Teaching English through Short Films: A Task-Based Approach with The Butterfly Circus

	Abstract This article explores how short films—specifically The Butterfly Circus (2009)—can be integrated into English Language Teaching (ELT) through a task-based learning approach that emphasizes both linguistic development and moral reflection. The paper proposes the TASK-E framework, a five-phase pedagogical model that guides instructors through pre-task preparation, focused viewing, discussion, ethical engagement, and creative extension. Drawing on established scholarship in task-based learning and moral education, this study demonstrates how the film can be used to foster language proficiency, critical thinking, and ethical sensitivity. The framework is especially suited for learners at various CEFR levels and promotes a classroom environment rich in interaction, reflection, and purposeful communication.
	Resumen Este artículo explora cómo los cortometrajes—en particular The Butterfly Circus (2009)—pueden integrarse en la enseñanza del inglés como lengua extranjera (EFL) mediante un enfoque basado en tareas que promueve tanto el desarrollo lingüístico como la reflexión moral. El artículo propone el marco TASK-E, un modelo pedagógico de cinco fases que guía a los docentes a través de la preparación previa a la tarea, la visualización guiada, la discusión, el compromiso ético y la extensión creativa. Basado en estudios sobre el aprendizaje por tareas y la educación moral, este trabajo demuestra cómo el cortometraje puede utilizarse para fomentar la competencia lingüística, el pensamiento crítico y la sensibilidad ética. El modelo se adapta a diversos niveles del MCER y promueve un entorno de aprendizaje interactivo, reflexivo y significativo.
	Resumo Este artigo analisa como os curta-metragens—em especial The Butterfly Circus (2009)—podem ser integrados ao ensino de inglês como língua estrangeira por meio de uma abordagem baseada em tarefas, com ênfase no desenvolvimento linguístico e na reflexão moral. O estudo propõe o modelo pedagógico TASK-E, composto por cinco fases que orientam os professores na preparação pré-tarefa, visualização dirigida, discussão, engajamento ético e extensão criativa. Apoiado por pesquisas sobre ensino baseado em tarefas e educação moral, o artigo mostra como o filme pode promover a proficiência linguística, o pensamento crítico e a sensibilidade ética. O modelo é adequado para diversos níveis do CEFR e incentiva um ambiente de aprendizagem interativo, reflexivo e com propósito.

Introduction

Short films can ring a full peal in the English Language Teaching (ELT) classroom, offering resonant educational benefits that extend beyond mere entertainment. They combine visual storytelling with authentic language input and emotional engagement, thereby enhancing learning outcomes in a wide range of communicative activities, including writing tasks, oral presentations, ethical group discussions, panel debates, and reflective journaling. Among these cinematic resources, The Butterfly Circus (2009) stands out as a constraining short film that not only immerses students in rich, natural language but also invites them to retrace in thought the journey of its characters and reflect on issues enshrined within the sphere of ethical concern.

Far from being a mere dazzlement for the senses, the film confronts learners with themes of resilience, transformation, and human dignity, which elevate it well above the level of rustic rabble. This experience encourages learners to engage in lofty moral reasoning while expanding their linguistic repertoire. Through a task-based instructional approach, The Butterfly Circus provides opportunities for students to develop critical language skills while grappling with content that is anything but devoid of emotional and philosophical depth.

Pre-Task Phase: Setting the Stage

The pre-task phase activates prior knowledge and prepares students for deeper comprehension. As emphasized by the Center for Excellence in Teaching and Learning at Virginia Tech (n.d.), “Activating prior knowledge helps students see the connections between previous learning and new instruction, builds on what students already know, provides a framework for learners to better understand new information, and gives instructors formative assessment information to adapt instruction.” To ascertain these benefits, teachers can begin by offering a short biography of Nick Vujicic, the actor who plays Will in the story, and by guiding learners through a ten-question comprehension task. This activity introduces key vocabulary and contextual information, lowering affective filters and fostering engagement with the story’s plot.

At this juncture, students may also be encouraged to predict the narrative based on film stills or a synopsis, employing a kind of cinematic rhabdomancy that invites them to interpret signs and foreshadow developments. As Ellis (2003) has noted, task-based learning activates learners’ existing schemata and fosters autonomy by promoting meaningful interaction with input—input which, in this case, takes the form of Vujicic’s biography and selected visual frames from the short film. The pre-task thus becomes a glass of a thousand hues through which students begin to view not only the linguistic content but also the moral complexity of the narrative. Will, a character endowed with resilience but initially devoid of hope, comes to represent themes of transformation and purpose. His story invites students to consider what it means to owe oneself to someone greater, to relinquish fear, and to take the flight toward one’s potential.

