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| Contents |
| Introduction |
In the last twenty years, the use of video in foreign language classrooms has become increasingly common. Students today are familiar with the medium, teachers are no longer apprehensive of its technical demands and publishers are more skilled in crafting educational materials. This assignment presents a detailed evaluation of International Business English Video (Jones 1993) and assesses its strengths and weaknesses according to current pedagogical principles and practice. The materials' effectiveness in achieving its stated aims will also be assessed (Robinson 1991:59-60).
The first part of the assignment identifies the video's aims, learners and language. The second part describes the three video genres and evaluates their treatment of visual and audio content. The third part outlines the material's lesson approach and skills development, while the fourth part focuses on the accompanying print materials. The assignment finishes with a brief conclusion.
| An overview of International Business English Video |
International Business English Video (IBEV) by Leo Jones (1993) consists of a one-hour video cassette and a Teacher's Guide, which includes photocopiable students' materials. It was conceived and produced as an audio-visual supplement to the business English course package of the same name (and author), consisting of a student's book, workbook, teacher's book and audio cassettes. The video component was not updated when the second edition, New International Business English (NIBE), came out in 1996. Although some visual items in the video (e.g. computers, clothing) are slightly dated, the topics, their treatment and the production values of the video remain fresh and effective. The use of IBEV with NIBE is the norm on which this assignment is based.
The stated aims of IBEV (appendix 1) reflect the video's primary function as an audio-visual complement to NIBE and as such, it is a means of bringing to life the business English and situations therein. In addition, IBEV should heighten learner awareness of the link between non-verbal and verbal communication and cultural (and multi-cultural) interaction. In class, use of the lesson materials should enhance the learners' abilities to comprehend and use English effectively in business situations. Central to the fulfilment of these aims is the notion that these materials should be approached flexibly by teacher and learner, and adapted to their needs and situation (Jones 1993:1; Stern 1983:45-50; Ellis 1989: 8).
As the title implies, IBEV presents topics, situations and individuals in the field of international business and is thus suited for teaching English for specific purposes (ESP). The teacher's notes suggest that it is appropriate for pre-experience students of business English as well as those already active in the world of business (Jones 1993: 1). Thus, IBEV belongs in a category of business English materials described by Robinson (1991:98) as differing little from those for general English courses.
Indications of the exact level for which IBEV has been conceived are vague. It is, however, suggested as appropriate preparation for several well-known exams (appendix 2), so one can conclude that it is best suited for learners above the level of the Cambridge First Certificate (Jones 1996: 6). To better accommodate the range of language ability and work experience such students might have, the Teacher's Guide provides recommendations and alternative procedures to lesson plans.
Although the language of IBEV is essentially British, with a variety of regional accents represented, a number of Americans and non-native speakers are featured as well. Thus, IBEV lives up to its name by providing learners with exposure to a diversity of English accents and speakers in the world of business today.
Standard English is spoken naturally, with false starts, phatic language and even an occasional solecism, reflecting the ideal that scripted and edited materials should present contextualized, non-academic language interaction (Tudor, I 1987:205-206). There is an abundance of supporting visual cues that should help learners without business experience to cope with this realistic approach (Acario undated:113-114).
Various levels of language formality are featured and their appropriacy is reinforced by the behaviour and dress of the characters. Similarly, the use of different registers is supported by relevant situations and characterisations (Lonergan 1984:45).
The topics and situations covered in IBEV feature the communication skills and human interactions of the contemporary business world. All but two sequences (1 and 6) feature cross-cultural communication as well. The treatment of basic communication acts (e.g. introductions, meeting and leave-taking, negotiation, description) parallels faithfully that of NIBE. The social use of English in business-related situations, an area that often receives only cursory attention in ESP materials, is given ample treatment here. The balance of genders in the video accurately reflects the modern world of business, with women featured in a variety of roles from leadership positions to secretaries. In terms of content and focus, these materials are an ideal introduction to the use of business English today.
| Video Sequences |
The IBEV video presents seven sequences, each relating to a business topic treated by one or more units in NIBE and representing a double lesson of approximately 180 minutes in length. Each sequence is a dramatised mini-story, documentary or interview (appendix 3). These genres are patterned on familiar television formats and exploit, for educational use, the viewing habits and expectations of the learners, while incorporating the advantages of tailor-made, educational materials. In each format, a different kind of viewing is emphasised and in the following section, the attributes of these are described.
