Using fiction within the classroom

Many of the students had been initially sceptical but were all eventually positive about the use of fictional film in the classroom setting:

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“Initial scepticism but now [we] can see the relevance…It was a useful thing to do in the time [during SoLD]” (Group 1 Discussion notes)

From the literature, it was suggested that the students should be offered a choice of film titles and this proved to be appropriate because then the students had ‘ownership’ of that selection. The students were clear that there were both authentic and inauthentic elements to all of the dramatic representations shown, which could be anticipated in fictional stories. The students had been able to read summaries of the film choices before they made a selection. In the future, I would consider also playing the film trailers to assist in title selection.

One issue was whether the students could identify learning opportunities from within the materials used, so the films had to be grounded in some realism. I had factored in checking out all of these issues within the planning for these sessions. Whilst levels of realism within the fictional accounts might have been the initial concern, the data showed that relevance to learning experiences and resonance to clinical experiences were of greater importance. The students recognised the differences between the fictional films and their real experiences and enjoyed debating the contrasts, demonstrating that the trigger was effective in stimulating discussion. When the dramatic portrayal had appeared to be authentic, this had resulted in a discussion that compared the examples from within the drama to their own experiences. Nevertheless where the fictional presentations were not regarded as authentic because that part of the drama had appeared to be ‘unrealistic’ the discussion was equally vibrant because this provided a platform from which the students could contrast these elements of the stories with their real working experiences. Thus the sheer contrast proved effective as a point of debate.

Significant learning centred on discussing the plotlines, characters and their personal stories. These discussions included trying to unpack the issues, many of which were highly transferable to their practice. This affirmed that the fictional film triggers were useful and revealed how variable that impact could be depending on the nature of the stories. This could be reflected on in the light of literature that

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had indicated the extraordinary range of various fictional film that could be used. This range included animation, blockbusters and science fiction. It is debateable whether some of the titles, particularly animations, may at first appear to be less appropriate to use within the context of professional education. However many Disney films contain moral fables and have been successfully used in educational contexts, although this has been predominantly in compulsory education

(www.teachingwithmovies.org).

Many of the issues emerging within the fictional film stories were built upon powerful archetypes, some of which can be traced to deep roots within the human psyche like inner thoughts, feelings and motivations, so the narratives were highly resonant with the students’ lived experience. Humans are ‘taught’ through stories from early childhood and become familiar with this approach. The story as representation of social and cultural mores is relevant in informal and formal educational settings. Archetypes are elemental and universal ideas related to human experience are recognised in both image and emotion (Alexander, et al. 2012). The impact of fictional film can be considered within a context that recognises the significance of storytelling, presented in an optimal visually attractive and immediately engaging format.

Moral principles can be shared through the telling of myths and fables

(Bettelheim, 1976; Warner, 1994), wherein characters can be constructed upon fundamental archetypes. These archetypes can connect with the collective consciousness of dominant imagery and themes. The findings of this research show that fictional films are an appropriate genre for exploring archetypal themes, due to the three dimensional imagery, with the capacity to appeal to multiple senses synchronously. The film viewing appealed to several senses at once, particularly sight and sound, but also the interplay between them. This collectively created a more emotive learning experience. The students were focused and engaged with the learning in a way that exceeded previous experiences of EBL using a variety of alternative triggers, which I noted as I taught both groups on several other modules throughout their course:

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“I offer the students the option of a comfort break 1 hour into the viewing, which they decline. They all want to carry on watching the film. This is also unusual- SOLD sessions usually have ‘natural’ rest periods built into them after each hour. The students are ‘gripped’ by what they are watching, they want to know how this story ends. This is the first time that I have seen such focus amongst all members of the group all at the same time” (Observation Notes, Group 2).

The dynamic nature of film appeared to contribute to these experiences. The students described feelings of empathy and connections towards some of the fictional characters, which energised the consequent discussions. Even though the students were very clear that the representations were fictional, they often described caring about what happened to some of the characters.

In this way the narrative, real or fictional, can be transformative as it reaches into a deeper level of consciousness (Green, 2004). This phenomenon perhaps helps to explain the impact on student learning. Therefore many of the issues within stories are transferable, translatable and transformational, meaning that they can be generalised from, compared and contrasted. The learning inherent within stories can bring challenge and change to those who encounter them.

Archetypes represent typical examples of human qualities and commonplace experiences. The ‘magic’ of the archetype presented within fictional film involves the communication of hidden knowledge otherwise unknown, facets of which can be seen within the roles of the performers. Some of the context, inner dialogues and history can be explicit in a way that is unachievable in reality. This potential completeness of storytelling is capitalised on by film makers for dramatic effect. This creative mode of delivery and technology arguably felt more comfortable, contributing to it being appropriate in this particular context where the material needed to be particularly engaging. As suggested by Alexander:

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“By portraying the realized and shadow aspects of archetypes, movies and of course literature help us reflect upon and learn from the successes and mistakes of the characters (Alexander, 2012, p.18).

The findings within this research reinforced the proposal that fictional film representations do not necessarily have to be realistic. Indeed the extremes of plot, story and character portrayed for dramatic effect can still lead to important and memorable learning. Both groups were intrigued by the development of some of the characters and the changes of the direction of their stories. Within the films that the groups had watched they were able to follow the plots and consider how some lives had progressed, some had struggled, others had stalled. Showing the complete films was helpful to facilitating reflection on complete stories.

Group 1 had been particularly interested in one character, an experienced nurse who was portrayed as having a problematic personal life, facets of which they knew would constitute a breach of the NMC Code (NMC, 2015). There had been scenes of drug taking and infidelity in the Doctors’ residences, as well as verbal conflict displayed within her ward, all of which called her professionalism into question. Later this nurse seemed to be attempting to recreate her senior status whilst in a temporary role when returning to practice as an Agency nurse, which the group felt would not be appropriate. The students were aware of many issues connected to the use of Agency staff in terms of contracted staff not generally feeling well supported by these temporary workers, whose partial contribution could leave them feeling resentful. However some of the students had witnessed examples of role conflict within real practice where team working within and beyond professional groups had ‘broken down’ and this had stimulated impassioned ethical debate regarding attitudes displayed at work.

These similar examples from real practice were discussed at length and in detail, a process which felt cathartic and diffused frustration with a healthcare system that did not always appear to be coping well under pressure. This was later reflected on by the first group in terms of their awareness that the professional

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nursing regulator (NMC) had indeed cautioned some Registered Nurses regarding professional misconduct, including breaches of confidentiality. The students had reflected on the use of recording equipment in a clinical area, which this character engaged in as she had become a journalist as well as continuing to practice. This was presented as unusual within the ‘Bodies’ series but had also happened in reality. The real case of Margaret Haywood

(http://news.bbc.co.uk/1/hi/england/sussex/8002559.stm) had been legally as well as professionally challenging, and was deemed a serious breach of confidentiality, leading to the nurse being stuck off the NMC register. This was one of many discussions where the fictional accounts had led to comparisons with real cases and the consequent discussion was energised. Even more

significant this debate was well remembered and revisited in later EBL, extending the impression of significant impact. The news regarding a local healthcare

scandal involving the abusive behaviour of paid carers at Winterbourne View (Department of Health, 2012) was contemporary and it was timely to carefully reflect on implications for accountability, responsibilities, ‘whistle-blowing’ and standards of ethical practice (NMC, 2010).