Social Inequality and Film

Sociology 350-010-04S

Tuesdays 2:00-5:00 and Thursdays 2:00-3:15 in Kirkbride, Room 005.

Elizabeth Higginbotham
Department of Sociology, Smith Room 316
Office Hours: Tuesdays and Thursday from 11:00-12:00 and by appointment

Teaching Assistant:  Manuel Torres, 25 Amstel, 831-4420 Office Hours:

Instructor Information

As a sociologist, I am very interested in issues of social inequality. Much of my own research explores educational and  employment issues for women.  While many scholars look at the development of social attitudes through education and direct contact, increasingly many people develop attitudes about their own group and other groups from the media.  Films, in particular, are very powerful in influencing how we think about ourselves and the social world we live in.  This course is an opportunity to explore social stratification and the messages we receive about race, gender, social class, and sexuality through films.


Course Prerequisites
A social science background is a prerequisite for this course.  The course explores issues of social class, gender, race and sexuality from a sociological perspective while it focuses on representations in film.
Course Description

We watch movies all the time.  Technology enables people to enjoy the products of major motion picture studios and independent film makers in their home whenever they desire.  These films are important in shaping our understanding of history and contemporary social issues, including representations of different racial and ethnic groups, men and women, social class divisions, and sexuality.  This course is an opportunity to learn a sociological framework for examining key dimensions of social inequality and how they are presented in Hollywood and independent films.  You will employ these dimensions to think about your own life.  Films are a means to both illuminate key social issues and themes, as well as understand the logic of representations.  We can contrast the empirical research and autobiographical treatments that explore inequalities with the representations presented in films.  While there are sociological understandings of race, films also shape our thinking about racial groups and the meaning of group membership.  Media also influence our understandings of gender, sexuality, social class divisions, social mobility, and other issues in social stratification.  We will look at films with an eye on the depiction of these issues.  We can also think about the impact of such films on our own thinking about our social location and expectations.

A goal of the course is to help you develop an understanding and a language for the dimensions of social stratification.  In the end, you will be more aware of the role of these dimensions in your own life and how these inequalities might be depicted in popular culture. We will also explore the history of U.S. film making with attention to changes in representations. Groups with power are able to shape representations of themselves and others, but these representations do respond to changes in national ideologies that relate to gender, race, social class, and sexuality.  Therefore a film produced in the 1950s will have different sensibilities about race, gender, social class and sexuality than one made in the 1990s.  We can think critically about the language of film and the messages with regard to social issues. We will also pay attention to film genres, character development, and subtext in films.

There are several books required for the class and other readings on reserve.

Dalton Conley, Honky (2000) Vintage
bell hooks, Where We Stand: Class Matters  (2000) Routledge
Walter Mosley, Devil in a Blue Dress  (1990) Washington Square Press
Hernan Vera and Andrew Gordon, Screen Saviors: Hollywood Fictions of Whiteness (2003) Rowman and Littlefield
Lynn Weber, Understanding Race, Class, Gender, and Sexuality  (2000), McGraw Hill

Readings on Reserve:
Lorraine Delia Kenny, "Doing My Homework: The Autoethnography of a White Teenage Girl." Pp. 111-133 in  Racing Research, Researching Race: Methodological Dilemma in Critical Race Studies, edited by France Winddance Twine and Jonathan Warren  (2000), New York University Press

Course Policies

As a class participant you are expected to attend class and the film screenings.  Even if you have seen a film before, it is important to watch it in class on the big screen.  Regular attendance is essential for your learning and success of the class. Attendance will be taken and unexcused absences will result in a lower grade.  After two absences, a medical excuse is required, otherwise a student will lose grade points.  You should also be prepared by doing the reading and writing assignments.  The syllabus indicates some issues for discussion, but you are also free to bring up other matters that the readings and films suggest to you.  Active participation in class sessions is encouraged. You are expected to speak thoughtfully and listen to other class members.  Written assignments are due on time. Students will lose points for assignments that are over one week late.  Students are expected to adhere to university policy on honesty.

When you work with your genre/theme groups, you should be a responsible participant, doing your fair share, meeting group deadlines, and also listening respectfully to other group members.

The instructor and teaching assistant will communicate with the class via e-mail, so if you do not use the udel system, please make sure you forward your udel messages to your server.