The three dramatised sequences present and develop story-lines in a succession of short scenes. These draw on the talents of professional actors using carefully crafted scripts. Painstaking attention to lighting, make-up, blocking and sound effects results in an educational video with the production values and continuity one associates with television programmes and films.
Unlike entertainment however, which may or may not serve to educate, the dramatised segments bring alive the situations, characters and language in a manner that engages the students' imagination, while training their viewing habits. For instance, each dramatic segments begins with a wide shot that shows the setting and characters. As the dialogue develops, broad camera angles and facial shots ensure that the succession of utterances are supported by a visual awareness of who is saying what to whom.
Acknowledging the heightened role body language can play in comprehension (Willis, D 1983: 34, 36; Underwood 1989:96), the video makes salient certain visual cues. Raised eyebrows, for example, are used to signal turn-taking, or a quizzical look signals incredulousness (appendix 4). Likewise, sentence stress, intonation and voice intensity are at times slightly more explicit to ensure their import (Willis, J 1983a:36). Such exaggerations make the actors' performances seem overwrought to native speakers, whereas learners perceive them as guiding and contributing to their comprehension.
The two documentary sequences feature a digressive 'magazine' format in which authentic business people describe their companies, jobs and products. The primary approach to topic development is from general to specific, with the inclusion of periodic junctures and transitions to help learners consolidate understanding. Many segments begin with global shots that feature the item being described (with signs or logos in the background) and then pan in as the monologue develops. According to Acario (undated:114), such careful attention to setting the scene may heighten comprehension by helping learners predict the language used. According to Wills, J (1983a:32), such explicit visual support provides learners with practice in "interpreting and recognising visual clues as they are used in real life, to supplement rather than duplicate the message being conveyed". Adding further support for viewing orientation, brief musical accompaniments and sound effects signal segment beginnings, transitions and endings.
The documentaries are unscripted and the presenters speak naturally, without exaggeration or affectation (appendix 5). This kind of exposure to authentic language used in context, according to Sheerin (1982:122), makes the use of video particularly good for teaching ESP. Elements of the presenters' oral discourse, such as enumeration, clarification, digression and repetition enhance the comprehensibility of their presentations. In places where the density of discourse becomes challenging, for example, in the explanations of processes, the accompanying print materials feature plenty of graphic representations to assist learners and pre-teach the vocabulary used (Jones 1991: 67). Such support develops the skills learners will use outside the classroom and bolsters their sense of accomplishment and motivation (Stemplieski undated:10).
The documentary sequences provide learners with comprehension tasks involving a variety of speakers and topics. These then form a framework on which they are meant to base discussions of their jobs and experience.
Two sequences present non-scripted interviews with business professionals on the topics of Corporate Communication, and Travel and Hospitality. The interview sequences consist of a number of short segments, each devoted to one question or topic and featuring the responses of several interviewees. Thus, each segment in effect presents a wide variety of information on its topic.
The interviews take place in the individuals' offices and their demeanour, dress and language are professional yet casual. The visual focus, on upper body and head shots, shows how posture and facial expressions indicate attitudinal information such as mood, emotions and temperament (Willis, J 1983a:36; Lonergan 1984:43-44). These segments train learners to relate the visual and audio channels. For learners with business experience, seeing their counterparts expounding in English on topics they know firsthand gives these sequences heightened credibility.
| Lesson Approach |
The seven video sequences of IBEV were conceived as complements to the units of NIBE and can be used before, during or after the corresponding material in the course books. Each sequence parallels one of the NIBE's topic areas and treats much of its language in terms of structure and lexis, functions and notions. Even the illustrations and characters of the video are the same. IBEV can also be used as a complement to other business English materials or as stand-alone materials for an advanced business English class.
