An Inconvenient Superman: Davis Guggenheim's New Film Hijacks School Reform

[proud2BlibKansan]

Davis Guggenheim's 2010 film Waiting for Superman is a slick marketing piece full of half-truths and distortions. The film suggests the problems in education are the fault of teachers and teacher unions alone, and it asserts that the solution to those problems is a greater focus on top-down instruction driven by test scores. It rejects the inconvenient truth that our schools are being starved of funds and other necessary resources, and instead opts for an era of privatization and market-driven school change. Its focus effectively suppresses a more complex and nuanced discussion of what it might actually take to leave no child behind, such as a living wage, a full-employment economy, the de-militarization of our schools, and an education based on the democratic ideal that the fullest development of each is the condition for the full development of all. The film is positioned to become a leading voice in framing the debate on school reform, much like Guggenheim's An Inconvenient Truth did for the discussion of global warming, and that's heartbreaking.

I'm not categorically opposed to charter schools; they can and often do allow a group of creative and innovative teachers, parents, and communities to build schools that work for their kids and are free of the deadening bureaucracy of most districts. These schools can be catalysts for even larger changes. But there are really two main opposing positions in the "charter movement" -- it's not really a movement, by the way, but rather a diverse range of different projects. On one side are those who hope to use the charter option to operate effective small schools that are autonomous from districts. On the other side are the corporate powerhouses and the ideological opponents of all things public who see this as a chance to break the teacher's unions and to privatize education. Superman is a shill for the latter. Caring, thoughtful teachers are working hard in both types of schools. But their efforts are being framed and defined, even undermined, by powerful forces that have seized the mantle of "reform."

The film dismisses with a side comment the inconvenient truth that our schools are criminally underfunded. Money's not the answer, it glibly declares. Nor does it suggest that students would have better outcomes if their communities had jobs, health care, decent housing, and a living wage. Particularly dishonest is the fact that Guggenheim never mentions the tens of millions of dollars of private money that has poured into the Harlem Children's Zone, the model and superman we are relentlessly instructed to aspire to. Those funds create full family services and a state of the art school. In a sleight of hand, the film magically shifts focus, turning to "bad teaching" as the problem in the poor schools while ignoring these millions of dollars that make people clamor to get into the Promise Academy. As a friend of mine said, "Well, at least now we know what it costs."

It is so sad to see hundreds of families lined up at these essentially private schools with a public charter cover, praying to get in. Who wouldn't want to get in? Families are paraded in front of the cameras as they wait for an admission lottery in an auditorium where the winners' names are pulled from a hat and read aloud, while the losing families trudge out in tears with cameras looming in their faces.

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