Ground Rules for Participation


Grading, Evaluation Policies and Procedures

You will have four types of assignments during the course.  Reaction papers, an educational autobiography, a mid-term examination, and coming of age treatment for your own film or if you prefer a short paper on a film genre.  You have to complete the work for the class to get a grade.

Reaction papers:  During the course of the semester you have to write five reaction papers to a film or a pair or set of films.  A reaction paper is not a summary of the film, instead it is a commentary on issues and representations in the film.  What type of film is this movie?  How does the director use the genre to tell a story?  How is the narrative shaped to explore themes and issues?  How does he/she develop the characters?  Which characters are multi-dimensional and which are flat?  Why these choices?  Write about what is happening in the film.  How is conflict produced, developed and resolved?  What is the film saying about social life?  The goal here is for you to think about the nature of representations, the messages in the film, the way this film is commenting on important events or relationships.  You can also explore the film production and how that is related to the telling of the story or stories in the film. For example, many films address social mobility but they do so in different ways as some might be hopeful, while others might depict the obstacles and despair for people in the working class.  How does this filmmaker use the various tools to depict issues and what is your response to this presentation.

In your reaction papers you need to push for a detailed analysis of the treatment of class, race, gender and sexuality in the film/films under consideration.  Can you recognize some of the conventions and themes  identified by Hernan Vera and Andrew Gordon?  You can focus on a single film, but you can also contrast films. For example you might want to contrast “In This Our Life” and “Devil in a Blue Dress,” since they are both films about the era prior to the Civil Rights movement, but they are made at different times.  How can people in the 1990s look back on the 1940s and tell another story?  How do they differ in their point of view, focus on subjects, and/or treatment of race, social class, gender and/or sexuality?

There are suggestions for questions to help guide your assignments in the syllabus, but you can also introduce new themes.  The papers should be 3-4 pages.  You will get points for the depth of discussion and observations.  These reaction papers can help you think about your educational autobiography and your coming of age treatment.  Each paper can earn 5 points, the maximum you can earn in this category is 25 points.  Deadlines: You need to turn in two reaction papers by March 16; two more by April 13; and the final one by May 18.

Midterm Examination on March 11.  This in class examination covers the sociological content of the course, meaning the readings until March 9, and the films.  There are short answers, identifications, and essays.  You can earn a maximum of 25 points on this examination.  You need to understand the key sociological concepts, how they are used in the field and key issues about film representations.  You will need to talk about the links between the films and the concepts in at least two of the short essays questions.

Educational autobiography  In the course we are reading two memoirs, where writers critically examine their own lives.  In her text, Lynn Weber talks frankly about the development of her own social awareness. These scholars were aware of their own social location and what it meant in different environments. These texts are models for your own examination of your social location.  You are to write about your awareness and understanding of your social location as you moved through your educational career.  This educational autobiography reflects on your school experiences and your learning about self and others.  The readings are important in helping you grasp the balance between "the story," that is the description of your experience, and your sociological analysis that makes your educational autobiography critical.

What were the specifics about your educational history from pre-school, elementary, junior high or middle school, high school and college?  How did your gender, social class, and race related to access to educational settings and what did you learn about yourself and others in these settings?  To link the personal with the historical moment review the educational time line in Weber, especially pp. 37-38, to see if macro processes played a role in your schooling options and the choices you and your parents made. Where did you attend school?  Did you leave your neighborhood for schools?  Why?  Were schools important sites for learning about social class, race, gender, and/or sexuality for you?  You have to address race, ethnicity, social class, gender, sexuality, religion, language, and any other critical dimension you think is important.  Even if there was little explicit attention to these dimensions, the readings and films can help you think about new questions.  Be sure to address both privilege and disadvantages in these educational settings. Like Weber and hooks, think about the influences on your development, including your expectations and understanding of your own life. You might think about influences other than school, like family and the media.  (20 points). Due Thursday, April 1.

Coming of Age Treatment:  To give you an opportunity to integrate your learning about film with a sociological analysis of social inequalities and to further your own self reflection on these matters, you are to write a treatment for your own coming of age film. This assignment is very open and you can develop a narrative and style that you want, but must deal with critical dimension of inequality: race, ethnicity, social class, gender, sexuality, and religion, language, or any other dimension you think is important.  Final product should be 8-10 pages and is worth 25 points. Due Tuesday, May 13.
Genre/Theme ReportFilms take many forms, but we can often separate them into a theme, movie type or genre.  You are to explore  three or four films of the same genre with the goal of examining how this genre addresses issues of inequality.  If you want, you can also use this assignment as an opportunity to glance at the scholarship on film.   Final product should be 8-10 pages and is worth 25 points.  Due Tuesday, May 13.