Conceived as classroom materials, IBEV makes no provision for self-access. One of its strengths - the manner and variety in which the lesson tasks engage learners with one another to bring alive the topics and language elements of the video - would be lost in self-access use. The comprehension component (while-viewing stages) might be suitable to the needs of self-access learners, but would need considerable adaptation. While the learners' materials are straightforward in terms of task orientation and might present little difficulty for a learner working alone, the language of instruction in the Teacher's Guide would be challenging for all but the most advanced. With the Teacher's Guide in hand, a self-access learner might simply read the tapescripts while viewing the sequences, thus compromising even more its underlying pedagogical and methodological bases. The creation of learner instructions and keys would remedy this.
To facilitate orientation in, and use of the video, the title and number of each sequence appears for about 15 seconds at the beginning of the sequence. For easy reference, sections of segments are numbered as well and these number appear when corresponding print materials or pause control (freeze frame) should be used. The segments of the dramatised sequences incorporate fade outs indicating places where the video can be stopped or paused to complete the accompanying lesson tasks. Such technical additions enhance the co-ordination of video segments and lesson materials.
According to Stempleski and Tomalin (1990: 3), the "combination of moving pictures and sound can present language more comprehensively than any other teaching medium". In exploiting this potential, the lessons in IBEV have been carefully staged to suit learner needs and limitations. The each lesson progresses through three stages: pre-viewing, while-viewing and post-viewing.
Each video sequence begins with a pre-viewing task presented in the accompanying print materials. It is designed to introduce the topic and setting and to facilitate the learners' access to the relevant discourse schemata and thus heighten their abilities of prediction (Abbott, Wingard 1981:61-62). As a means of introducing the individuals seen in the video segments, the pre-viewing stages of the dramatic and interview sequences furnish short background profiles and photos. The pre-viewing tasks of the two documentary sequences feature background information on the companies. Other pre-viewing tasks incorporate business documents (e.g. faxes, maps, statistic charts) to familiarise learners with the topic and vocabulary. Two pre-viewing tasks in the sequence on business meetings ask learners to choose the most appropriate seating arrangements from four illustrations, thus creating an awareness of the importance of hierarchy and proxemics (Willis J 1983:33-34). Almost all of these tasks engage learners in discussing what they are going to view.
Reflecting Lonergan's belief that video used for language-learning purposes should involve the learners actively in the viewing process, the while-viewing stages engage the learners in comprehension tasks (1984:6). These include marking statements true or false, transferring information, ordering items, attributing remarks to various speakers, and multiple-matching. Although such tasks might appear to test comprehension rather than teach it (Anderson, Lynch 1988: 66; Willis, J 1983b:51), they are actually used in a manner that builds the learners' awareness and encourages the adoption of comprehension strategies (Underwood 1989: 49). Most of the segments are short, a characteristic which encourages the retention of information in chunks. The tasks are designed to be completed by viewing the video segment two or more times. Such repeated viewing offers learners the opportunity to build their awareness while completing the tasks (MacWilliam 1986:134, Stempleski undated:11). The longer video segments (describing a manufacturing process, and the conclusion to a business meeting) would be ideal for note-taking, an important business skill. Unfortunately, this is not mentioned in the instructions.
Although the while-viewing stages feature a variety of task types, the majority are completed by gap-filling, usually necessitating one or two words. This has the advantage of minimising the learners' reading and writing load and frees them to concentrate on viewing (Lonergan (1984:11). Yet too much of the same thing renders the approach predictable and even tedious.
A number of while-viewing tasks incorporate the use of the video pause control to engage learners in prediction about what the speakers are going to say or what is likely to happen next. Similarly, a number of while-viewing tasks are meant to be viewed first without audio as a means of having the learners predict what is being said. Such techniques train awareness by encouraging a more active involvement in viewing.
The majority of post-viewing stages feature discussion questions that either serve to consolidate understanding of what has been viewed and prepare the learners for the following segment (by making predictions) or explore the topics by means of what Lonergan terms 'actual transfer', e.i. relating their personal knowledge and experience (1984:56). Importantly, these discussions provide an opportunity for learners to practice freely the structures and vocabulary on which the sequence is based. Several post-viewing tasks challenge the learners to summarise what they have seen, a task that necessitates conceiving and communicating in English.
Taking advantage of the learners' familiarity with the topic, situation, characters, each video sequence ends with more demanding post-viewing tasks, such as role plays, simulations, presentations. Several feature follow-up writing tasks as well.
