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 | Bien vu, bien dit: Intermediate French, 1st Edition
|
 | | Ann Williams, Metro State College of Denver
Carmen Grace, UNIV OF COLORADO-BOULDER
Christian Roche,
| | Softcover, 480 pages | | ©2008, ISBN-13 9780072897593 | | | Publisher's Retail Price:$93.75
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| | Bookstore's Wholesale Price:$75.00
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| | | Description |
This innovative film-based program is designed to motivate and inspire intermediate French students. Based on the French film Le Chemin du retour, Bien vu, bien dit is a completely integrated program for intermediate French.
Each chapter of Bien vu, bien dit, the textbook, is correlated to an episode of the film. The textbook prepares students for the film-viewing experience through the chapter vocabulary presentations and activities and through additional pre- and post-viewing activities. The vocabulary and grammar presentations, as well as the activities, recycle and expand on the dialogue and structures presented in the film. Pair and small-group activities enable students to talk about the characters in the story and their own lives. The cultural content of the film is also explored in cultural notes and readings in each chapter.
Le Chemin du retour, the film, is an engaging story about a young French journalist, Camille Leclair, and her pursuit of the truth about her grandfather’s past. Through Camille’s quest, students are introduced to many facets of today’s French and Francophone cultures, as well as to important historical events in France. They learn language in the functional context provided by the film, and concepts are reinforced by onscreen activities that help students verify their comprehension. The feature-length film (102 minutes) is divided into twelve episodes, and each episode includes onscreen pre- and post-viewing activities that make the film more accessible to students, on both a linguistic and cultural level. Episodes are approximately fifteen to twenty minutes in length and correspond to the chapters in the textbook. Three and a half hours of viewing allow intermediate students to explore the richness of French language and culture. By hearing French spoken with a variety of accents and at different speeds in the film, students will gain confidence in their ability to understood authentic, spoken French.
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| Table of Contents |
Chapitre 1 Les gens de Canal 7
Vocabulaire thématique
Les études et la vie professionnelle
Allons au cinéma
Structures pour communiquer
1.1 L’article
1.2 C’est ou Il est / Elle est?
Culture en images
Structures pour communiquer
1.4 L’adjectif
Culture
Le boulanger et l’amour du «travail bien fait» (Site Internet de Thierry Meunier)
Retournons au cinéma
Hors-champ
Chapitre 2 À chacun son secret
Vocabulaire thématique
La famille et les moments importants de la vie
Allons au cinéma
Structures pour communiquer
2.1 Le Verbe conjugué au présent
2.2 Les verbes pronominaux
Culture en images
Structures pour communiquer
2.3 Les emplois du présent
2.4 Constructions avec l’infinitif
Littérature
«L’Avare et son épouse» (Conte africain anonyme)
Retournons au cinéma
Hors-champ
Chapitre 3 Camille pose des questions
Vocabulaire thématique
La sphère publique et la sphère privée
Allons au cinéma
Structures pour communiquer
3.1 L’interrogation
3.2 L’adjectif et les pronoms interrogatifs
Culture en images
Structures pour communiquer
3.3 Le pronom interrogatif lequel
Culture
Jean Raymond: Tutoiements (extraits)
Retournons au cinéma
Hors-champ
Chapitre 4 Dans l’entourage de Camille
Vocabulaire thématique
Des activités pour s’amuser et des moments à partager
Allons au cinéma
Structures pour communiquer
4.1 Les pronoms objets directs et indirects
4.2 L’impératif
Culture en images
Structures pour communiquer
4.3 Tournures équivalentes à l’impératif
Littérature
Eugène Ionesco: Délire à deux (extrait)
Retournons au cinéma
Hors-champ
Chapitre 5 Des histoires de famille
Vocabulaire thématique
Des histoires personnelles et l’histoire collective
Allons au cinéma
Structures pour communiquer
5.1 Le passé composé avec avoir et être
5.2 L’imparfait
Culture en images
Structures pour communiquer
5.3 L’imparfait et le passé composé ensemble
Culture
Micheline Bood: Les Années doubles: journal d’une lycéenne sous l’Occupation (extraits)
Retournons au cinéma
Hors-champ
Chapitre 6 Les recherches s’organisent
Vocabulaire thématique
Pourquoi et comment voyager
Allons au cinéma
Structures pour communiquer
6.1 Les prépositions avec les noms géographiques
6.2 Les pronoms y et en et l’ordre des pronoms
Culture en images
Structures pour communiquer
6.3 Les adjectifs et les pronoms indéfinis
6.4 La négation
6.5 Les adverbes
Littérature
René Goscinny et Jean-Jacques Sempé: «Le départ » (Les Vacances du Petit Nicolas)
Retournons au cinéma
Hors-champ
Chapitre 7 Camille ne se décourage pas
Vocabulaire thématique
La cuisine traditionnelle et les repas modernes
Allons au cinéma
Structures pour communiquer
7.1 Les pronoms disjoints
7.2 Le comparatif
Culture en images
Structures pour communiquer
7.3 Le superlatif
Culture
Olivia Marsaud:«Les graines de la mémoire: le couscous, plait intemporel»T (compte-rendu d'un livre)
Retournons au cinéma
Hors-champ
Chapitre 8 Camille prend des risques
Vocabulaire thématique
La spécificité physique et Culturelle d’un pays
Allons au cinéma
Structures pour communiquer
8.1 Les pronoms relatifs définis qui, que, où et dont
8.2 Les pronoms relatifs indéfinis ce qui, ce que, ce dont et quoi
Culture en images
Structures pour communiquer
8.3 Le pronom relatif lequel
8.4 Le pronom relatif celui avec un pronom relatif défini
Littérature
Jean Arceneaux: «Je suis Cadien» (Suite du Loup) (extrait)
Retournons au cinéma
Hors-champ
Chapitre 9 On parle enfin à Camille
Vocabulaire thématique
Le héros en période de crise et le héros dans la vie quotidienne
Allons au cinéma
Structures pour communiquer
9.1 Le plus-que-parfait
9.2 L’infinitif présent
9.3 Le faire causatif
Culture en images
Structures pour communiquer