Evaluation Summary
Reaction Papers 
Two papers by March 16, April 13, and final one by May 18
5% each for a total of 25%
Mid-term Examination 
March 18
Study Guide
Educational Autobiography 
April 1
Coming of Age Treatment  or Genre Report
May 13
Class Participation 5%


February 10
Overview of the course, discussion of syllabus, and small group exercise.  This course explores a social system approach to inequality.
Issues for Class Discussion:  Why look at films?  What is popular culture?  What does it have to do with social inequality?  What do films teach us about being men and women?
Film: “The Celluloid Closet” (1995), documentary film directed by Bob Epstein and Jeffrey Friedman (102 minutes).  Morris Library VHS 5543.

February 12
Dimensions of Social Inequality and Media Representations
Readings: Lynn Weber, Understanding Race, Class, Gender, and Sexuality, Introduction and Chapter 1, pp. 1-30 and Hernan Vera and Andrew Gordon, Screen Saviors: Hollywood Fictions of Whiteness, Foreword by Joe Feagin, Introduction and Chapter 1, pp. vii-14.
In our nation the nature and degree of  social inequality is contested, meaning that some people recognize it as problematic, while others accept it presence as nature.  We will be building a framework for an intersectional analysis of inequality.  We will also be looking at the role of films in the process of understanding inequality or masking that inequality as nature.
Issues for Class Discussion:  What do you learn from films about the value of people of different races, genders, and social class positions?  How might films shape our personal expectations of our futures?
Assignment # 1:  Reflection on Favorite Films due.

February 17
The Legacy of Social Inequality in the U.S.
Readings: Lynn Weber, Understanding Race, Class, Gender, and Sexuality, Chapters 2 and 3, pp. 31-72 and Hernan Vera and Andrew Gordon, Screen Saviors: Hollywood Fictions of Whiteness, Chapter 2, pp. 15-32.  How are race, gender, and social class categories addressed in films?  What are the messages that they teach about appropriate behavior?
Film: “In This Our Life” (1942), feature film directed by John Huston (97 minutes).  Morris Library VHS 3095.

February 19
Understanding the Changes in the Racial Order in the Post World War II Era
Readings: Lynn Weber,  Understanding Race, Class, Gender, and Sexuality, Chapters 4-5, pp. 73-109 and begin Walter Mosley, Devil in a Blue Dress.

Possible Issues for Reaction Papers:  How do Vera and Gordon's comments help you think about the dynamics found in "In This Our Life”?  What are key conflicts?  What are the dynamics between men and women?  What are the dynamics between White and Black people?  What are the dynamics between social classes or the wealthy and the dependent?  What is resolved in the film?

February 24
Documenting Racial Borders and Barriers: The Book and the Movie
Readings: Walter Mosley, Devil in a Blue Dress and we will continue to discuss Chapters 4-5 in Weber’s Understanding Race, Class, Gender, and Sexuality,
Film: “Devil in a Blue Dress” (1995) feature film directed by Carl Franklin (102 minutes).  Morris Library (DVD 501)
Issues for Class Discussion:
Following the model Weber uses to describe Margaret Welch, describe the social location of Easy Rawlins.  How might Easy Rawlins see the world?  How are Theo Wilson’s and Lynn Johnson’s lives different from Easy Rawlins’?  Consider the role of history and changes in the meaning of racial group membership, gender expectations, social class membership, and thinking about sexuality.  Think about the dimensions of inequality as they related to the book. What did you learn about inequality from the book?

Possible Issues for Reaction Papers:
How are the lives of the characters in Devil in a Blue Dress shaped by their race, gender, social class, and sexuality in post World War II California?  What do you see as the challenge of developing a film from this book?  Where does the film make compromises for the "market"?

February 26
The Complexities of an Intersectional Analysis
Readings: Lynn Weber, Understanding Race, Class, Gender, and Sexuality,  Chapters 6-7, pp. 111-131.
Issues for Class Discussion:
What point of view does the film represent?   How does this film go against the grain of typical Hollywood treatments of race?  What are the major lessons for you from the film?  What can you identify as specific strengths in the book and the film?