The primary areas of skills development in IBEV are comprehension and speaking. Reading, and to a lesser extent, writing are developed as well. Many tasks integrate two or more of these skills.
While-viewing tasks, which make up the vast majority of IBEV's material, engage the learners in perceiving two channels of information simultaneously: visual and aural. The video's combination of these two is never too dense or at cross purposes, and presents the learners with comprehensible input (MacWilliam 1986:132; Krashen 1987:63). The material trains the learners' perceptions as well, by the use of the pause button, playing the video without sound and encouraging learners to utilise their L1 viewing strategies by activating their knowledge of topic, setting and genre. While most comprehension tasks focus on the identification of particulars, some concentrate on holistic viewing so that learners build up a broad understanding of how these two extremes complement each other.
Speaking is developed in several ways in the IBEV. Firstly, every classroom task involving the video necessitates spoken English, so that in working through the lesson materials the learners engage in using the structures and vocabulary of the focus area. The viewing tasks also necessitate spoken English for checking. These are all followed by discussion questions which, in purpose and sequence, provoke learners to explore orally the topics and bring alive the language structures and lexis they are studying.
A different kind of speaking is brought to the fore in the speaking activities ending most sequences. Although the author groups them all under the term 'role play', which would actually involve learners assuming the identity of characters in the video, all but one of these activities calls for the learners to 'play' themselves in a situation. Video is ideal for setting up the situation and conditions of such activities, since the learners are brought into the situation in a real-time sequence that makes vividly clear the kind of interaction they are to emulate (Lonergan 1984:39). Instructions and some guidance for these are provided in the teacher's and learners' materials.
Reading is a skill essential to the classroom use of IBEV's print component. Yet beyond this, the lessons incorporate a variety of supporting business documents such as letters, faxes, statistics, in-company directives, memos, advertisements, personal and company profiles, etc. Although inauthentic, in terms of formatting, style and use of logos, these documents resemble those of today's world of business. Moreover, the language is appropriate for the text type, register and level of formality. Thus, IBEV's business documents complement and contrast the language used in the video sequences.
The instructions accompanying the use of these documents indicate 'why' they should be read but not 'how'. This can leave teachers (and students) at a loss to understand how different reading tasks can be approached efficiently without any support. Although IBEV's treatment of reading does not feature the specialised treatment of a course book (Kennedy 1983:97), in terms of purpose, its incorporation of business documents into the lesson procedure does bear a close resemblance to the way business people approach their work-related reading.
The predominate comprehension task in IBEV is gap filling, which requires the students to formulate and write their answers. Insignificant as this may seem, it does involve the learner's ability to write in a particularly stressful situation. The 'follow-up' writing tasks found in the post-viewing sections of most sequences engage them in more realistic writing such as memos, faxes and letters. The students' photocopyable sections include examples of business writing to which they may refer. These transactional tasks represent a functional link in the video scenario, for example, writing a recommendation, a meeting report and its outcome, or the programme for a weekend's entertainment. Freer writing tasks tap the learners' experience and imagination, for instance, writing a description of their company. Several tasks call for functional writing such as drafting a scenario of a sequence or summary.
While the writing tasks in IBEV are varied and work successfully from the material provided, in most cases they call for little more than the learner's fabricating a product similar to what appears in the print material. None of the writing tasks warrants more than a cursory mention in the teachers notes, a shortcoming that leaves inexperienced teachers (and learners) at a distinct disadvantage.
On an basic level IBEV frequently encourages learners to utilise more than one skill in a sequence of tasks. For example, reading a document, viewing a segment and then discussing the two; or reading and discussing a document and viewing a segment followed by further discussion. The comprehension exercises of the while-viewing sections are typically followed by discussion tasks that effectively integrate listening and speaking.
Although such an approach does involve the use of several skills and may even bear some relation to work-related skills use, IBEV provides no carefully-designed activities that engage learners in an extended use of integration of skills.
| Print materials |
The video cassette is accompanied by a Teacher's Guide consisting of the lesson plans, teacher's notes, tapescripts (placed on the left page) and photocopiable learners' materials (placed on the right page). This verso-recto arrangement is ideal for teachers, who can see what the learners have before them and refer easily to the lesson plans (tapescripts, keys, staging, etc).