9.4 L’infinitif passé
9.5 Le participe présent et le gérondif
Culture
Lucie Aubrac: La Résistance expliquée à mes petits-enfants (extraits)
Retournons au cinéma
Hors-champ
Chapitre 10 Une piste méditerranéenne
Vocabulaire thématique
Les sociétés plurielles et la perception de l’autre
Allons au cinéma
Structures pour communiquer
10.1 Le futur simple
10.2 Le futur antérieur
10.3 Les conjonctions quand lorsque, aussitôt que, dès que, et après que
Culture en images
Structures pour communiquer
10.4 Le conditionnel présent
10.5 Les phrases avec si, Partie I
Littérature
Leïla Sebbar: Parle mon fils, parle à ta mère (extrait)
Retournons au cinéma
Hors-champ
Chapitre 11 Camille apprend la vérité
Vocabulaire thématique
Les technologies modernes et les questions de communication
Allons au cinéma
Structures pour communiquer
11.1 Le conditionnel passé
11.2 Les phrases avec si, Partie II
Culture en images
Structures pour communiquer
11.3 La voix passive
11.4 Le discours indirect
Culture
Modes de communication traditionnels et modernité au Maroc (interview)
Retournons au cinéma
Hors-champ
Chapitre 12 Nouveaux départs
Vocabulaire thématique
Réinventer le monde et se réinventer
Allons au cinéma
Structures pour communiquer
12.1 Le subjonctif
Culture en images
Structures pour communiquer
12.2 Le subjonctif par rapport à l’infinitif
12.3 Le subjonctif par rapport à l’indicatif
12.4 Le subjonctif passé
Littérature
Victor Hugo: «Demain, dès l’aube» (Les Contemplations)
Retournons au cinéma
Hors-champ
Lexique
Index
Credits
About the authors
|
 | New Features |
Vocabulaire thématique provides students with thematically grouped vocabulary useful for viewing and discussing the film episode. A wide variety of activities promotes vocabulary development and acquisition at the intermediate level, for instance, the Les nuances de mots activities, which focuses on subtle yet important differences in the meanings of words.
Allons au cinéma in the textbook and pre-viewing activities in the film prepare students to view and understand the film episode. Textbook activities review previous episodes and provide vocabulary and cultural information, as well as guiding students’ viewing with a question for them to focus on as they watch. Film activities prepare students to understand more challenging scenes, by giving them previews of those scenes, followed by multiple-choice questions. After viewing the film, students have many opportunities to review the plot developments of the episode and to discuss and analyze the film, both in the post-viewing activities of the film and in the textbook (Parlons de l’épisode).
In the grammar section, Structures pour communiquer, students review and expand upon their grammatical knowledge from the previous year. The activities, which move from form-focused to more open-ended, prepare students for communicative tasks in the culminating section, Prenons la parole.
Extensive and rich coverage of culture: In Culture en images students analyze images from the target cultures for cultural information. Still images from the film and photos based on the chapter theme are accompanied by captions that give students insight into their cultural importance. Marginal notes (Note culturelle) occurring throughout the book also provide a cultural context for selected activities to enable students to interact in a more meaningful way.
Engaging authentic readings: Cultural and literary readings are presented in alternating chapters. Each of the twelve readings is thematically related to the film, to the chapter theme, and to the Culture en images section. The cultural readings are taken from authentic French and Francophone sources, including texts on the German Occupation and the French Resistance. The literary texts range from poetry to excerpts from plays and novels, by writers such as Leïla Sebbar, Eugène Ionesco, and Cajun writer Jean Arceneaux. Comprehension and analytical questions accompany each reading.
In an optional second viewing section, Retournons au cinéma, students watch the film again, this time focusing on cinematographic aspects explained by the director David Murray (Le mot du réalisateur).
Final synthesis of each chapter’s new vocabulary and grammar occurs in the Hors- champ activities. This section is based on the backstories written by the screenwriter to help the actors in the film better understand their characters.
At the end of each chapter, À vous d’écrire refers students to the Workbook/Laboratory Manual for guided writing activities, whose topics are related to the chapter themes. In each chapter of the Workbook/Laboratory Manual, À vous d’écrire focuses students’ attention on a different type of writing (letter writing, narratives, for instance) or a useful writing strategy (such as effective proofreading, using a dictionary, organizing ideas).
The combined Workbook/Laboratory Manual provides extensive practice of the chapter's new vocabulary and grammar structures. All chapters provide practice in global listening comprehension, pronunciation, speaking, vocabulary, grammar, reading, writing, and culture.
The Quia™ Online Workbook/Laboratory Manual offers the same excellent practice material as the printed Workbook/Laboratory Manual, with many added advantages, such as a fully integrated audio program, immediate feedback and scoring for students, as well as an easy-to-use gradebook and class roster system for instructors.
Two versions of the film: The film is available in the Director’s Cut version, which is the full film, uninterrupted. The Instructional Version includes pre- and post-viewing activities for each episode and lasts for over three and a half hours. Students may also purchase the Instructional Version of the DVD to watch the film episodes independently.
Automatic feedback on additional activities for practicing new vocabulary and grammar is available to students on the Online Learning Center website.
Instructors will find the Instructor’s Manual/Testing Program, Audioscript, and Film Script in the Instructor Edition of the Online Learning Center website.
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