March 2
History: Our Past and How We Remember It?
Readings: Lynn Weber, Understanding Race, Class, Gender, and Sexuality, Chapters 8-10, pp. 132-182 and Hernan Vera and Andrew Gordon, Screen Saviors: Hollywood Fictions of Whiteness,  Chapters 3-4, pp. 33-65.
Film: “Matewan” (1987) independent feature film directed by John Sayles (132 minutes).  Morris Library VHS 3188.
This film presents a conflict between a union and a coal company in a small West Virginia community in 1920s.  We can examine this picture of class conflict and how working class people build bridges across race and ethnicity.

Possible Issues for Reaction Papers:  Who is telling this story?  Who are the insiders and outsiders in the coal mining community?  How are those boundaries constructed?  In the struggle between the union and the company, what roles do different community members play?  Why do the workers and other people in the community form different alliances?  What does this film teach about a working-class point of view?  Who are the men who worked for the Baldwin company?  What does gender and race/ethnicity mean in this film?  What are the options for the different women in this community?  Is there a savior here?  What U.S. practices are critiqued here and which ones are celebrated?

March 4
What are the sources of social change?  Do films help us understand the nature of change or are there myths that make us comfortable?
Possible Issues for Reactions Papers and Class Discussion:
What questions does this film raise for you about the economic progress and the conditions necessary for companies to make profits?  Think about major social structural factors and how different individuals shape their lives within the context of a historical moment.  How do race and gender shape experiences for members of the working class?  Does the film help you understand macro and micro social processes of this time?  What are contributions of Vera and Gordon to thinking about representations in films?

March 9
Social Class Location, Personal Options, and Expectations.
Exploring the links between major social structures and individual social processes.
Readings: and Hernan Vera and Andrew Gordon, Screen Saviors: Hollywood Fictions of Whiteness,  Chapters 5-6, pp. 67-99.
Film: “Coming Home,” (1978) Feature film directed by Hal Ashby (127 minutes).  Morris Library VHS 924.
Issues for Class Discussion:
Looking at mobility, what do you think about the reality of the obstacles and supports that individuals face?

Issues for Reactions Papers:  People have trajectories for their lives after high school, but their plans are both related to the war and changed by the war.  How are key characters’ lives shaped by their race, gender, social class, and sexuality in the 1960s and 1970s?  Describe the expectations others had for them?  What expectations did the key characters have for themselves?  How does this film challenge your thinking about disability?  What did you know about the Vietnam war?  What do you learn from this film? What does this film suggest about the impact of war on individuals and the nation?  What do we see about cross race relationships?

March 11
Discussion of "Coming Home" and film and history.  Think about the time a film is produced, since that will be a factor in the presentation and representation in the film.

March 16
Individual vs. Collective Mobility
Readings:   bell hooks, Where We Stand: Class Matters, Introduction and Chapters 1-3, pp. 1-49  and Hernan Vera and Andrew Gordon, Screen Saviors: Hollywood Fictions of Whiteness,  Chapters 7, pp. 100-114.  Also look again at Weber’s Chapter 10 for her thinking about social justice.
Film: “Norma Rae” (1979) feature film directed by Martin Ritt (113 minutes).  Morris Library VHS 7693.

Class Discussion:  bell hooks describes growing up Black in an earlier era, think about the key issues and concepts that shape her life.  How do we learn the critical dimensions of our lives?  As you read about the experiences of a Black woman, what do you think is missing in the films that have Black and White women interacting?  While we are reading about an individual mobility struggle, we will watch a film about a collective struggle.  Think about the contrast between the two strategies.

Possible Issues for Reaction Papers
What are your reactions to this picture of life in a small textile town in the 1970s?  What is the social stratification of this town?  The film's action takes place in 1978.  What do you think has been the impact of the 1964 Civil Rights Act on this community?  What are the old South and the new South stories here?  Why is this the era of major organizing in the textile industry?  How does race, gender, and social class shape people's lives?  What are people's options?  What is the relationship between workers and supervisors?  What might be key events or relationships that shape people's consciousness?

