedon the novel by Bryce Courtney, this film tells the story of P.K., an Englishboy born in South Africa in 1930. Orphaned at an early age, P.K. comes of agein a prison under the dual tutelage of an elderly German pianist and a blackboxing trainer. Because of stories told by the trainer, P.K. becomes somethingof a myth to the blacks -- the "rainmaker" who will unite the tribes and bringharmony. In 1948, as P.K. prepares to go to Oxford, he gets involved inresisting the implementation of apartheid.
Rambling Rose (US, Martha Coolidge, 1991, R, 112 min.). A boy growing upin Georgia in the mid 1930s learns about life and love when his family takes inRose, a girl with a big heart but with a zest for life and a knack for gettingin trouble. Through the eyes of this teenage narrator, the film shows thereactions of the family, particularly the father, as a straight-laced Southernfamily deals with this young woman whom they have come to love but who is aconstant embarrassment to them.
Running on Empty (US, Sidney Lumet, 1988, PG-13, 116 min.). High schoolsenior Danny is a talented pianist and wants to go to Julliard. However, helives with his parents and younger brother "underground" because his parentsare wanted by the FBI for a politically motivated bombing fifteen yearsearlier. Danny has grown to accept the necessity of moving from town to townand taking another identity on a moment's notice, but when he falls in lovewith a girl and decides to pursue his interest in music, he knows he will haveto choose between his desires and his family. The strong portrayal of theclosely-knit family is noteworthy. (Rated PG-13 for language.)
Samurai I (Japan, Hiroshi Inagaki, 1954, NR, 92 min.). In this, thefirst film of the Samurai trilogy, Takezo (later to become the famous samuraiMusashi Miyamoto) is young, wild, and foolish. Taken in hand by a Buddhistpriest who teaches him first discipline and then the way of the samurai, Takezobegins the training which eventually makes him one of the most respected men inmedieval Japan.
Sitting in Limbo (Canada, John N. Smith, 1986, PG, 95 min.). This filmdocuments the relationship of high school students Pat and Fabian, a blackcouple living in Montreal. Pat faces impending motherhood while Fabian dropsout of high school to find work. In the months the film covers, Pat and Fabianlearn a great deal about the reality of life as they cope with a shadylandlord, a tight budget, and adult responsibilities. The characters andsituations in this film are compelling.
Stand and Deliver (US, Ramon Mendenez, 1988, PG, 105 min.). A highschool teacher does the impossible when he takes a group of low-achievingHispanic high school students and prepares them for the Advanced Placement Testin calculus. A real can-do film!
Sugar Cane Alley (Martinique, Euzhan Palcy, 1983, NR, 100 min.).José is a bright young boy growing up in the cane fields in Martinique.His grandmother recognizes his gifts and is determined that he become educatedand leave Sugar Cane Alley and the hard life of the cane cutters. The specialrelationship between the grandmother and her young grandson is a highlight ofthis film.
This Is My Life (US, Nora Ephron, 1992, PG, 94 min.). Julie Kavner playssingle mom Dottie Ingels, a saleswoman at Bloomingdales who dreams of being astandup comic. As she begins to be successful at comedy, her daughters have togrow up without her. It's especially hard on Erica the fifteen-year old;ten-year-old Opal seems a bit more resilient. Funny and sentimental -- withlots of wry observations on growing up and on parent/child relationships.
28 Up (Great Britain, Michael Apted, 1985, NR, 136 min.). Thisdocumentary chronicles the lives of a group of English twenty-eight-year oldswho were first interviewed at age seven. Clips from interviews with the youngpeople at ages 7, 14, 21, and now at age 28 show a good insight into the levelsof English society and the paths these different individuals' lives havetaken.
Welcome Home, Roxy Carmichael (US, Jim Abrahams, 1990, PG-13, 98 min.).Roxy Carmichael left her small town in Ohio, her teenage boyfriend, and herbaby sixteen years before to go to Hollywood. Now she's coming home to a towncelebration in her honor. A high school girl, convinced that she is the babyRoxy left behind, prepares to meet her mother. This film presents aninteresting study in a teenager's need to belong.
Wild Hearts Can't Be Broken (US, Steve Miner, 1991, G, 89 min.). This isthe true story of Sonora Webster, the girl who rode the diving horses inAtlantic City in the 1930s. Sonora is a strong female protagonist, who persistsin achieving something significant when the adults in her life try todiscourage her.
World Apart, A (US, Chris Menges, 1988, PG, 135 min.). Molly Roth is awhite teenager living in Johannesburg, South Africa, in 1963. Her parents areactive in the black Africans' struggle for independence from Apartheid. Whenher father suddenly leaves to escape arrest and her mother risks her ownfreedom to continue the fight, Molly finds herself torn between love for andloyalty to her parents and her own need for security.
Year My Voice Broke, The (Australia, John Duigan, 1987, PG-13, 103min.). Set in New South Wales in 1962, this film tells the story of Danny andFreya, best friends since they were children. Now that they are in high school,Danny wants Freya to be his girlfriend, but she has become the town's "wildgirl" and is drawn to Trevor, a boy older and more experienced than Danny.Nevertheless, the two friends remain fiercely loyal to each other. Danny is asometimes pitiful but always appealing character; Freya is strong andwillful, but tender-hearted, particularly in her attention to her illgrandmother.
Alan B. Teasley is Director of Instructional Programs, Durham PublicSchools, in Durham, North Carolina, and a member of the ALAN Board ofDirectors. Ann Wilder is an English Teacher at Southern High School inDurham.