Task Phase: Watching and Engaging

During the task phase, it is advisable for students to watch the film and complete guided activities designed to promote both attention and comprehension. This is the moment to try to get the engine running—initiating critical engagement with the content through structured tasks. A 20-item true/false exercise, for instance, can help learners focus on plot details they might otherwise overlook, as well as observe language in use as characters interact naturally. According to Herron, Morris, Secules, and Curtis (1999), subtitled videos support the development of grammar and vocabulary comprehension in context, thereby enriching learners’ listening skills. This finding is especially relevant for beginner-level students (A1 or A2), whose linguistic competence is still flagged at foundational stages and who often deem complex input impossible to decode.

After viewing the short film, students may participate in group discussions structured around a set of 15 questions aligned with Bloom’s taxonomy. These questions progress from recall to evaluation and, ideally, allow learners to move on to the next level of proficiency by creating new interpretations or responses. As Anderson and Krathwohl (2001) argue, activities that engage all cognitive domains—from remembering to creating—enable learners to deepen their understanding and apply new knowledge meaningfully. In this phase, students are not simply passive viewers. Instead, they are kindled against shallow consumption of content, urged to think critically and ethically. The goal is to ensure that they are not scourging through surface-level answers or parroting back what they hear like a screech owl in a classroom void of reflection. Rather, they are expected to plunder the film’s thematic depth, sift through a plethora of options in interpretation, and stir ideas as if mixing insights in kneading bowls of thought. The film is no accursed piece of entertainment—it becomes an academic catalyst that stimulates moral insight and discussion that reaches far beyond the screen.

Post-Task Phase: Deepening the Impact

The post-task phase allows for student reflection and content consolidation. Since The Butterfly Circus (2009) is used as a central example, this stage offers students the opportunity to discuss the moral of the story—how adversity can be transformed into strength—and to relate it to their own personal or academic lives. Learners may write a personal response, compose a short essay, or even create a new act or scene for Will as a form of creative extension. Such tasks allow students to take advantage of their reprieve from structured viewing and guided comprehension, using this reflective moment to generate insights and deepen their engagement.

This phase is particularly critical for promoting higher-order thinking. By moving beyond basic comprehension to interpretation, evaluation, and creation, students internalize the target language—be it grammar structures or lexical items—that the teacher aims to exploit from the film. As Nunan (2004) asserts, effective task-based learning invites students to engage with language in meaningful contexts while encouraging the integration of ethical reflection and personal values. At this point, learners must not grumble against the complexity of the tasks but embrace the ordeal of thinking deeply, processing content that may hitherto have been passive or undeveloped. They are challenged to think stoutly, without shelving difficult ideas or postponing effort. Like victuals that nourish the body, these reflective activities nourish the intellect. When students are thunderstruck by the emotional resonance of the film, they are more likely to engage meaningfully. From such moments—whence emotional and cognitive learning intersect—true transformation in language learning and character development can arise.

To have learners cognitively interact with the moral dimensions behind the film, it is essential to consider Xie’s (2020) explanation: “morality is a set of standards evaluating right and wrong” that includes “prosocial motivations, prosocial behaviors, and adherence to norms” (p. 18). In the teachers’ conception of moral self-reflection, one’s students are prompted to assess their intentions and actions in relation to others, reflecting an “other-concern”, as mentioned by Xie (2020, pp. 18–19) that aligns with the core values enshrined in many contemporary educational goals. The aforementioned framework suggests that language instruction can move beyond functional outcomes to address deeper ethical growth. Task-based instruction, in particular, offers fertile ground for this type of development. By incorporating open-ended discussions, ethical dilemmas, problem-solving activities, and reflective writing, educators can foster not only linguistic dexterity but also moral awareness.

Ellis (2003) asserts that task-based learning places learners in communicative situations that mimic real life, allowing them to “use language authentically and meaningfully” (p. 9). This adamant emphasis on authenticity—unyielding and essential—contributes to a kind of boldness in student engagement. Likewise, Nunan (2004) argues that tasks should challenge learners cognitively and socially to cultivate both fluency and complexity. Anderson and Krathwohl (2001) emphasize instructional design that scaffolds learners through progressive levels of thinking, while Herron, Morris, Secules, and Curtis (1999) advocate for audiovisual input to deepen comprehension and provide meaningful contextualization.