March 18
Mid-term examination covering readings through March 11 and films through March 16.
Study Guide

March 23 and March 25
Spring Break
You should have turned in at least two reaction papers before the break.  Work on your educational autobiography.  Good luck writing during the spring break.

March 30
Rething Race, Sexuality and Citizenship
Readings:  bell hooks, Where We Stand: Class Matters,  Chapters 4-13, pp. 51-164 and Hernan Vera and Andrew Gordon, Screen Saviors: Hollywood Fictions of Whiteness, Chapter 8-9, pp. 115-153.
Film: "Wedding Banquet" (1993) independent film by Ang Lee (110 minutes).  Morris Library VHS 5171
Currently ten percent of the residents in the U.S. are foreign born.  This increase has happened since the passage of the Immigration Act of 1965.  These residents can be bi- or tri-cultural as their affiliations as relationships cross many communities.  Foreign residents also vary in citizenship, which makes for different freedoms.

Issues for Class Discussion and Reaction Papers:
What are the usual representations of racial groups?  Are they stereotyped as secondary characters or do we see the complexities of them as individuals in terms of social class, gender, sexuality, and talents?  As a population, foreign born residents in the U.S. have lives that are very different from those of us who are born citizens.  What do you take for granted as a citizen?  What are you aware of as a resident alien?

April 1
Race, Sexuality and Citizenship in Films
Issues for Class Discussion:
"Wedding Banquet" is an independent film by a Chinese born director.  What makes this film different from others that explore the lifestyles of homosexuals, Asian immigrants, and the relationships between citizens and non citizens?
Group meetings:  You need to decide if you want to write a film treatment or a genre paper.   During this class period we can break into small groups to discuss plans.
Educational autobiography due.

April 6
Coming of Age in the Working Class
Reading: Dalton Conley, Honky, Prologue and Chapters 1-6, pp. xi-77.
Film: “In Country” (1995) Feature film, based on Bobbie Ann Mason's novel, directed by Norman Jewison (120 minutes).
Issues for Class Discussion:
We are looking at the coming of age memoir, film, and novel. What are critical aspects of growing up?  Why are these issues paramount?  What do we learn from these stories?  How do they push us to look at ourselves?  While we are reading about growing up in an urban area, what does it suggest about the young people's options in rural and suburban areas?  What might be advantages and disadvantages of these different settings?  Think about how urban, rural and suburban settings are often represented in film?

April 8
Urban Working Class: Learning and Thinking about Race and Class
Reading: Dalton Conley, Honky, Chapters 7-Epilogue, pp. 79-227.
Organize Groups for Film Treatments and Genre Reports

Issues for Class Discussion:
How did you come to understand your social class position?  What about how it was linked with race and gender?  What are your reactions to Conley’s telling of his life?  As an adult and a sociologist, do you think Conley sees options that his parents did not see?  What does the book suggest to you about social mobility?  What does the book suggest to you about coming of age?

April 13
Buddy Films and the Hollywood Path to Success
Reading: Hernan Vera and Andrew Gordon, Screen Saviors: Hollywood Fictions of Whiteness, Chapters 10 and 11,  pp. 154-184.
Film: “Finding Forrester” (2001) Feature film by Gus Van Sant (136 minutes)
Morris Library DVD 443.
Issues for Class Discussion:
Following the model Weber uses to describe Margaret Welch, describe the social locations of Jamal Wallace and his neighborhood friends.  What does this film suggest about the American Dream?  What do we learn about cross racial friendship?

April 15
Hollywood Representations of Inequalities:  Is this movie about race?  Is this movie about social class?
Reading: Hernan Vera and Andrew Gordon, Screen Saviors: Hollywood Fictions of Whiteness, Chapter 12, pp. 185-194.
Issues for Class Discussion:
Continue discussion of “Finding Forrester,” and the readings by hooks and Conley to look at impact of race, gender, social class, and sexuality on coming of age in the U.S.  How can we look critical at racial representation in films?  What purpose do they serve?   How can we explore the messages about social class and race?
Group Time

April 20
Suburban Options: Living the Normal Life
Reading:  Lorraine Delia Kenny, "Doing My Homework: The Autoethnography of a White Teenage Girl."  (On Reserve).
Most U.S. films are about White, middle class people, but issues of race and class are often invisible in these films.  How do our communities reproduce social inequalities and are we cognizant of their role?  How is race constructed in your community?  How is social class constructed within communities?
Film: “Ordinary People,” (1980) feature film directed by Robert Redford (123 minutes). Morris Library VHS 3604.  Based on the novel by Judith Guest.
Issues for Class Discussion:
Who is telling the story here?  Who does the director want you to follow? Who do you identify with in this film?  In what way is the community a factor in this film?