A seven page introduction in the Teacher's Guide explains the methodology, the video and print materials and how best to utilise them in the classroom. Terms useful for reference to the video (freeze frame, fadeouts, etc. sound divorced from vision) are defined and their pedagogical application briefly explained. The lesson instructions are brief yet adequately detailed and free of jargon associated with ELT, making them ideal for novices and teachers of other subjects. Also helpful is the mention of non-verbal communication in the tapescripts (appendix 4).
Each lesson begins with a short overview (entitled "synopsis") and a lesson plan ("suggested procedure"). The latter presents the lesson staging, detailing the steps and frequently, their underlying didactic significance. The inclusion of hints on alternatives and simplified procedures ensures that teachers will not be at a loss for ways to adapt the materials to their class needs.
The photocopiable students' materials are handsomely laid out with illustrations and clearly labelled tasks. The instructions for each section are brief and suited to the learners' language level. The gap-fill sections provide adequate room for the learners to fill in answers and most pages leave a generous left margin for notes and trouble-free photocopying. The photographs (black and white), used in the pre-viewing activities of each sequence, are grainy and render photocopies of lamentably low quality (appendix 6). These illustrations are simply inadequate to introduce what the learners see on the video.
| Conclusion |
The foregoing evaluation confirms that the IBEV is based on sound pedagogical principles and adheres to contemporary methodological practice. In topic and language focus, it presents material ideally suited for, but not limited to, INBE. The correlation of video and print materials is well-conceived and particularly effective in training learners in the relationship between visual cues and spoken English. Moreover, it provides learners with a variety of representative accents, situations and registers used in modern business communication. The lessons can be approached flexibly, according to the needs of learners, with plenty of helpful suggestions included in the Teacher's Guide.
Nevertheless, several areas do have weaknesses. For example, the majority of while-listening material features the same kind of gap-fill tasks. Note-taking, an essential business skill, is not called for at all. The superficial approach to reading and writing may be easily compensated for by experienced teachers. Inexperienced teachers and students are left at a disadvantage. In addition, there are few tasks that engage the learners in job-related use of integrated skills. Finally, better quality photos would render the photocopiable student materials more effective.
Aside from these shortcomings, IBEV is an effective means of teaching business English and importantly, serves to motivates learners.
| Bibliography |
| Appendices |
The aims of International Business English Video as stated on page one of the Teacher's Guide are:
New International Business English is recommended for the following exams:
| Karl: | That's right. Keeping product development on a local basis also makes it much easier for them to liaise with sales and with marketing. What underlies this proposal is an undervaluing of the contribution these local product development units have been making. I don't think that a central unit, wherever it is based, can be as effective. |
| Jenny: | Thank you Karl. Alan? |
| Alan: | Yes, well, um … I'm not entirely sure that I agree with what you're both saying … (Karl and Louise exchange surprised glances, as if to say 'What's Alan playing at?) |
| Jim Kennedy: | I think language is a problem … er … less from the matter of misunderstandings and so more because it tends to slow things down. I think if you're … er … conducting negotiations with a foreign client or a foreign collaborator, you can more or less double the time that you should expect to spend in review meetings. So it slows things down but it rarely leads to serious misunderstandings. |
| Janice José: | The person I deal with in Italy has learnt English recently and certainly his English is very good for the short period that he's been … er … learning the language, but obviously it's important to give them the time to express what they really mean and … um … to put their sentences together so that they're … we're both talking about the same things and we don't have … er … confusion. |
| John Wall: | I find it quite a challenge as well trying to communicate with … with people from a different culture. Quite often you can be … think you're talking the same language, you know, you've actually got the … the other people because their 'mind set' is … is somewhat different and even though, as I say, you're getting the words right, you're not actually getting the meaning across. |
| Paula Horwood: | Sometimes you think you … you haven't got you message across or you haven't understood them correctly, but you can usually get over that by going over the message a second time or asking them to fax-confirm or you'll fax and confirm what's been said. So you c … you can get over any problems with the language, you know, if you feel that … that something's amiss. |
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