Using films like The Butterfly Circus (2009), educators can craft morally charged tasks that help students reflect on their values, cultural expectations, and social behaviors. Such materials are not mere pedagogical plaster for filling gaps in curriculum—they offer an enduring framework that helps students explore ethical questions that date from heathen mythology to modern struggles with identity and dignity. The film’s themes—bondage of spirit, resilience in adversity, and personal transformation—are quite telling of the kind of moral depth that can be unlocked in the classroom. In this sense, the language classroom becomes not only a place for practicing grammar or vocabulary, but a dynamic arena for nurturing character and civic responsibility.

Sample Task Cycle: Activities Based on The Butterfly Circus

Pre-Task Activities:

• Short biography of Nick Vujicic and 10 comprehension questions.
• Prediction task based on film stills or synopsis.
• Vocabulary preview related to the film (e.g., struggle, transformation, resilience).

Task Activities:

• Watch The Butterfly Circus (approximately 20 minutes).
• Complete a 20-statement True/False activity about the film’s plot.
• Engage in group discussion using Bloom’s taxonomy-based questions (15 total, increasing in cognitive complexity).

Post-Task Activities:

• Personal reflection or essay on the film’s moral message.
• Creative writing task: invent a new act for Will in the circus.
• Class discussion: How can adversity be turned into strength?

Conclusion

Using short films like The Butterfly Circus in the ELT classroom fosters not only meaningful language use and peer collaboration but also a level-headed engagement with moral and emotional content. When approached with structured zeal through a task-based framework—including pre-task, task, and post-task phases—these films become far more than long-drawn-out listening exercises. They serve as dynamic tools that enable learners to develop linguistic accuracy, communicative competence, and cognitive flexibility. Although short in duration, such films are liable to provoke deep reflection and discussion, prompting learners to examine ethical dilemmas and personal values. In this context, teachers are not merely delivering language content; they are also positioned to render assistance in students’ broader personal development. Ultimately, The Butterfly Circus becomes a gateway not only to language acquisition but to purposeful and transformative learning experiences.

 

📚 References

Anderson, L. W., & Krathwohl, D. (2001). A taxonomy for learning, teaching, and assessing: A revision of Bloom's taxonomy of educational objectives. Longman.

Butterfly Circus, L. (Producer), Konzelman, J., & Konzelman, M. (Directors). (2009). The Butterfly Circus [Short film] [Motion Picture].

Center for Excellence in Teaching and Learning. (n.d.). Activating Prior Knowledge. Retrieved from Center for Excellence in Teaching and Learning by Virginia Tech: https://teaching.vt.edu/teachingresources/adjustinginstruction/priorknowledge.html#:~:text=Activating%20prior%20knowledge%20helps%20students,assessment%20information%20to%20adapt%20instruction.

Ellis, R. (2003). Task-based language learning and teaching. Oxoford, GB: Oxford University Press.

Herron, C., Morris, P., Secules, T., & Curtis, L. (1999). The effectiveness of using subtitled video to teach grammar. The Modern Language Journal, 83, 90–101.

Nunan, D. (2004). Task-based language teaching. Cambridge GB: Cambridge University Press.

Xie, M. Y. (2020, January). Moral Self-Reflection and Leaders' Vituous Behaviors. Retrieved from RUcore by Rutgers University, New Jersey: https://rucore.libraries.rutgers.edu/rutgers-lib/63338/PDF/1/#:~:text=behaviors-,Conception%20of%20Moral%20Self%2DReflection,behaviors%20in%20relation%20to%20morality.

For the teacher

5-minute read synopsis of The Butterfly Circus (2009):

During the Great Depression, a man named Will, born without arms or legs, is displayed as a sideshow attraction in a traveling carnival. He endures humiliation as spectators mock him, reinforcing his deep sense of worthlessness. One day, Mr. Mendez, the charismatic leader of The Butterfly Circus, visits the carnival and sees Will’s inner potential rather than his limitations. Unlike others, Mr. Mendez does not pity Will but instead challenges him to see himself differently. Intrigued, Will sneaks away and joins The Butterfly Circus, which features performers who have overcome great struggles to create breathtaking acts. However, Will initially struggles to find his place and believes he has nothing to contribute. Watching the other performers—such as a former convict who became a strongman and a once-paralyzed dancer—he starts to realize that transformation is possible. One day, while by a river, Will falls into the water. To his surprise, he discovers he can swim. This revelation becomes his breakthrough moment—he is not helpless. Inspired, he refines his skill and eventually becomes the circus’s newest star, inspiring audiences with his ability to overcome adversity. The film ends with the powerful message that struggles can be turned into strengths, and true transformation comes from within.