April 22
Deconstructing the Suburbs and Thinking about Privilege.
Issues for Class Discussion:
What do people see?  What do people not see?  Why are silences about issues and oversights accepted by others?  What do you think about the conceptions of gender roles in the film?  What are your questions about race, social class, gender, and sexuality after viewing the film?  Do films help us understand upper middle-class privilege?  What questions are not asked by the characters within the film but suggested by the film itself?  What additional questions would you pose for thinking about social class privileges?

April 27
Working Class Daughters: Race and Social Class in Shaping Life Options.
How are women of color generally depicted in Hollywood films?  What are the usual representations?  What new developments have you seen?  What do we know about gender barriers for women of color?  Think about the experiences of bell hooks.  Compare her observations with representations in Hollywood films.
Film: "Girl Fight" (2000) independent feature film by Karyn Kusmana
Issues for Class Discussion:
 Who is telling the story here?   How does an independent film provide a new lens for looking at issues?  Think about the contributions of this contemporary film about the relationship of gender, race and social class.

April 29
Issues for Class Discussion:
Following the model Weber uses to describe Margaret Welch, describe the social locations of Diana Guzman and her sometime boyfriend, Adrian?  What is their vision of success?   What race and gender barriers do they face?
Time for Groups Meetings

May 4
Progress from Different Perspectives: The Power of Representation
Film: “Smoke Signals,” (1998) Independent film presentation directed by Chris Eyre (89 minutes). First U.S. film that is developed by Native Americans. Morris Library VHS 8265
Issues for Class Discussion:
Where do Native Americans living on the reservation fit within the U.S. social class system?  How is this coming of age film different from others you have seen?  How are these Indians different from others you have seen in major motion pictures?  How is the narrative style different from Hollywood films?

May 6
Power in the Media: Representations and Messages.
Issues for Class Discussion:
How are Native Americans speaking to a general audience in "Smoke Signals"?   What messages are they sending that might be different from other representations in mainstream films?  What are common themes in the films about racial groups, that is what do “Finding Forrester,” "Smoke Signals" and “Girl Fight” have in common?  In what ways are they different?  What does each film see as the problem and the solution?  Who do you identify with in each film?  Why that identification?  What are explicit and subtle messages about mobility and social justice?  What do you think about working-class characters and risk?

May 11
Exploring Contemporary Issues.
Film: “Bread and Roses” (2001) Independent film directed by Ken Loach
Morris Library DVD 485.
Issues for Class Discussion:
Who is telling the story here?  What are insights about the plight of undocumented workers?  What is the role of the union?  What does gender, race, social class and citizenship status mean in this film?  What rights do most U.S. citizens take for granted?  What are the lessons about privilege?

May 13
Director's Perspectives
Outsiders looking at the USA.  What are some differences in the views of outsiders looking at social inequality in the USA?   How do they bring the language of their own nation to look at our situations?  What can we learn from these views?
Coming of Age Treatment or Genre Report Due

May 18

Film: Rabbit-Proff Fence.

Last date to turn in Reaction Papers.


New York Times Movies:  Interesting source about film, but recent and historical, including past winner of Oscars.
Rotten Tomatoes:  Web site about films, but review and box office totals and ther infromatino.  You can also use to find out how to order DVD and VHS.
What kinds of materials will be used during the course? Electronic databases? Electronic Course Reserve? Software? Simulations? Laboratory equipment?
What kinds of instructional technologies will be used?
Offer links to Bookstore, Library (Electronic Reserve)
Study Tips/Learning Resources
How will the student be most successful in the course? What resources are available? Study guides, lecture notes online, on reserve in library? TA? Peer tutors? Study groups? Academic Services Center? Writing Center? Evaluation of online resources? Citation of web resources?
Provide link to Academic Services Center, Writing Center
Student feedback on instruction
Anonymous suggestion box on the web? E-mail? Student feedback at midterm for improvement purposes? End-of-term student feedback? Supplement to departmental student feedback form?