Pre-Task

Nick Vujicic Biography and Comprehension Questions

Instructions: Read the biography of Nick Vujicic below. Then, answer the questions that follow.

Nick Vujicic was born on December 4, 1982, in Melbourne, Australia, with a rare condition called tetra-amelia syndrome, meaning he was born without arms and legs. Despite facing bullying and struggles with self-worth in his childhood, he developed resilience and a positive outlook on life. Over time, he became a motivational speaker, author, and evangelist, inspiring millions around the world. Vujicic founded Life Without Limbs, an organization dedicated to helping people overcome obstacles. He has traveled to over 60 countries, giving speeches about faith, hope, and personal growth. His books, such as Life Without Limits and Unstoppable, encourage people to find strength in adversity. He is also a husband and father, proving that disabilities do not define a person’s potential. Through his speeches and personal experiences, he teaches the importance of perseverance, faith, and self-acceptance. Questions: a)    Where was Nick Vujicic born? b)    What condition was he born with? c)    What are some challenges he faced as a child? d)    What organization did he establish? e)    What is the purpose of Life Without Limbs? f)      How many countries has he traveled to for his speeches? g)    Name one book written by Nick Vujicic. h)    What are some of the key messages he shares? i)      What does his life teach about overcoming adversity? j)      How has Nick Vujicic inspired people worldwide?

 

Listening Comprehension Task

True/False Exercise: The Butterfly Circus

Instructions: Read the following statements about The Butterfly Circus and decide whether they are True (T) or False (F). If a statement is false, correct it.

a)    The Butterfly Circus is led by a man named Mr. Mendez.

b)    Will is introduced as a performer in the circus from the beginning.

c)    Will was born without arms and legs.

d)    The story takes place during the Great Depression.

e)    Will first meets Mr. Mendez at a job interview.

f)      Mr. Mendez tells Will he is an inspiration from the moment they meet.

g)    The Butterfly Circus only accepts people who are physically disabled.

h)    Will initially believes he has nothing special to offer the world.

i)      The performers in the circus all have unique and inspiring stories.

j)      Will learns to swim and discovers his ability to perform.

k)    The circus audience mocks Will when they first see him.

l)      Will proves himself by walking on prosthetic legs.

m)  Mr. Mendez encourages Will to see his potential rather than his limitations.

n)    The circus performers laugh at Will’s attempts to participate.

o)    The strongman in the circus teaches Will how to use his body effectively.

p)    Will’s breakthrough moment comes when he successfully jumps into a tank of water.

q)    The film suggests that struggles can turn into strengths.

r)     The Butterfly Circus is known for making fun of its performers.

s)    At the end of the film, Will becomes a main attraction in the circus.

t)      The film teaches a message of self-worth and transformation.

Answer Key: a)      T b)      F (He joins later.) c)       T d)      T e)      F (They meet at a traveling sideshow.) f)        F (Mr. Mendez encourages him but does not call him an inspiration at first.) g)      F (The circus includes people with different struggles, not just disabilities.) h)      T i)        T j)        T k)       F (They are amazed and inspired.) l)        F (He does not use prosthetic legs in the film.) m)     T n)      F (They support and encourage him.) o)      F (He learns by himself through perseverance.) p)      T q)      T r)       F (It celebrates uniqueness and transformation.) s)       T t)        T

Post-Task

Discussion Questions Based on Bloom’s Taxonomy

Instructions: Discuss the following questions in pairs or small groups. Think critically about the film and its deeper messages.

a)    Who is Mr. Mendez, and what role does he play in the story?

b)    What challenges does Will face at the beginning of the film?

c)    How does Will first react when Mr. Mendez invites him to the circus?

d)    What is unique about The Butterfly Circus compared to other traveling shows?

e)    Why do you think Mr. Mendez does not treat Will as helpless?

f)      What lesson does Will learn from the other performers in the circus?

g)    How does Will’s perception of himself change throughout the film?

h)    Can you think of a real-life example of someone overcoming adversity like Will?

i)      How could the film’s message be applied to everyday struggles?

j)      If you were in Will’s position, how would you have reacted to joining the circus?

k)    How does the film contrast the sideshow where Will was first displayed with The Butterfly Circus?

l)      What symbols or metaphors are used to convey transformation in the story?

m)  Do you agree with Mr. Mendez’s approach to helping Will? Why or why not?

n)    What do you think is the most powerful moment in the film, and why?

o)    Imagine The Butterfly Circus is expanding. What kind of act could Will add to inspire even more people?